ACM Tempo | Winter 2024

TEMPO ACM

WINTER 2024

Q&A

WITH

Powerhouse duo

THE WAR AND TREATY

+

Rising star

REDFERRIN

Remembering Legendary Toby Keith

KELSEA BALLERINI steps into her confidently candid era

THE ACM AWARDS TO RETURN TO PRIME VIDEO a MEET THE ACM AND ACM LIFTING LIVES BOARDS OF DIRECTORS a REMEMBERING INDUSTRY EXECUTIVE BILL MAYNE

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Contents

8 | PRIME VIEWING The ACM Awards lands two-year deal with Prime Video

14 | MEET THE BOARDS OF DIRECTORS New directors join both the ACM and ACM Lifting Lives Boards

32 | Q&A’S The War And Treaty shed light on their strength as a duo and couple, and artist-on-the-rise Redferrin gears up for Country Music success

4

Editor’s Note

6

CEO Note

8

ACM News

16

Let’s Lift Lives

18

The Buzz

50

In Memory

52

ACM Moment

Cover Story

Kelsea Ballerini gives

a glimpse into her songwriting journey and growth as an artist

32

PAGE 24

38

48 | REMEMBERING BILL MAYNE The Academy pays tribute to longtime Country Music industry executive and ACM supporter

FLIP SIDE | REMEMBERING TOBY KEITH The Academy celebrates late Country Music icon Toby Keith

FLIPSIDE

ON THE COVER: Kelsea Ballerini photographed by John Shearer

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TEMPO ACM

E D ITO R ’ S N OTE

E ditor

Libby Gardner A ssistant E ditor

Brittany Uhniat C ontributors

Happy New Year! hile we’re already a month into the new year, we at the ACM® aren’t done celebrating 2023. And as we reflect on the past year, there’s one apparent theme that emerges — growth amidst it all.

From landing a lucrative two-year deal with Prime Video to welcoming a recordbreaking membership class, the Academy continues to flourish amidst the ever-evolving genre of Country Music thanks to our strong roots.

In this issue, we proudly introduce Ebie McFarland as Chair of the Academy and Daniel Miller as Chair of ACM Lifting Lives®, as well as our devoted Boards of Directors who champion embracing change, guiding us and the industry toward a bright future.

The same vitality is seen in Country Music’s artists. ACM Award winner Kelsea Ballerini, who graces this issue’s cover, candidly discusses her musical journey and the value of honesty in her songwriting. Dive into her insights on P. 24.

We also hear from the ACM Award-nominated duo, The War And Treaty (P. 32), a dynamic couple in Country Music known for their authenticity and

Lydia Farthing, Libby Gardner, Craig Shelburne, Brittany Uhniat D esign

Randi Karabin, Karabin Creative P rinting

Graphic Visions Commercial Printing P hotos

ACM, Dave Gatley, Sean Hagwell, Austin Hargrave, Will Heath, Catherine Powell, John Shearer ACADEMY STAFF CEO

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

Lyndsay Cruz

E xecutive Vice P resident/ C hief B usiness O fficer

Gil Beverly

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/D esign & B rand C reative

Lori Kraft

D irector/B rand M arketing & C reative & C ontent Strategy, & P roduction

Steve Mekler

D irector/Finance & O perations

Kris Reyes

D irector/D igital M arketing

Matt Brum-Taylor

S enior M anager/C ontent & E ditorial

Libby Gardner

S enior M anager/ P ublicity & M edia R elations

seamless fusion of remarkable talents. Furthermore, rising star Redferrin

Jesse Knutson

shares his compelling story of career development. Find it on P. 38.

S enior M anager/Awards & M embership

Finally, we remember the hit singer, songwriter, and two-time ACM

Haley Montgomery

S enior M anager/ACM L ifting L ives

Entertainer of the Year, Toby Keith, whose unique style and message

Taylor Wolf

resonated with fans around the globe. His music and legacy live on. Read his

Jennifer Davis

tribute on P. 1 of the flip side of this issue.

So, here’s to the icons who have paved the way in Country Music and to those who further shape its burgeoning landscape — a genre we all love and celebrate, always!

M anager/Events M anager/Strategic Partnerships

Rebecca Fisher

M anager/P rogramming & C ommunity E ngagement

Kortney Toney

C oordinator/Events

Alexis Bingham

C oordinator/C reative & C ontent

Brittany Uhniat

A ssistant/ACM L ifting L ives

Libby Gardner ACM Tempo Editor

Brooke Boyd

A ssistant/M arketing

Heather Howard

E xecutive A ssistant to the CEO

Kristan Pridgen

M anager/O ffice

Michael Stern I ntern

Karenna Cox – Artist & Industry Relations

4

acmcountry.com

AMARILLO OKLAHOMA CITY PAWHUSKA 405.565.3750 LORECRANCH.C0M

FRO M TH E CEO

Dear Academy Members, The Academy joins the Country Music community in mourning the loss of American icon, Toby Keith. With 15 ACM Awards overall, including two ACM Entertainer of the Year awards and the recent ACM Merle Haggard Spirit Award in 2021, his ACM legacy was long and successful. Toby was a shining example in our industry of true talent, passion, and artistic vision. His singing, songwriting, live performances, philanthropy, and entrepreneurship will continue his legacy for many years to come. He deservedly graces one of the covers of this issue, and you can read the vast highlight’s of Toby’s career on P. 1 of the flip side of this issue.

On behalf of the ACM team, we hope you had a good holiday season and are ready for an action-packed 2024 in our Country Music industry. As we reflect on last year, I am proud that the Academy has created a direct “on-ramp” to our industry for new, developing, and diverse artists and young professionals through our TV shows, events, and industry programs such as LEVel Up and OnRamp.

Going forward, we will continue these initiatives, which strengthen our industry and broaden our audience. None of this would be possible without the unyielding support from our Board of Directors, and with our new slate for 2024, which you can learn more about starting on P. 14, our organization will continue these strides for excellence.

As we look ahead to the spring, the 59th ACM Awards® will be back in Frisco, Texas, in May. Based on the success and positive feedback from last year, our team is continuing to optimize the experience for our industry, artists, and fans. More information about ticketing, schedules, and hotels will be available in the coming weeks, so please watch our ACM Member newsletter or ACMcountry.com for those details.

There is so much exciting news and information to share in this issue, including an in-depth interview with one of today’s brightest stars, ACM Award winner Kelsea Ballerini, plus heartfelt remembrances of some Country Music family members we’ve lost. One of those is Bill Mayne, who was a beloved ACM and ACM Lifting Lives Board Member, Chair of both organizations, and a recent 2023 ACM Service Award honoree.

As we embark on 2024 with our largest Membership class in ACM history, I thank you for your support, encourage you to engage with the Academy throughout the year, and hope you think of us as a champion of our Members and Country Music!

Damon Whiteside Chief Executive Officer

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With a pulse on the music industry we are always at the forefront of dealing with contract negotiations, litigation, global licensing deals and navigating the role of digital media in entertainment to handle any matter quickly.

- Shackelford, Bowen, McKinley & Norton shackelford.law

Aviation Transactional Agreements I Aviation Tax Law I Aviation Regulatory and Public Law and Policy I Aviation Commercial Dispute Resolution I Tax I Health Care Family Law I Financial Institution Corporate Transactions Estate Planning & Probate I Real Estate I Employment Matters I Commercial Eqlipment Leasing I Litigation of Commercial, Business & Probate Matters I Civil Appeals in Federal and State Courts I Automobile Dealerships Commercial Bankruptcy I Creditors Rights

N E WS

Prime Viewing

59TH ACM AWARDS VOTING TIMELINE The Academy has announced changes and additions to numerous awards categories, including changes to ACM New Female Artist of the Year, New Male Artist of the Year, and New Duo or Group of the Year, extending charting for those categories to open eligibility to more artists. Additionally, criteria were adopted to require a minimum of three eligible submissions to award a category.

Here’s a full voting timeline for the awards:

Main Awards FIRST ROUND VOTING February 26–March 4, 2024

SECOND ROUND VOTING March 18–March 25, 2024

FINAL ROUND VOTING April 15–April 22, 2024

Radio Awards FIRST ROUND VOTING February 26–March 11, 2024 The ACM, in collaboration with Dick Clark Productions and Amazon, announced the return of the ACM Awards to Prime Video for the next two years. This renewal will take the show through its milestone 60th anniversary in 2025. The 59th ACM

FINAL ROUND VOTING March 18–April 1, 2024 *All voting windows close at 8 p.m. ET/7 p.m. CT/5 p.m. PT

Awards will return to Ford Center at the Star in Frisco, Texas, this May. Stayed tuned for information, including hosts, nominees, performers, and ticket sale details.

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Visit acmcountry.com/voting for more information.

BACK ROW L-R: Mackenzie Cooper, Shelby Moran, Daniel Killian, Vanna Moua FRONT ROW L-R: Morgan Kenney, Kaela Allen, Stephanie Davenport, Kortney Toney (ACM)

ACM Celebrates Inaugural LEVel Up Cohort Graduation

T

he inaugural class of the Lift Every Voice program, LEVel Up, celebrated the completion of their two-year

professional development program in conjunction with the announcement of the 2024 LEVel Up cohort last month.

The inaugural 2022 cohort collaborated with the Academy and Black Music Action Coalition (BMAC) to ideate and develop the initiative that became

LEVel Up Class of 2024 The Academy welcomed the 2024 LEVel Up class in December at the LEVel Up Class of 2022 graduation ceremony. This year’s class comprises established young professionals in the industry from digital service providers, performing rights organizations, radio groups, PR firms, management companies, and others. The class includes: • Alexes Aiken, Westwood One • Jackie Ebnet, mtheory • Haley Fairman, United Talent Agency • Kenyon Glenn, ASCAP • David Hawkins, MY Public Relations Lab • Lacey Hayes, Romeo Entertainment Group • Gator Pizer, Farris, Self & Moore • Nathan Pyle, Songfluencer • Lizzy Stone, Wiles + Taylor & Co. • Bryan Webb, Apple Music The class kicked off their monthly professional development seminars with Nashville historian, David Steele Ewing. Ewing, who is best known for his acclaimed Instagram account @thenashvilleiwishiknew, gave the cohort a deep dive into the rich, diverse history of Music City.

OnRamp. They also helped bring to life the ACM Lift Every Voice Award, which celebrates an individual in the industry who has played a pivotal role in elevating underrepresented voices throughout the Country Music genre, transcending demographics and geography.

BACK ROW L-R: Nashville historian David Steele Ewing, Lizzy Stone, David Hawkins, Nathan Pyle, Lacey Hayes, Gator Pizer, ACM CEO Damon Whiteside, Tommy Moore (ACM) FRONT ROW L-R: Kortney Toney (ACM), Kenyon Glenn, Jackie Ebnet, Alexes Aiken, Haley Fairman, Bryan Webb

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ACM MEMBERSHIP RECORD-CLASS

PEEK INTO COUNTRY LIVING In case you missed it, the digital content series “Land.com Presents: ACM Land & Lyrics” continues to release new episodes. Recently, the series explored Russell Dickerson’s fiveacre property in the hills outside of Nashville as well as Jenna Paulette’s sprawling cattle ranch in Texas.

Full episodes can be found on the Academy’s YouTube channel.

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The ACM was proud to announce its new membership class in December — and also celebrate setting a new record, the highest number of members in the organization’s history. The 2024 ACM membership class boasts more than 5,000 professional members, which is a major milestone. New and renewed members are qualified to vote for the 59th ACM Awards as well as gain access to a suite of benefits including early access to tickets for ACM events, discounts on industry partner events, data insights, monthly education, networking events, and more.

To celebrate the new class, the Academy released a video featuring fresh members, including artists Colbie Caillat, Hannah Ellis, The Kentucky Gentleman, Ian Munsick, and Matt Stell as well as industry professionals including Jackie Augustus, Amy Brown, Jared Conrad, CeCe Dawson, Morgan Mills, Caroline Munsick, Erika Wollam Nichols, Adi Sharma, and Cole Taylor.

BLACK RIVER ----AECOAOS

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OnRamp at the Bluebird

M

embers of the OnRamp class were invited to perform at the monthly BMI Presents at The Bluebird Cafe showcase, hosted by BMI Executive Director Shannon Sanders.

The event featured some of OnRamp’s up-and-coming artists including Tae Lewis, Larysa Jackson, Nick Tabron, Carmen Dianne, Julie Williams, The Kentucky Gentlemen, and Tylar Bryant.

Clockwise from top left: Tae Lewis; The Kentucky Gentlemen; Larysa Jackson; Nick Tabron

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The Academy of Country Music Announces New Board of Directors for 2023–2024 ®

T

he ACM announced its newly elected Board of Directors for the 2023–2024 term. Previously announced officer roles for the Academy for the 2023—2024 term are Chair Ebie McFarland, Vice-Chair Randy Bernard, Vice-President Cris Lacy, Treasurer Carmen Romano, Sergeant-at-Arms Gayle Holcomb, Parliamentarian Jeff Krones, and Secretary Tommy Moore.

“2024 is kicking off an exciting new chapter in the rich history of the Academy, and as it’s shaping up to be another monumental year for the ACM and the Country Music genre.

The guidance of these well-respected industry leaders will ensure the Academy’s pivotal role in the success and recognition of Country Music in the next year and for years to come. We’re

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so fortunate to have this dedicated group of individuals who have raised their hands to serve on our Board of Directors,” said Damon Whiteside, ACM CEO. This year, Board members in seven of the 13 qualifying professional categories were elected by the Academy’s membership and, in addition, the director-at-large positions have been appointed by the Chair, Vice-Chair, and Vice-President. Directors are elected from each category based on the number of members in that category. Each director serves a staggered two-year term.

Newly elected members of the Board of Directors include Enzo DeVincenzo, Kerri Edwards, Shannan Hatch, Gena Johnson, Jason Kane, Chris Kappy, Katie McCartney, Mike Moore, Annie Ortmeier, TJ Osborne, Carly Pearce, Kevin Ream, Brittany Schaffer, Troy Vollhoffer, Jennifer Way, and Derek Wells.

Newly appointed director-at-large members of the Board of Directors include Jake Basden, BRELAND, Ryan Beuschel, Johnny Chiang, Buffy Cooper, Rusty Gaston, Beth Laird, Daniel Miller, Mike Molinar, Patrick Moore, Erika Wollam Nichols, Chris Parr, Ryan Redington, Mike Rittberg, Shannon Sanders, and Randi Tolbert.

LEFT TO RIGHT: Ebie McFarland; Randy Bernard; Cris Lacy; Carmen Romano; Gayle Holcomb; Jeff Krones; Tommy Moore.

Academy of Country Music Board of Directors 2023–2024 OFFICERS Chair of the Board, Ebie McFarland, Essential Broadcast Media Vice-Chair, Randy Bernard, RWB Management Vice-President, Cris Lacy, Warner Music Nashville Treasurer, Carmen Romano, FBMM Sergeant-at-Arms, Gayle Holcomb, WME Parliamentarian, Jeff Krones, CAA Secretary, Tommy Moore, ACM AFFILIATED Scot Calonge, Richards & Southern Jackie Campbell, 615 Leverage + Strategy Deana Ivey, Nashville Convention & Visitors Corp Chris Lisle, CLLD, LLC / The Touring Career Workshop Brittany Schaffer, Belmont University ARTIST/MUSICIAN/ PRODUCER/ENGINEER Gena Johnson TJ Osborne Carly Pearce Derek Wells DIGITAL MARKETING/ DISTRIBUTION Margaret Hart, YouTube Rachel Whitney, Spotify MANAGER Enzo DeVincenzo, 377 Management Kerri Edwards, kpentertainment Chris Kappy, Make Wake Artists MEDIA/PUBLIC RELATIONS Kristie Sloan, The GreenRoom PR

MUSIC PUBLISHER/PRO Cyndi Forman, UMPG Shannan Hatch, SESAC RADIO Charlie Cook, Cumulus Media Mike Moore, Cumulus Media RECORD COMPANY Cindy Mabe, Universal Music Group Nashville Katie McCartney, Monument Records Annie Ortmeier, Triple Tigers Jennifer Way, Sony Music Nashville SONGWRITER Lee Thomas Miller TALENT AGENT Curt Motley, UTA TALENT BUYER/PROMOTER Adam Weiser, AEG Presents VENUE Jason Kane, Houston Livestock Show & Rodeo Kevin Ream, Round Rock Amp Troy Vollhoffer, Premier Global Production VISUAL CONTENT Chandra LaPlume, Sandbox Productions DIRECTORS AT LARGE Jake Basden, Sandbox Entertainment BRELAND Ryan Beuschel, The Neal Agency Johnny Chiang, SiriusXM Buffy Cooper, Morris Higham Management George Couri, Triple 8 Management Benson Curb, Curb | Word Entertainment Beville Dunkerley, Maverick Nashville Becky Gardenhire, WME Rusty Gaston, Sony Music Publishing Nashville

Jeremy Holley, FlyteVu Beth Laird, Creative Nation Frank Liddell, Carnival Music Jon Loba, Broken Bow Music Group Shawn McSpadden, Range Media Partners Daniel Miller, Fusion Music Mike Molinar, Big Machine Music Patrick Moore, Opry Entertainment Erika Wollam Nichols, The Bluebird Cafe Brian O’Connell, Live Nation Chris Parr, MAVERICK Rod Phillips, iHeart Media Ryan Redington, Amazon Music Kelly Rich, Red Street Records Mike Rittberg, Big Machine Label Group Tim Roberts, Audacy Shannon Sanders, BMI Scott Scovill, Moo TV Sally Seitz, Apple Music Randi Tolbert, QPrime Laura Veltz Candice Watkins, Big Loud PAST CHAIRS Chuck Aly, Country Aircheck Lori Badgett, City National Bank Duane Clark, FBMM Ken Tucker, Wheelhouse Records Ben Vaughn, Warner Chappell Ed Warm, Joe’s Live EX OFFICIO PAST CHAIRS Paul Barnabee, FBMM Rod Essig, CAA Mark Hartley Darin Murphy, CAA Butch Waugh, Studio2bee

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LE T ’ S LI F T LIVE S

CLOCKWISE FROM TOP LEFT: Daniel Miller; Shawn McSpadden; Fletcher Foster; Taylor Wolf; Paul Barnabee.

ACM Lifting Lives Announces New Board of Directors for 2023–2024

A

CM Lifting Lives announced the newly elected Board of Directors for the 2023–2024 term.

Officer roles for the term are Chair Daniel Miller, Vice-Chair Shawn McSpadden, Vice-President Fletcher Foster, Treasurer Paul Barnabee, and Secretary Taylor Wolf.

The ACM Lifting Lives Board of Directors is comprised of ACM Board Members, referred to as representative directors, as well as leaders in nonprofit and corporate affairs who aren’t ACM Board Members and are referred to as public directors.

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This year, there were four representative director positions elected, three public director positions elected, and one public director-atlarge position appointed by the ACM Lifting Lives Board of Directors including: • Representative directors Duane Clark, Chandra LaPlume, Darin Murphy, and Annie Ortmeier • Public directors Julie Gordon, Tom Lord, and Diane Pearson • Public director-at-large Adi Sharma

ACM Lifting Lives Board of Directors 2023–2024 OFFICERS Chair, Daniel Miller, Fusion Music Vice-Chair, Shawn McSpadden, Range Media Partners Vice-President, Fletcher Foster, F2 Entertainment Treasurer, Paul Barnabee, FBMM Secretary, Taylor Wolf, ACM Lifting Lives REPRESENTATIVE DIRECTORS Jackie Campbell, 615 Leverage + Strategy Duane Clark, FBMM Beville Dunkerley, Maverick Nashville Rod Essig, CAA Chandra LaPlume, Sandbox Productions Ebie McFarland, Essential Broadcast Media Shawn McSpadden, Range Media Partners Daniel Miller, Fusion Music Darin Murphy, CAA Annie Ortmeier, Triple Tigers Records PUBLIC DIRECTORS Scott Adkins, Adkins Publicity Mark Bloom, UBS Financial Services, Inc. Tiffany Brush, Topgolf Ross Copperman Chris Farren, Combustion Music Kathleen Flaherty, K21 Communications Fletcher Foster, F2 Entertainment Julie Gordon Mickey Guyton John Hickman, Dallas Cowboys Greg Hill, Hill Entertainment Group Michelle Kammerer, Amazon Music Ricky Kelley, Harley-Davidson of Columbia Ellen Lehman Tom Lord, Red Light Management Diane Pearson, City National Bank Adi Sharma, The Neal Agency Elaina Smith, Nights with Elaina Storme Warren, TuneIn Radio’s “The Big 615” Judee Ann Williams, CAA Sally Williams, Live Nation PAST CHAIRS Lori Badgett, City National Bank Paul Barnabee, FBMM Bruce Bowman, PlaySpots Debbie Carroll, Onsite Mark Hartley Gayle Holcomb, WME Lorie Lytle, Fridrich & Clark Realty Tree Paine, Premium PR Troy Vollhoffer, Premier Global Production Ed Warm, Joe’s Live

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TH E BUZ Z

Album Hannah Ellis

Releases

That Girl

Out Now

Trey Lewis Troublemaker

March 3

Chase McDaniel Blame It All on Country Music

Out Now

Conner Smith Smoky Mountains

Out Now

Shane Smith & The Saints Norther

’23

Out Now

Chris Young

Drake Milligan

Out Now

acmcountry.com

Corey Kent

March 1 Young Love & Saturday Nights

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EP Releases Jukebox Songs

February 16

Single Releases Jennie Angel

LECADE

Elvie Shane

Tigirlily Gold

“ Short Leash”

“Bed We Made”

“ What Do I Know”

“I Tried A Ring On”

Out Now

Out Now

Out Now

Out Now

“Outside Dog”

Pryor Baird

Trey Lewis

“Mighta Met A Girl”

“Pretty Hungover”

Out Now

Out Now

Graham Barham

“ Sounds Like Money to Me”

“LIGHTS ON NOBODY’S HOME”

Out Now

Grant Gilbert featuring Ashland Craft “ Turn It Down”

Out Now

March 1

Shane Smith & The Saints Out Now

Madeline Merlo

“It’s Been A While”

February 7

Drake Milligan

“Fire In the Sky”

March 1

Out Now

“Don’t Leave Me Loving You”

Scotty Hasting

Out Now

“Make You Mine (Acoustic)”

“I’m America”

MaRynn Taylor

February 9

Shane Profitt

Out Now

“I Am Who I Am”

Reid Haughton

Out Now

Mitchell Tenpenny

Dylan Schneider

“Breaking My Heart”

“Man Made Money”

Out Now

“Bad Decisions”

Brian Kelley

Out Now

Out Now

“All the Way”

“Makeup”

Out Now

Kasey Tyndall “Bad For Me”

Out Now

“ Trucks, Ducks, Bucks & Beer”

Out Now

Corey Kent “ This Heart”

Out Now

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TH E BUZ Z

Colby Acuff

Support for 49 Winchester

February–March Support for Luke Combs’ Growin’ Up and Gettin’ Old Stadium Tour

Tour Dates

Luke Combs

Growin’ Up and Gettin’ Old Stadium Tour

April–August

Jackson Dean

April–August

Head Full of Noise Headline Tour

Support for Flatland Cavalry

January 11–April 13

February–April

Support for Lainey Wilson’s Country’s Cool Again Tour

Jason Aldean

Extended the Highway Desperado Tour

May 18–October 5

Graham Barham

Support for Adam Doleac’s Wrong Side of a Sunrise Tour

February–April

Kane Brown

In The Air Headline Tour

August 22–November 9

Mae Estes

Support for Jackson Dean’s Head Full of Noise Tour

January 11–April 13

Riley Green

Ain’t My Last Rodeo Headline Tour

Corey Kent

Support for Parker McCollum’s Burn It Down Tour

January–August

Ella Langley

Support for Riley Green’s Ain’t My Last Rodeo Tour

February–June Support for Morgan Wallen’s One Night At A Time Tour

August 1–9

Ryan Larkins

Support for Priscilla Block’s Hey, Jack Tour

February–May

February 22–June 1

March–September continued on page 20

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TH E BUZ Z

Tour Dates continued from page 19

Dustin Lynch

Support for Blake Shelton’s Back to the Honky Tonk Tour

February 22–March 29 Killed The Cowboy Headline Tour

April 2–May 11

Dylan Marlowe

Dirt Road When I Die Headline Tour

February

Kameron Marlowe

I Can Lie Headline Tour

March 22–September 1

Lukas Nelson & Promise of the Real Headlining Tour

February–May

Old Dominion

No Bad Vibes Headline Tour

January–March

Parmalee

Support for Kane Brown’s In the Air Tour

Tim McGraw

March 28–June 8

Carly Pearce

February 3–May 12

Support for Tim McGraw’s Standing Room Only Tour

Midland

February 3–June 29

Up In Texas Headline Tour

February 9–May 12

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Support for Cody Johnson’s The Leather Tour

November–March Standing Room Only Headline Tour

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Drake Milligan

Restless Road

Last Rodeo Tour

January–April Support for Cole Swindell’s Win The Night Tour

July

Dylan Schneider

Support for Nate Smith’s World On Fire Tour

January 4–February 24

Nate Smith

World On Fire Headline Tour

January–May Support for Morgan Wallen’s One Night At A Time Tour

April–August

Shane Smith & The Saints January 8–October 18

Mitchell Tenpenny

Support for Luke Combs’ Growin’ Up and Gettin’ Old Stadium Tour

April–August Support for Jordan Davis’ Damn Good Time World Tour

April–September

Morgan Wade

Support for Alanis Morrisette’s The Triple Moon Tour

June–August

Lainey Wilson

Country’s Cool Again Headline Tour

March 2–November 16

Chris Young

Young Love & Saturday Nights Headline Tour

April 25–May 18

If you are an ACM Member and would like your artists’ upcoming releases and tours featured in the next issue of ACM Tempo, please email brittany@acmcountry.com.

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Reflecting on

ROLLING UP THE WELCOME MAT 24

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After celebrating the 10th anniversary of her esteemed hit, “Peter Pan,” Kelsea Ballerini reflects on her growth as an artist

“I

BY LIBBY GARDNER

’ve always written about my life, and it’s always been personal. Whether it be happy or sassy or reflective or sad, it’s always been about my life.”

Since day one, Kelsea Ballerini has spoken truth in her music, expressing her own voice and stories. And with last year’s release of the unapologetically honest EP, Rolling Up the Welcome Mat, Ballerini’s chosen to be more vulnerable, which she feels makes her music stronger.

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“I feel, especially now in hindsight, there was a part of me that was rounding the edges of leaving out exact details of my life or specifics because I wanted [my songs] to be more relatable and more universal,” said Ballerini. “And I think with [Rolling Up the] Welcome Mat that it was the first time that no one else could have written it. It couldn’t, it wouldn’t have been about anyone else’s life. It’s detailed. There’s my dog’s name, there’s the streets. It’s littered with the most details that I’ve ever put in music before.”

Plain and simple: Details matter. As she puts it, “It’s been such a lesson for me as a songwriter to just understand that maybe it’s true that the more authentic and honest you are in your own story, the more relatable it somehow is.”

“It's been such a lesson for me as a songwriter to just understand that maybe it's true that the more authentic and honest you are in your own story, the more relatable it somehow is.”

evertheless, speaking one’s truth doesn’t always come worry-free. Ballerini was unsure about releasing this honest collection.

“There are two reasons I put it out. Reason one is because it’s a body of work that I’m so proud of musically as a songwriter, lyrically. I was so deeply proud of the honesty that I had captured in that season, and as an artist, I wanted to share that. And the second is because I wish that I would have had it. I wish that I would have had those songs a year prior when I was starting to have realizations and make hard decisions for my life.”

Ballerini doesn’t write songs just for herself. When talking about her purpose as an artist, she explains, “I would like to think it’s like having a sisterhood filled with people that are navigating life together. I wanted to offer that just in case anyone in that sisterhood felt alone.”

Of course, releasing an album that speaks to your own private experiences can come with questions about intentions, and specifically for Ballerini, whether she was writing songs specifically to air dirty laundry regarding her divorce.

“The first song I wrote [for this project] was ‘Blindsided,’ and I’ve been asked often if that was a reaction song. And I think that’s a silly question because obviously it was. If that was the only song I had written, I wouldn’t have put it out because that to me was not the point. I never wanted to get in a song war. My art matters too much to me.”

And in terms of the project as a whole, Ballerini feels complete, fulfilled, and liberated.

“It [Rolling Up the Welcome Mat] is the most rewarding thing I’ve ever done in my whole career, just because it is about something that was really difficult to navigate. It’s also the most untouched project I’ve ever put out. What I mean by that is I either wrote everything by myself or with one other person and no one else touched it. It just wasn’t influenced by trying to be commercial or trying to be ready for radio or anything like that. It was just untouched and really, really pure.”

Ballerini recently celebrated the 10-year anniversary of her iconic hit that formally launched her career into Country Music, “Peter Pan,” which laid a great foundation to build upon. Simply put, her music has evolved, and fans are here for it. “‘Peter Pan’ has always been the biggest song in my show, and ‘Miss Me More’ will have a fun moment,” Ballerini explains. “‘Hole In the Bottle’ will have a fun moment, but ‘Peter Pan’ has always been the moment in my show. And it does not hold a candle to ‘Penthouse’ anymore. ‘Penthouse’ is the biggest song in my set now.

It’s just existed in this space of women finding it and allowing it to be part of their healing journey and their breakups and their life changes. And it’s just rippled in a way that I could have truly never anticipated.”

It’s easy to think that, as she sings “Penthouse” night after night, she is forcing herself to relive bad memories.

But to her, it’s therapy.

“The first time I played ‘Penthouse’ — and again, my intention was never to play these songs live, it was never to talk about it ... But I ended up playing “Penthouse” in Manchester right after it came out. The first time I played it, it was extremely emotional because it’s attached to my memory. As I played it over and over and over and over again, and especially up until the last show that I did, I simply don’t think about why I wrote it anymore. I just think about the fact that there’s so many people that have related to that emotion enough to make the rooms triple in size and all scream it together. That’s what I buy into now. I buy into like the journey that I’m on with the people that are in the room feeling the same things that I did at one point and don’t anymore.”

Ballerini’s music has brought comfort to women.

Interestingly, and maybe even ironically, she began piecing together the EP in a space of solace. A little over a year ago, Ballerini purchased Kacey Musgraves’ home, where Musgraves retreated after her divorce — a place that may now become known for breeding creativity.

Ballerini refers to the 1920s cottage as a friend saying, “There’s just been some life that has been lived in this house. She’s quirky and has lots of cute little nooks. I think there’s some whimsy about it where you feel really safe and magical.”

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Kelsea Ballerini performs “Penthouse” on Saturday Night Live on March 4, 2023

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And in her new home, she gave herself the opportunity to grow both as a person and an artist.

“The first songs I wrote in this house were ‘Mountain With a View’ and ‘Just Married,’ Ballerini said. “I wrote both of those by myself in this living room, and I can’t even tell you the last time I wrote a song by myself until I wrote those two. So, I feel like there’s some kind of energy in the house where it brought me back to myself in that space.”

Not only is Ballerini a strong proponent of speaking your truth, but she also is a firm believer in sticking to your guns — even when others try to push you in a different direction.

“I think trusting your gut is just the most powerful thing you can do. There is something valuable about looking at past patterns and going, ‘Okay, this historically worked for women or this historically worked for an independent label artist.’ But I think the thing that I’ve learned that has always just rang more true is listening to yourself and trusting yourself. And that’s hard to do when you’re a young girl in an industry that there’s not a lot of space … I think when your gut tells you to go a different way or try something new or piss that person off or write that song or whatever it is, I think it’s the most valuable thing to listen to that. That’s what I look back at the last 10 years is the moments where I don’t abandon myself and I trust my gut and my team goes, ‘Kelsea, what are you thinking?’ And I stand by it, even if it’s not the right thing, it’s my thing. And that matters.”

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allerini’s tenacity is apparent and ultimately has allowed her to flourish in the Country Music space.

“I used to sit outside of the line getting into The Bluebird Cafe and sit on the railing and play for people as they walked in. I couldn’t get in yet, so that was my way of just trying to get people that I knew loved music to listen ... I just value that version of me.”

And looking back, she’s fairly certain she wouldn’t have the same drive now as her teenage self did.

“Honestly, had it not worked out, I don’t know if I would do it as a 30-year-old me. I had this naivete and this ruthless nature of like, ‘Life is not going to tell me that this is not going to work. I’m going to make this work.’ Persistence and that level of shamelessness, I am so proud that I had that. I’m so proud of that version of myself.”

Her fans are dedicated, her songs resonate with them, and she values that.

“At every show, I know a lot of the people in the front because it’s been 10 years of 500 cap rooms ... It’s been cool to grow with people and grow up with people. That’s the other thing too, is starting when we’re all in our early 20s and now, I have so many girls that like I’ve watched fall in love and get married and have babies. I’ve gotten to see them through every stage of that. It’s so beautiful to be able to be a witness to people’s lives and to know that I get to be the soundtrack.”

Ballerini also has a strong connection to her hometown.

In November, she returned home to Knoxville, Tennessee, for her first-ever arena show in the city. She reflected on the emotions she felt before taking the stage that night and the memories it brought back.

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Kelsea Ballerini performs at her sold-out homecoming show at Thompson Boiling Arena in Knoxville, Tennessee on November 2, 2023

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“I feel like I finally earned my freedom … I feel like that level of honesty and trust within myself as a songwriter and an artist is unobstructed now.”

Kelsea Ballerini greets fans in the crowd of her soldout homecoming show at Thompson Boiling Arena in Knoxville, Tennessee on November 2, 2023

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“I cried all morning so I could be present in it, and I was ... Here’s the truth. My first concert was Britney Spears, and it was in that room; it was in that arena. You know when you’re a kid and you go to your first arena show and you’re like, ‘This is the biggest group of people I’ve ever seen, and that’s Britney Spears. I hear her on the radio, I have her poster on my wall, and she’s in the same room as me.’ I remember the magic and the other-worldly size of what that felt like as a kid. And September of last year [2022], I was playing 4,000-seat theaters, and that was a 15,000-seat sold-out room. I just wanted to let myself feel the gravity of that.”

She did just that.

“Girl, I’m telling you, I walked off that stage, sprinted, and just threw up because A: It was my last show of the craziest year of my life, B: It represented that I made it to the arenas and that was always what I wanted, and C: I didn’t miss it. I often miss things that are very important and monumental in my life because I get anxious, in my head, or I overthink.

And I didn’t do it this time and was proud of that.”

It’s often said that even the greatest of performers get nervous before they take the stage. Ballerini is no exception. She has specific tools that help her stay present and focused and keep that ever-growing fan bond alive.

“The thing that helps me during shows is finding people in the crowd, whether it’s people that are familiar faces or someone that has a handmade shirt or a daddy-daughter date where he brought his little girl to the show. Whatever it is, I try to find really grounding things around the room that are my touchpoints. Any time I start to get in my head or taken out of the actual present moment of singing a song, I’ll find one of my touchpoints in the room and it helps me get back to it.”

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And as for maintaining some sense of sanity while navigating the chaos of her everyday life ...

“I’m in shambles,” Ballerini explains. “I mean, I’m not kidding. I am exhausted and I really am. But it’s the best. It’s the best kind of exhaustion I’ve ever felt. I am pacing around my house right now in my Uggs and my stretchy pants that I’ve worn for three days ... I’m just really emotionally and physically empty. I really leaned into just the theme of doing my best this year and giving myself a lot of grace that sometimes my voice is going to be tired; sometimes I’m going to completely space onstage or in an interview. It’s just letting yourself be human and having the grace for knowing you’re navigating a lot and juggling a lot.”

And if she is having a hard day or a hard week, she doesn’t let herself struggle alone.

“I also really invest deeply in my support system,” Ballerini said. “I feel like I have a solid group of friends that are like my sisters, and I’m obviously really close with my mom. And I love therapy so much. So, I think having those things have really helped me. When I do get to the point where I’m like, ‘Okay, I have a couple of months left and I’m exhausted,’ they get me through it.”

If this was an “ins and outs” list (yes, I’m talking about the one’s you’ve been seeing in the new year), according to Ballerini, doubt is out and confidence is in.

“I feel like I finally earned my freedom,” Ballerini explains. “I feel like I had this … chip on my shoulder for my whole career thinking that people didn’t take me seriously as a songwriter … I feel like that level of honesty and trust within myself as a songwriter and an artist is unobstructed now. I have never been prouder of what I’m writing, and I’m excited to watch it come together and see what it turns into.” ●

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HEALING AND HARMONY: 32

THE MUSICAL BOND OF

THE WAR AND TREATY

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Michael Trotter Jr. and Tanya Trotter, each with their own powerful voices, have found themselves at home in Country Music with their duo The War And Treaty

BY LIBBY GARDNER TEMPO: I know you guys had a huge

year in 2023, but I want to go back in time a little bit. You each have such remarkable and interesting stories and have so much ahead of you too.

So, I hope you’re not too sick of talking about your past. I think your stories of getting into music and finding each other are just so beautiful. Michael, I want to start with you. I’ve read about it, but I wanted to hear from you about your experience in Iraq and specifically learning to play the piano in Saddam Hussein’s former palace.

MICHAEL: Thank you for asking me

about it. First off, I did learn how to play and write songs in Iraq. I got to Iraq in 2004, and I was known as the weakest link out of all the soldiers because of my fear. I was terrified of being there. I wasn’t like Rambo. I was more like the Black Gomer Pyle.

In order to calm my nerves, one of the officers of the unit read in my file that I love music. He knew that in Saddam’s palace there was a piano, and that’s where we were staying after we had bombed it out. So, he took me down and showed me the piano. I said, “I don’t know how to play, man.” He said, “Well, on your time, come down here and find your way back home.” I would spend my time teaching myself to play the piano and writing songs. And it wasn’t until that commanding officer was killed to where I would unlock emotionally to compose my first song about the fallen.

It had a lot of healing, and it provided a lot of healing for the soldiers to where it then became “my thing.” I would better serve One-Six Infantry Second Brigade First Armored Division by writing songs about the fallen and performing them. So, that’s how I got my start in songwriting and in being a musician — a piano player.

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TEMPO: That’s a beautiful story. I know, Tanya, you’ve been

It lets off some kind of energy whenever music comes on. And then when we do it together, it’s double.

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in the entertainment scene for some time. At what point did you know that you wanted to pursue music? Was there a pivotal moment?

TANYA: Yeah, my brother was a singer, but we as a family

went through a transition. My parents got divorced when I was 8 years old. I remember just needing an outlet. My brother was singing at the church. I would say [he was] tearing it up on Sunday morning. I remember how happy the people were when he sang. But I also remember how sad I was at home because my parents were divorcing, and I needed a place where I could put that energy, not just the sad energy, but also just the energy of feeling like I had a purpose as a little kid ...

My brother got me my first vinyl, and it was Whitney Houston. Then soon after he had a job, he bought me Jennifer Holliday. I remember singing along with these records, and I was 8 years old. And my brother said, well, “If you can sing like them, you could be in the music business, but if you can’t, then you

Tanya and I represent the floorboards of every single church, of every slave ship, every chain broken. That is what we are here to do.

need to go to work.” So, I quickly asked my mother if I could join the church choir, and I became a performer in the church.

Our church was very animated. We had very animated singers. My brother was animated ... So, I was the kid that got up on Sundays and was performing. [I] walked the aisles with my microphone, envisioning that I was singing in front of big crowds. That was the moment for me — my parents’ divorce.

It was my outlet. Music became my safe, sacred space, and from that point on, I knew what I wanted to do for the rest of my life. I wanted people to feel like that.

TEMPO: Do you remember the first time that you

TEMPO: I feel that music is extremely healing for both of you.

sang together?

MICHAEL: I do. I remember. Here’s a moment for you. Aside

Is it healing in the sense of knowing it provides healing for others? Or is it healing when you sit down and play or sit down and sing with each other?

TANYA: It’s both. And I think healing in different ways.

Healing comes in different forms to me. Sometimes the healing may be putting on a Frankie Beverly and Maze record and dancing in the kitchen ... It lets off some kind of energy whenever music comes on. And then when we do it together, it’s double.

TEMPO: You have both had different struggles and different

experiences and it sounds like that’s what you channel when you’re playing or when you’re singing. How do you guys so seamlessly come together as a couple and as a duo with these different experiences?

TANYA: I’ve always looked at Michael’s pain as my pain,

and I’ve always looked at his struggle as my struggle ... They always say, “Try to walk a mile in someone else’s shoes.”

So, I try the best that I can to understand and have compassion. And I think once we are together and link our stories together, there’s an understanding there. I was dealing with the death of my mom who died nine years ago. He [Michael] really stepped back — even though he’s gone to war and sometimes that can desensitize you from death because you’ve seen so much — he stepped back and said, “I’m noticing this is affecting you.” I think that’s the most important part of our relationship. We are present to one another, how the other person feels and what they’re going through.

We may have a moment on stage where I’m crying about something or he’s crying about something or there’s just this overwhelming feeling of joy. We take those moments — we take them together. Sometimes the fans don’t even know what we’re crying about ... That’s the beauty of what we do as a couple together. We have that connection. We share those moments, and in that, the fans have an opportunity to share it as well.

TEMPO: Has it always been that way — you can look at him,

he can look at you, and you both understand what the other is feeling, or has that grown over time?

MICHAEL: Ha! Oddly enough, it feels like it’s always been,

but it also grows over time. It gets deeper. Tanya and I, we were magnetic from the first moment we met. And it was odd because I never experienced anything like that. We didn’t want to get off the phone, and physically, we didn’t want to leave each other’s presence.

from performing, I remember the first time I was impacted

by Tanya’s voice, the first time I realized that she transcends human ability for me. She was mad at me. We had a little argument, and I decided my best way to get her to understand that I understood her was to write a song about her called “Butterfly Beautiful.”

I wanted to teach it to her, and she reluctantly came downstairs. She was still pissed, you know? I was like, “Everything I want to say, I want to show you in this song.” And she just did not understand. She thought that I was coasting through life with her and not understanding who she truly was at the time ... I taught it to her, and she started to practice the song and wanted to sing it. She sang it so powerfully and so beautifully.

But that wasn’t the kicker. Our 1-year-old son, Legend, was sitting on the basement stairs, and we didn’t know it.

And when she was done, we heard somebody crying, and I looked over and it was a little Legend. I said, “Come here, son, what happened? Did you hurt yourself?” Legend looked at his mother and he said, “You’re so beautiful, Mommy. You sing so beautiful, Mommy.” And he hugged her, and he kissed her ...

And I’m thinking what manner a woman is this that she can penetrate a 1-year-old? ... But that’s when I realized that no matter what, no matter what we would go through in life, no matter what failures I may encounter in my life, I don’t ever need to spend a moment where Tanya’s not in my life.

TEMPO: That’s powerful. I’m sure you both are

singing and writing all the time. Do you write more as a unit or as individuals?

MICHAEL: I love this answer.

TANYA: I don’t write all the time. I might write three songs a

year with Michael.

MICHAEL: Tanya doesn’t write, Tanya doesn’t rehearse.

TANYA: Yeah, I am a housewife when I’m home.

MICHAEL: And a fashionista! That is what she is.

TANYA:We run our own company. That’s the thing, you know,

we are CEOs of The War And Treaty corporation. Michael does all the writing. He will come to me with collabs. We did some collaborations on Lover’s Game. I did write on that record. But for the most part, I’ve never been that involved in the writing process. I’m very involved in what songs we choose. If I don’t like the song, it is not going to make the record. I don’t sing songs that I don’t feel like I can interpret and take the right way ... When we’re in the recording process, [Michael writes] probably five songs a day. When we’re not writing, [Michael writes] three songs a week. acmcountry.com

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TEMPO: Michael, where do you draw your inspiration from

when you’re writing?

MICHAEL: Everything. There’s a famous gospel group that

I love called The Winans, and they have a song that says, “Everything you touch is a song.” And I took that they were talking about God, and I took that as to say, “Wow, God’s right.” There is a song in everything.

a song about either life, love, or the laws of the land. Every song that you can think of falls into one of those categories.

So, if you think of a law, you can look at power to the people — how they’re talking about things needing to change. And then when you think of love, it’s self-explanatory. You got several songs in there. When you think of life, you think about Marvin Gaye’s, “What’s Going On.” So, I use those models when I’m writing.

TEMPO: You each have such powerful voices and presences,

but you come together in this amazing unit. How do you resolve your musical differences?

TANYA: I allow the genius in Michael to work its own self

out instead of getting into a big debate on where the record should go. That’s what a big part of our spiritual connection is that we always end up somehow agreeing without having to agree. I don’t have to say anything, and I always end up right where I thought we should be.

TEMPO: That’s the way to do it. I know Michael, you’ve

said before that you’re a servant in music. Do you treat making music as a service to people and how the common man might relate to it?

MICHAEL: Definitely. I think about it all. It’s a collaborative

effort. I have a model that I like to use when I write songs that I created. It’s called “The Three L’s of Songwriting.” You write

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TEMPO: It’s interesting that you talk about love because

I notice that a lot with you both. Obviously, there’s a huge romantic love between the two of you, but you just have an authentic love of other humans. Does that come naturally?

TANYA: Yeah, it does. I was talking with my daughter the

other day about her dad, saying, “He has such a big heart.

He’ll do anything for anybody.” And she looked at me and said, “And Mommy Tanya, you’re the same person.”

Sometimes it’s hard to see that you are self-sacrificing in the same way that your partner is, and that’s what connected us from the moment we met.

TEMPO: Every time I watch you both perform, it’s just so

effortless. It’s obvious that you’re enjoying the moment. So how do you channel that? Do you ever get nervous?

TANYA: Well, I’m always nervous. My palms are always

Once you get onstage and that first note comes out, there’s something spiritual that happens within you.

sweating. I don’t ever want to lose that feeling — that moment that I felt when I was 8 years old standing up in the choir for the first time. My heart was racing, and the butterflies would happen. Once you get onstage and that first note comes out, there’s something spiritual that happens within you. You realize that it’s bigger than you, and it’s about to connect in a whole other way than you. I’m very, very conscious of the opportunity to be able to stand in front of people and share this gift that I don’t know where it came from ... It’s something that transcends ... I like to call it the Holy Spirit and God that’s in us. And I think that’s what we lead with. Every time we get onstage, Michael and I get together and we do a circle with our band first, and then we go to the side and my prayer is, “God, let people see you and not see us. Let them feel love. Let them see your love.” That’s it for me. I don’t want people to see me because I want people to be able to feel whatever it is God wants them to feel in me.

TEMPO: I do want to transition to talk a little bit more about

Country Music and the ACM. As members of the Academy of Country Music, what does the ACM mean to you?

MICHAEL: Gosh. Listen, we’re prepared for the Grammys,

because we are part of the Academy of Country Music ... The ACM provided us with our first opportunity to perform on the Country Music awards show stage ourselves, our own music. And we were first nominated there as the first Country duo that are Black ... It means that we’re seen. It means that we’re wanted. It means that we’re valued. It means that Charley Pride, Darius Rucker, Rissi Palmer, and Frankie Staton’s work is not in vain. Ray Charles’ work is not in vain.

It means that people like Dottie West, who has a legacy of taking in people and showing kindness —it means that that’s not in vain. And all the others that wanted to be a part of Country Music, like Otis Redding, Al Green, Jimmy Jam and Terry Lewis, the famous producers who were told no because of the color of their skin, we are their retribution.

culture of fishing and beer drinking, but that we remember that there are stories of people who have come up and created Country Music like DeFord Bailey. Remember that Country Music was birthed with the influence of an African instrument traveling all the way over here to this country called the banjo. Remember that there were Black people, Hispanic people, there were even Asian people who were in those fields. There were people in the mountains afraid to come down and share their stories because they felt forgotten. Tanya and I represent the floorboards of every single church, of every slave ship, every chain broken. That is what we are here to do. And we are stronger together than apart. And we’ve got a song to sing and a story to tell. We’re here to stay. And that’s it.

TEMPO: Yes, you guys are. I know you had a huge year

last year with your Grammy nominations, your ACM nomination. Did you have a favorite moment from 2023?

MICHAEL: My personal favorite moment of 2023 ... It

started for me when we arrived to perform on the ACM Awards, like I said, and that was our first time singing our own song, showing the Country Music world what we can do. Garth Brooks and Dolly Parton were the hosts. Tanya and I sang “Blank Page” and, at the end of our performance, Garth Brooks spoke to the future generation of people who want to do this. He said, “You sing at home and you’re thinking, ‘You want to do this.’”

He said, “That’s how you want to do it right there.” Now, this is one of the kings of Country Music signing off on our performance.

TEMPO: That’s incredible! Are you looking forward to

anything in 2024? I know you guys might have some new music coming. You’re playing Stagecoach. So, lots of exciting things it sounds like.

MICHAEL: Our album. Our new music. Reinventing

ourselves. We’re looking forward to showing people who we are. ●

TEMPO: What impact do you hope that your music

has on the future of Country Music?

MICHAEL: One, that when you say Country Music, it isn’t

ignorantly [limited] to rednecks. It isn’t just limited to the acmcountry.com

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Taking Country for a Spin

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Rising Country Music star and former pro dirt-bike racer, Redferrin, shows no signs of slowing down on his musical journey

BY LIBBY GARDNER TEMPO: You have a neat story. You started your career in motocross, and I know you’ve had some other careers: journalism, photography, and now, Country Music. How did you get into Country Music?

REDFERRIN: It was quite a ride. I started off racing dirt

bikes, and I was a photojournalist in the dirt bike world. That was how I would pay my way around to race. Once I started doing music, I really wanted to play at the races. I noticed that they didn’t have anybody ever doing music, but there were always thousands of people camping on Friday, Saturday, and Sunday. So, I just started asking promoters if I could sing.

And then after a few, one guy offered me some money and I was like, “Well, I can make more doing this than if I win the pro race.” So that kind of shifted my focus because I always loved music.

I just didn’t know how I could make a job out of it ... Oddly enough, dirt bikes led me to meeting Tyler Hubbard, and he taught me about the publishing world, and that there are songwriters 45 minutes south of here, making a living, just writing songs every day. They don’t even have to go sing them.

It was crazy to me because I grew up, like I said, 45 minutes from Nashville. And I never had a clue that there was a whole town of people making music. And after a little while, I got to sign with Tree Vibes, and Tyler and Brian mentored me and taught me everything they knew.

TEMPO: It sounds almost like you saw an opportunity to insert music into the racing world, and you took it. You talked about Tyler and Brian. What do you think they saw in you that maybe set you apart and made them want to take a chance on you?

REDFERRIN: Looking back, one of the things I remember

them saying that they saw in me was one, that I was Country as hell, and two, that I was passionate. Tyler, when he met me, I had just gone professional [in racing], and I was really hungry to try to make a name in the sport. I thought that was how I was going to be able to take care of my family. And I think maybe it was just him getting a peek at my work ethic and seeing how bad I would try for something on my own ...

And once they knew I had any interest at all in music, they’re like, “Well, you got a little raw talent. And if you’re willing to work as hard as you worked at that dirt bike stuff, then you’ll probably end up being okay.” acmcountry.com

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“The deeper I get into Country Music, I feel like motocross prepared me good ... They both require constant drive and you’ve got to be okay getting knocked down, and you’ve got to be able to get back up.”

TEMPO: So, was it hard to say goodbye to the dirt bike world?

REDFERRIN: Oh, that was one of the hardest things I ever

did. I remember right before my first race in a stadium — it was at the Georgia Dome — T-Hub offered me a publishing deal, but it was pretty much like, “You got to quit racing. You got to really be all in.” And I just made it to the stadiums. So, I told him, “No, I got to do it. I’ve worked my whole life for this.” And I think he respected that because it showed that I wouldn’t want to quit easily. But also, the chance was kind of gone. And what was sour about that day is I broke my arm. I remember FaceTiming him like, “Man, I broke my arm. You ready to write some songs?” And he kind of laughed at me and he’s like, “Yeah, you write for about a year and we’ll talk about it.”

So, he did help me get into a lot of rooms and they introduced me to a lot of people, but they weren’t gonna sign me until they knew I really wanted to do it because to them it was just something to kill my time ... I really do love it. I just had spent 20 years trying to get to that point [in racing], so I had to at least give it a go.

I think that made me appreciate and cherish my songwriting a little more too, because I realized how much it meant to me at that time.

TEMPO: Yeah, you had given up this whole other career to pursue music. You had to make it last and make it right.

REDFERRIN: God kind of forced my hand like, “Buddy, it’s

really clear what you need to do ... So, you need to lean on in, you need to trust me, and you need to go for this.” And it was scary because all my friends were in dirt bikes and my whole identity was dirt bikes. So, it really took a long time to remember who I was besides a dirt bike racer.

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TEMPO: In that year that you were writing, it sounds like you were hustling, grinding, and immersing yourself into the Country Music world. What did your songwriting look like then, or what inspired you to write?

REDFERRIN: The biggest thing that everybody told me then

— just advice — was write what you know ... Melodies were a little tough for me at first. I’ve always been a lyrics guy first, but thankfully I got to write with some really talented people, great producers, and it helped me hone my skills pretty quick.

I just tried to be a sponge. I got to write with Bob DiPiero and Mark Irwin really early on, and I looked up to them because I loved Alan Jackson songs and John Anderson songs.

So, getting to write with the guys that made those was so transformative for me because I got to see how they approach songs, and it was way different than how I did at the time.

And it really gave me some extra tools on my belt to be able to have a fair chance of keeping up with the rest of these boys ...

I didn’t know how I got in some of those situations sometimes.

TEMPO: Was it intimidating to be in those kinds of situations?

REDFERRIN: It’s funny. I felt like — maybe it was the racer in

me — but I didn’t get too intimidated. It was sometimes almost like a game or a race or like, “Now, it’s time to perform. Turn it on.” So, I think maybe early on, like the first time I wrote with Canaan Smith, that was kind of funny to me because I’m like, “Man, I’m writing with an artist.” ... I think that intimidated me a little because I was worried about how I would do putting on somebody else’s hat for the day. All I had ever written was by myself, at home, telling my stories, and I realized quickly that I had a lot of fun putting somebody else’s on because I didn’t have to be so worried about the details.

TEMPO: How did motocross prepare you for a career in Country Music?

REDFERRIN: The deeper I get into Country Music, I feel

like motocross prepared me good. They’re real similar in the sense that there’s only one winner every week and there’s only one No. 1 every week. Then the next week, there’s a new one, or you might get to hang around.

They both require constant drive and you’ve got to be okay getting knocked down, and you’ve got to be able to get back up. I think all the hard knocks and all the “no’s” along the way as a racer really got me prepared for that tougher side of this so that when things are gritty, I know how to dig in and not give up.

TEMPO: That makes total sense. Keeping your morale high as best as you can is important, I’m sure.

REDFERRIN: Yeah, stuff like high school football coaches

yelling at you and your dad throwing a hat at you when you go by on the bike, it was all kind of harmless. Sometimes it felt rough, but it got me ready for what we’re trying to do now so that I can always still be me, no matter how crazy everything around me gets.

TEMPO: I know you have an EP coming out soon, so is there anything you can share about what inspired it or what that songwriting process looked like for it?

REDFERRIN: So, I got to do this one a little different. It

was really fun for me. It’s called Old No .7, and “Jack and Coke” was the first song on there. Once it started to take off, Jack Daniel’s reached out to me, and they’ve been so kind. I feel like we consider each other family now. I got

to go down to the distillery, tour it, and do some tastings.

And then I did a show there, went back there for a week, and wrote songs in an Airstream at the distillery. So, I got to really, really dive into their culture, and it felt so much like home for me ...

TEMPO: You have a different take on Country Music. I’d say it’s not your traditional Country Music sound. How would you describe it?

REDFERRIN: My sound is a blend. I grew up listening to

Ozzy Osborne, Led Zeppelin, and ZZ Top with my daddy. My sisters were listening to Nelly and Three 6 Mafia. And then my mama was listening to John Anderson and Don Williams.

So, as a kid, I grew up just hearing it all.

I didn’t like every song that everybody listened to, but there was “Paranoid” by Black Sabbath, “Money in the Bank”

by John Anderson, or “Country Grammar.” There were always songs that I was like, “Whoa, that sounds crazy.” As a kid, you’re not listening with such bias, you’re just like, “Well, that gets my attention ...”

On this project, you’ll really see a lot of those influences.

There are some real traditional Country-feeling elements, and then I’ll try to mix those with some rock-and-roll elements.

Or I’ll try to put a cool flow on there that maybe you don’t normally hear in a Country song ...

I really tried to blend it. It’s funny, but we went down there [to Jack Daniel’s Distillery] and learned about that whiskey and how they make it, blend it, and mellow it. I feel like my music’s finally had enough time to sit in a barrel and curate. I know what’s what now, what the good ones are and what the bad ones are. acmcountry.com

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If somebody hears it [my songs] and they feel like it was their story or they feel like I told my story the best and truest way I could, that would mean the world to me.

TEMPO: Do you hope that fans and listeners of your music take what you took away from Alan Jackson’s music? That they’ll take that same thing away from your music?

REDFERRIN: Oh, Lord. If people could feel that way, if they

could connect to my songs like they did Alan’s, that would be making it to me, regardless of the numbers. If somebody hears it and they feel like it was their story or they feel like I told my story the best and truest way I could, that would mean the world to me.

TEMPO: Have you heard that from fans at all, or what has your fan reaction been like?

REDFERRIN: Honestly, it’s been special. “Down Home

TEMPO: Who are your Country Music inspirations?

REDFERRIN: I would say one of my biggest Country Music

inspirations would be Alan Jackson. I just always love how he tells a story. I heard an interview from him one time that said he loves writing sad songs and the label told him he couldn’t write sad songs, so he started writing sad songs that sounded happy. I was like, “Man, that’s me to a T.” Boy, I love me some sad songs. You know, “Miss Summer” sounds like a happy song, but it’s definitely a heartbreaker ...

Alan was a big inspiration for me. It all felt like real life. You listen to “Chattahoochee,” you feel like him or somebody really went on that date, right?

TEMPO: Yeah, it immerses you in that world.

REDFERRIN: If it is fairy tales, if they did make it up, they

did a damn good job because it just all feels so real.

I remember he [Alan Jackson] had a song “Dallas.” “Oh, how I wish Dallas was in Tennessee.” I used to date a girl in Dallas, and I used to always wish she was in Tennessee.

I just thought, “Man, it’s like that dude is writing my life or something before I was even born.”

TEMPO: Yeah, it’s 100% relatable. Even years later.

REDFERRIN: Yeah, it hit me dead in the chest. It’s weird to

be 31 and hear that shit and be like, “Wow, I lived that.” But yeah, he just always, always hit me ... It definitely shaped how I do what I do. I know my stuff is a little newfangled for guys like him, but I hope some of them can see how much they really inspire it because I’m just trying to do what he did ...

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Dreams” is one that every show, whether I play it or not, people always come up [to me]. Whether they lost somebody or whether they wanted to play a pro sport or whatever, a lot of folks have come up and said that song touched them. That was a vulnerable, hard song for me to release at the time. It took me years to be able to put it out because I just wasn’t ready to talk about my mama passing and to hear that it helped one person at all made me glad that I did it. Hearing that on the road this fall really inspired the songs that I picked for this project. There’s one called “Doing Life,” and it’s really deep. It talks about depression and suicide. I recently had a friend pass from that. I realize that it’s more than being cool or more than a cool sounding song. I just want to make sure I put out stuff that makes a difference ...

I really hope and pray that it’ll hit somebody good and help somebody the way that music helped me.

TEMPO: There is power in music, and it’s great that you are open in your songs and sharing that because some people might hold that back.

REDFERRIN: It is intimidating. It is scary because I am a

pretty jolly guy overall, and most of my friends would say that. I hope that it don’t come as a shock to some people. I think people that really know me, know I’ve been through some really hard times, but I just want to give a little hope.

And I think a little bit of that realness hopefully will, and hopefully it gives me a little bit of my power back from some of these things I went through that I hang on to, that I need to let go of.

TEMPO: It gives you ownership of your own story.

REDFERRIN: If I get ahead of it, then I ain’t got nothing

to hide or nothing to worry about. I can just be me. I think the earlier I lay that groundwork, the quicker I can get to hopefully making a real difference with people. ●

warner chappell music nashville

Where Songwriters Are Heard

FRO M TH E R E D BA R R E L LOU N G E

During their recent visits to ACM HQ in Nashville, we heard from some of Country Music’s brightest emerging artists

would know every single word. And it brought us together in a time where we really couldn’t communicate. And that left such a huge impact on my life ... I’m really, really thankful every day that I get to do it — that I get to be a part of something so much bigger than me.

EMILY ANN ROBERTS Q: You’ve been hustling for a while in Country Music, but when did that passion start?

ROBERTS: I have wanted to be in Country Music for as

long as I can remember. I’ve always loved entertaining folks and encouraging folks with music or with just giving them something to laugh at ... But as I was growing up, when I started playing the guitar, it opened up a whole new world for me. I was in the sixth grade and, all of a sudden, instead of just singing along to my favorite records, I could pick them, I could play anything I wanted. And then I started writing my own songs ... As my journey went on, I started seeing the power of music. I had a grandmother that was diagnosed with Alzheimer’s, and a lot of folks don’t know this, but the last thing that you lose when you have that disease is music. And we would go and visit her, and she wouldn’t even remember my name. But if we started singing “Amazing Grace” or “How Great Thou Art,” she

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Q: How did you get to Nashville?

ROBERTS: I grew up back in East Tennessee, and I always loved to sing. I loved the music that was around that area, but my biggest gig was singing at a little Mexican restaurant there in my hometown ... Thankfully, back in 2015, I had the massive opportunity to go on the TV show “The Voice,” and that opened up so many new doors for me. I was just 16 years old. I got to work with Blake Shelton on his team and I learned so much. I got back home, graduated high school, and came to Nashville in the summer of 2016 and have not looked back ... I started co-writing and touring all over and taking hold of every dream that I had ever dreamed. Now, all these years later — it’s been eight years since “The Voice” — I’m finally releasing my debut album, Can’t Hide Country, and I’m so proud of it ... And I wrote 12 out of the 13 songs on the project. It’s like a little sampler platter. We’ve got songs about loving the Lord and loving your husband, and we’ve got songs about burning the house down when your man does you wrong. That is Country Music.

FRO M TH E R E D BA R R E L LOU N G E

HANNAH DASHER Q: You aspired to become a Country singer since you were young.

Can you talk about your journey into Country Music?

DASHER: Mother said I could sing before I could talk. Growing up

listening to ‘90s Country radio, I was hooked from the get-go. Alan Jackson was my first concert. I read his lyrics in my cassette tapes, the CD covers front to back, and found out he was from Georgia. I thought, “Wow, he talks like me. He’s from my state too. Maybe I can do this.”

Anyhow, I graduated from the UGA [The University of Georgia] and then moved to Nashville and could not find a job in the music business. So, I took a job in retail selling mercury outboard motors and bass boats and tracker boats. And of course, I got fired for writing songs on the job. But a few months later, I signed my first major publishing deal and then a record deal. And then another major publishing deal. And here we are. My TikTok blew up, and now I’m on my first little headlining tour, so I’m just tickled to be here. My journey looks very different from other people, but I am too. I’m different.

Q: You wrote or co-wrote every single song on your new album.

Can you share that album creation process and how it came to be?

DASHER: I’m not one of those artists that thinks that I have to write all

of my music, but no one is really able to say things quite like myself. A few of these songs I wrote years ago. When I was at the label, I was told I couldn’t release “I’m Going to Whip Your Redneck Ass,” but it’s one of my most requested songs live. And so, the last couple of years, while I tried to earn up the money to do this independently, I tested these songs out on the road. And so, I’m giving the fans what they wanted. It’s the songs that they were singing back to me ... Those are the songs you’re going to get on The Other Damn Half. It’s anything from “[I’m Going to Whip Your] Redneck Ass” to fixer-upper Jesus songs like “Ugly Houses” and “Good Ole Boy” or taking a man for all he’s worth with “Cryin’ All the Way to the Bank.” Oh, you’re going to get a good, good selection of music on this record.

MASON RAMSEY Q: I know that you don’t have a traditional story in Country Music, and you’ve been on a bit of a hiatus. What prompted you to get back into music, and what’s it been like being back?

RAMSEY: It’s been awesome. I’ve just been doing a lot of writes and getting ready for the next chapter. I just put out my new EP, Falls Into Place, and we’ve got possibly a tour coming up. Everything is just kind of falling into place and feels amazing.

Q: What was the songwriting process for that like?

RAMSEY: It was my first song coming back

after COVID, and I wrote the song with Jenna Paulette and Lauren McClamb. I had a few ideas, but I wanted to write this one because it just felt like at the time that everything was falling into place. ●

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Remembering Longtime Music Executive

Bill Mayne OBIT BY CRAIG SHELBURNE

B

ill Mayne devoted his career to Country radio, along with dedicating more than 35 years of service to the Academy’s Board of Directors.

Mayne studied radio, TV, and film at the University of Houston, and his interest in radio carried him to Austin, Texas, where he worked as a disc jockey and a program director for KNOW. Subsequent stops included KASE in Austin, KSCS/WBAP in Dallas, and KZLA/KLAC in Los Angeles. In 1988, he accepted a position at Warner Bros.

Nashville working in promotion, then rose to become senior vice president and general manager of the label.

During this time, Mayne worked with artists such as Holly Dunn, Faith Hill, Randy Travis, Travis Tritt, and

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Dwight Yoakam. After that, he held an executive role at 903 Music, the label launched by Neal McCoy, prior to establishing his own firm, Mayne Street Consulting.

In early 2010, Mayne’s company provided consultation to Country Radio Broadcasters, Inc. (CRB), during a sensitive time for the Country Radio Seminar (CRS).

Through Mayne’s leadership, CRS experienced a growth in attendance, sponsorship, and engagement. He had been part of CRB’s board of directors when he accepted the role of executive director, a position he held from 2011 until his retirement in 2019. That same year, he marked his 50th anniversary of working in the music industry. Mayne has served as Chair of the Board for ACM as well as ACM Lifting Lives, the Academy’s charitable partner, in addition to every other officer role.

M

any in the Country Music industry shared heartfelt messages on the impact Mayne made during his long and influential career including:

“I really loved Bill. When I moved to Nashville from New York in ’97, Bill reached out to me and welcomed me to town. He was always so giving of his time and never shy about offering his opinion.

It was a pleasure being in his orbit and serving on many committees and boards with him. Bill stood up for what he believed to be right but was open minded to others’ beliefs. I am really going to miss him. Heck, the universe is going to miss him.” —Butch Waugh

“I had the pleasure of knowing Bill prior to my involvement with the Academy and ACM Lifting Lives. We shared space in an office building on Hayes Street so long ago, and I got to know him and learn from him over a good many years. Such a wealth of knowledge.

It was a great honor to me in years to follow to serve as Treasurer of the Academy while Bill served as Chair. He was a tireless supporter of the Academy, cared deeply for our artist community, and was a true friend and advocate to me and all our Board Members. A true worker bee with a heart of gold.

His work with ACM Lifting Lives is equally historied and special as it held a very special place in his heart.

I couldn’t possibly sum up a man such as Bill Mayne in only a few words, but integrity, passion, and caring come quickly to mind. He will be missed, but the mission of the Academy and ACM Lifting Lives carries on in his spirit and in great part [due] to his dedication to these great organizations.”—Duane Clark

Mayne was celebrated at the 16th ACM Honors

“He loved our ACM show being in Vegas so we could all enjoy our late-night blackjack!!! ;) Some of my best memories was playing beside him and watching him WIN!!

He had faith in all of us, and you would be hard-pressed to find anyone more passionate about Country Music. Harmonicas for Health, St. Jude, Vanderbilt — all programs Bill was so happy to support through ACM Lifting Lives!!”

—Lori Badgett

“Bill Mayne was my dear friend and mentor.

Bill, you changed my life.

You saw potential in me that I had not yet realized in myself. You coached me in leadership and life. You taught me that the relationships you build, how you treat others, and how you give back are the most important parts of the music industry. You gave your time and knowledge freely and generously, and I am a better person for having received it. I am forever grateful, thankful, honored, and blessed to have known you and had you in my life. You were one of a kind.

Rest in peace, my dear friend. You will be so, so missed.

Love you.” —“Chelle” Michelle Tigard Kammerer

“I am deeply saddened at the passing of Bill Mayne, and I know any of you that also knew him feel the same way. I am so appreciative of our Special Awards Committee who selected him as our ACM Service Award recipient this year. Though he was not there in person, I spoke with him afterwards, and he was so proud and appreciative of the honor. He also told me how much his wife and boys were moved by the experience at ACM Honors … I had the pleasure of speaking with him about his history and crazy stories about his 35 years serving the ACM and ACM Lifting Lives Boards! During his tenure, he served as ACM Board Chair, ACM Lifting Lives Board Chair, as well as holding every Officer role for both organizations. Quite simply, he has contributed more than just about anyone in the Academy’s history, and our organizations are better for it and will remember his contributions always.” —Damon Whiteside

last August with the ACM Service Award. Watch his tribute video at acmcountry.com/bill-mayne

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I N M E M O RY

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Larry Collins

Laura Lynch

1944–2024

1958–2023

California Country songwriter and guitarist Larry Collins passed away on January 5, 2024. He was 79.

Born in Tulsa, Oklahoma, Collins would only remain in the state for a short while. His older sister, Lorrie, won a talent competition in Tulsa, which prompted the entire family to move to Los Angeles. The siblings formed a duo, the Collins Kids, and became regulars on the show “Town Hall Party” in 1954. Through the show, the duo was able to play alongside legends of the day including Lefty Frizzell, Marty Robbins, Patsy Cline, Jerry Lee Lewis, Johnny Cash, and others.

Collins went on to pursue a successful solo career. Writing “Delta Dawn” helped propel his career forward, as well as helped launch the career of Tanya Tucker. In 1981, his song “You’re the Reason God Made Oklahoma,” co-written with Sandy Pinkard and recorded by David Frizzell and Shelly West, reached No. 1. It also was awarded ACM Song of the Year.

His songs were recorded by artists such as Mac Davis, Nancy Sinatra, Lou Rawls, Alex Harvey, Bette Midler, and more.

Laura Lynch, one of the founding members of Country group, The Chicks, died on December 22, 2023, after a devastating car crash in West Texas. She was 65.

Lynch co-founded the band, then named the Dixie Chicks, in 1989 alongside Robin Lynn Macy, Martie Maguire, and Emily Strayer. Serving as the group’s upright bassist and lead singer, Lynch recorded three albums — Thank Heavens for Dale Evans, Little Ol’ Cowgirl, and Shouldn’t a Told You That — before she departed and was replaced by current lead vocalist Natalie Maines. After leaving The Chicks, Lynch became a public relations officer at the University of Texas Southwestern Medical Center in Dallas.

Much of The Chicks’ success in the mainstream came after Lynch’s departure in 1995. The band went on to win several ACM Awards in the years following, including Entertainer of the Year (2000), Top Vocal Group (1998–2000), and more, while also becoming one of the most enduring all-female bands in the Country space.

Don Koch

Bill Rice

1962–2024

1939–2023

Music industry veteran, producer, and songwriter Don Koch passed away on January 15, 2024. He was 62.

Koch was born in San Jose, California, where his parents were missionaries. His education would eventually lead him to Belmont University in Nashville, where he earned a degree in sound engineering. Living in Music City also inspired Koch to begin songwriting. In 1986, he signed his first publishing deal with Benson Record Company. It was through Benson Records that he’d meet Jay DeMarcus and help his then band “East to West” get their first record deal.

Throughout his career, he wrote 38 No. 1 hits and would go on to earn six GMA Dove Awards for hits such as “In Christ Alone,” “Jesus Saves,” and “Land of Mercy,” among many others.

In 2018, Koch and his longtime friend, Jay DeMarcus, launched Red Street Records, where he was instrumental as a publisher, producer, and songwriter. Additionally, Koch was an integral part of launching Red Street Record’s Christian label division. —BRITTANY UHNIAT

Beloved singer-songwriter Bill Rice passed away on October 28, 2023. He was 84. Inducted into the Nashville Songwriter’s Hall of Fame in 1994, he penned a long list of hits for Charley Pride, Jerry Lee Lewis, Reba McEntire, Patty Loveless, Conway Twitty, and several others across his four-decade career.

An Arkansas native, Rice first picked up a guitar at 14 and inked his first recording contract by 18. His first taste of success came in 1960 as icon Elvis Presley recorded Rice’s “Girl Next Door Went A’walking.” After making the move to Nashville and finding a songwriting partner in longtime collaborator Jerry Foster, Rice’s prevalence in the Country space was apparent as he charted hit after hit, including Mel Tillis’ “Heaven Everyday,” Lewis’ “Think About It Darlin’,” Pride’s “Wonder Could I Live There Anymore,” Johnny Paycheck’s “Someone to Give My Love To,” Hank Williams Jr.’s “I’ll Think of Something,” and more.

He notched 73 ASCAP Awards throughout his career, as well as two Grammy nominations.

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BY LY D I A FA R T H I N G

Margo Smith

Jim Vienneau

1940–2024

1926–2023

Singer and songwriter Margo Smith passed away on January 23, 2024. She was 84.

Born Bette Lou Miller in Dayton, Ohio, in 1939, she took on the stage name Margo Smith and left her career as a teacher to chase her musical dreams. It was in her 30s that she decided to pursue being a singer and songwriter.

She exploded onto the scene in the late 1970s with hits such as “Love’s Explosion,” “Take My Breath Away,” and “My Weakness,” all of which she co-wrote. It was her song “Still a Woman,” released in 1979, that cemented her success in the commercial market.

Smith had several iterations of her career, and one of those was as “The Tennessee Yodeler.” In 1983, she released The Best of the Tennessee Yodeler and continued releasing TV Market albums. In the mid-1990s, she partnered with her daughter, Holly, forming the duo Margo Smith and Holly.

Throughout her career, Smith released 18 albums and charted 27 singles. —BRITTANY UHNIAT

Celebrated producer and music industry executive Jim Vienneau passed away on November 9, 2023. He was 97.

Born in New York, Vienneau was the nephew of pioneering Country producer Frank Walker, who co-founded MGM Records in 1946. Mentored by his uncle, Vienneau began working for the label in 1955, producing hits like Conway Twitty’s “It’s Only Make Believe,” Connie Francis’ “Vacation,” Roy Orbison’s “Ride Away,” Mark Dinning’s “Teen Angel,” and more. After being transferred to MGM’s Nashville office in 1965 to head its Country division, he kept busy producing blockbuster hits for Hank Williams Jr. (“Cajun Baby,” “Pride’s Not Hard to Swallow,” “I’ll Think of Something”), Mel Tillis (“I Ain’t Never,” “Sawmill,” “Memory Maker”), Jeannie C. Riley (“Give Myself a Party”), and several others.

Following a brief stint at 20th Century Records, Vienneau joined Acuff-Rose Publishing. He was named Billboard’s Country Producer of the Year in 1972 and continued to serve as a producer until his retirement in 1988.

Abe Stoklasa 1987–2023 On November 17, 2023, multi-instrumentalist, singer, and songwriter Abe Stoklasa passed away. He was 36. His catalog of hits includes Chris Lane’s “Fix,” Michael Ray’s “Get To You,” Lady A’s “Ocean,” Ben Rector’s “Brand New,” and others for the likes of Tim McGraw, Charlie Worsham, Scotty McCreery, and Blake Shelton.

Hailing from Princeton, Missouri, his love for music spawned early on as he began playing in his father’s band at age 6. When he was a teenager, his family moved to Nashville where Stoklasa set his sights on a career in the music industry.

He enrolled in Belmont University’s Music Business program, graduated in 2009, and became a touring musician for artists like David Nail and Billy Currington.

In 2013, he retired from the road, focusing full time on his songwriting and garnering several cuts in the years that followed. Stoklasa also heavily contributed to Lady A singer Charles Kelley’s 2016 solo album, The Driver, co-writing the song, “Leaving Nashville” and others.

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ACM M O M E NT

“Shining-Star15thPower” ACM Honors Ryman Auditorium in Nashville | August 22, 2022 Kelsea Ballerini performs “Man! I Feel Like A Woman!” honoring Shania Twain at the 15th ACM Honors in Nashville.

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TEMPO ACM

WINTER 2024

Remembering Late Country Music Icon

Toby Keith

Featuring: One-of-a-kind jackets Meredith Lockhart Collections

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

Honoring Late Country Music Icon

Toby KEITH

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

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T

oby Keith, a 14-time ACM Award recipient who wrote many of his biggest hits, passed away on February 5, 2024. He was 62. With worldwide sales of 40 million albums, Keith built his exceptional career on well-sung ballads, drinking sing-alongs, and patriotic anthems, but it was his debut 1993 smash hit “Should’ve Been a Cowboy” that served as his calling card throughout that decade. After a defiant reinvention in 2000, Keith’s career exploded.

Born on July 8, 1961, in Clinton, Oklahoma, Toby Keith Covel grew up in the Oklahoma City suburb of Moore. As a boy, he discovered live music by listening to the bands at his grandmother’s supper club in Fort Smith, Arkansas.

After high school graduation, he worked in the oil fields while playing regional gigs fronting the Easy Money Band. When the oil industry crumbled in the early ’80s, Keith signed on with the Oklahoma City Drillers semipro football team for two years before deciding to focus on music. Although the major labels in Nashville ignored his demo, a fan of the band who worked as a flight attendant gave a copy to Harold Shedd, a Mercury Records executive who was on her flight. Shedd heard the potential, traveled to Oklahoma for a show, and signed Keith to Mercury.

With the Dallas Cowboys winning the Super Bowl just weeks before the single’s release date, “Should’ve

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Been a Cowboy” took on a new meaning. By summer of 1993, it spent two weeks at No. 1 and paved the way for a dozen more Top 10 hits on Mercury (and affiliated labels Polygram and A&M). Keith returned to No. 1 with 1994’s “Who’s That Man” and 1997’s “Me Too.” A duet with Sting on “I’m So Happy I Can’t Stop Crying” earned an ACM nomination for Vocal Event and reached No. 2 at Country radio.

By signing with DreamWorks Nashville, Keith’s outspoken personality could finally shine through. In 2000, “How Do You Like Me Now?!” lodged itself at No. 1 for five weeks. In addition, he was named 2000 ACM Male Vocalist of the Year and picked up Album of the Year (as an artist and producer) for the project of the same name. More hits rolled in, notably a comical Bobby Braddock composition titled “I Wanna Talk About Me.” That single spent five weeks at No. 1, as did its follow-up, “My List.” Yet, amid a backdrop of the 9/11 attacks and the Iraq War, Keith certainly made the biggest impression with “Courtesy of the Red, White and Blue (The Angry American)” and its audacious threat to “put a boot up your ass, it’s the American way.” Its notoriety helped Keith claim the 2002 ACM Entertainer of the Year award.

Keith’s winning streak raged on. “Who’s Your Daddy?” became his sixth consecutive chart-topping single in 2003. A Willie Nelson duet titled “Beer for My Horses”

spent six weeks at No. 1, earned a 2003 Video of the Year award, and inspired a movie that received the ACM Tex Ritter Award. That same year, Keith collected his second ACM Entertainer, Male Vocalist, and Album of the Year trophies, the latter for Shock’n Y’All. Keith continued to offer a steady stream of radio-ready singles and accrued his 20th No. 1 hit, “Made in America,” in 2011. Although he’d released plenty of irreverent songs before, few listeners were prepared for the overwhelming reception of “Red Solo Cup,” a viral party anthem that soon crossed over into the mainstream and claimed the 2011 ACM Video of the Year award. A year later, “Beers Ago” became his 41st Top 10 Country hit.

Marking his 20th ACM Awards appearance in 2018, Keith was joined by Blake Shelton to sing “Should’ve Been a Cowboy.” In addition, he appeared in the network specials George Strait: ACM Artist of the Decade All Star Concert in 2009 and ACM Presents: An All-Star Salute to the Troops in 2014. The Academy presented Keith with multiple honorary awards throughout his career, including the 2013 ACM Career Achievement Award, the 2016 ACM Poets Award, and the 2021 ACM Merle Haggard Spirit Award. Keith was inducted into the Songwriters Hall of Fame in 2015 and the Nashville Songwriters Hall of Fame in 2021. Other distinctions include the 2021 National Medal of Arts and the 2022 BMI Icon Award.

Keith’s many charitable initiatives included 11 USO Tours and nearly 300 USO events, a hometown fundraising concert following a devastating 2013 tornado, and an annual golf tournament to fund the OK Kids Korral, a cost-free home in Oklahoma City for families of children with critical illnesses. ● 1. Toby Keith and Blake Shelton perform Keith‘s "Should‘ve Been a Cowboy" at the 53rd ACM Awards in Las Vegas. 2. Troy Gentry, Eddie Montgomery, Toby Keith, Bryan White, and Charlie Daniels pay tribute to Glen Campbell with a perform of "Rhinestone Cowboy" at the 34th ACM Awards in Los Angeles. 3. Toby Keith accepts the ACM Album of the Year award at the 36th ACM Awards in Los Angeles. 4. Willie Nelson and Toby Keith backstage during rehearsals for the 38th ACM Awards in Las Vegas 5. Toby Keith and Tanya Tucker backstage at the 10th ACM Honors in Nashville 6. Toby Keith backstage at the 11th ACM Honors after receiving the ACM Poet‘s Award 7. Alan Jackson and Toby Keith pose backstage at the 46th ACM Awards in Las Vegas. 8. Toby Keith after accepting the USO Award at the ACM Presents: An All-Star Salute to the Troops in Las Vegas.

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Remembering Toby Keith

Dolly Parton @dollyparton “It’s always hard when we lose our brothers and sisters in Country Music. Toby Keith was one of the greats in every way. He will be missed but his music and legacy will live on.”

The industry pays tribute to their good friend

Damon Whiteside “Toby Keith was a powerhouse singer-songwriter, performer, entrepreneur, and Country Music icon who defined the last several decades of Country Music and influenced a generation of talent. Here at the Academy, we’ve been able to celebrate Toby countless times over the years, including twice as our ACM Entertainer of the Year, along with more than a dozen other trophies, such as the ACM Poet’s Award for songwriting and the ACM Career Achievement Award. In particular, I’m so glad we were able to honor Toby with the ACM Spirit Award in 2021, presented to a singer-songwriter who continues the legacy of Merle Haggard, one of Toby’s heroes. Additionally, his phenomenal commitment to philanthropy and serving the community throughout his career echoes in the work of ACM Lifting Lives. On behalf of our Staff, Board, and Membership, we send our love to Toby’s family, friends, and fans of his incredible music. His legacy in Country Music will live on forever.”

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Jason Aldean @jasonaldean “Just waking up to the news of Toby Keith’s passing. Today is a sad day for Country Music and its fans. Toby was a huge presence in our business and someone we all looked up to and respected. You and your music will be forever remembered big man.”

Blake Shelton @blakeshelton “Even though I knew about your battle these last few months I still never imagined this day. Anyone who knew you knows what I mean. You were the toughest man I ever met. Thank you, brother for being a friend, a hero, and an inspiration. There will never be another Toby Keith.”

Carrie Underwood @carrieunderwood “Saddle up the horses, Jesus, ’cause a true blue COWBOY just made his ride up to heaven!!!

Introduce him to all the Okies and sign that boy up for the choir! We’re gonna miss you, Toby, but my heart has no doubt that you are standing in the presence of our King right now!!! See you again someday, friend.”

Storme Warren @stormewarren Cheers to my friend Toby Keith. Thank you for the endless miles, music, and memories. It’s been a fun run brother. You left us with one hell of a soundtrack!

Old Dominion @olddominionmusic “Toby Keith was a true trail blazer. Authentic and heartfelt but always with a wink ’til the end. He was larger than life in so many ways and his music will live on forever! Raising our red solos tonight — you will be missed by so many. Peace.”

Rodney Atkins @rodneyatkins “We lost a giant in Toby Keith, and I am forever grateful for his impact on my life as a fan and friend. My heartfelt condolences are with his family and those closest to him during this difficult time. Toby was a man among men … and an artist’s artist.

An American patriot who LOVED the troops and a music legend. I always heard that Toby never wrote down new song lyrics. When I asked if him if it was true … He said ‘l figure I shouldn’t have to write ’em down … if lyrics are great … I won’t be forgetting ’em.’ Toby and his songs will never be forgotten. #AmericanIcon”

Jay DeMarcus @jaydemarcus “This is a heart breaker ... Toby Keith was one of the first to believe in us Flatts boys … He took us on the road and took a chance on us. We were fast friends and it still remains as one of the best tour experiences of my career. However, I got something even better out of it in the end, a lifelong friend … Rest in peace Toby, I’m sure gonna miss you …”

Alan Jackson @Alan Jackson “Denise and I are saddened to hear about our friend Toby Keith.

Our prayers are with Tricia and the entire Keith family.”

Kix Brooks @brooksanddunn “Waking up to losing Toby wakes up a lot of memories and realities — I remember the first time we actually met and talked — he was wearing a blue leather suit — we all wore horrible clothes back then — we got along from the beginning — he called ‘a spade a spade’ plain and simple — always — we asked him to come on tour with us somewhere in the late ’90s, along with Keith Urban, and I’ll never forget after our first show together, he said ‘We’ve got to find a place to play’ … after that we would go find a house band after every show and burn ’til the flame was gone — he was a relentless participant in every aspect of his life — performing, writing, golf, hanging with his friends, along with his dedication to the military and the Red White and Blue. But he always put his loyalty and love of God and family first — He was one of those guys I just assumed would always be there — HOF Cowboy Heart — RIP Big Man.”

Ronnie Dunn @ronniedunn “A troubadour gone too soon. We played together, we sang together. He was a friend, ornery, rough, tough, kind, and loyal … if he liked you. A rascal, an outlaw with a big heart. He was opinionated, usually his way or the highway. A patriot that acted, didn’t just talk it. He was a loyal husband and proud loving father. He was a big man, a fighter … in the end life wins. Give ’em hell up there my friend !!! Our love, prayers, and condolences go out to his lovely wife Tricia, daughters Krystal and Shelley and son Stelen.”

Lee Ann Womack @ leeannwomack “Very low this morning.

Toby Keith is treasured in this family and will certainly be missed. I know he was a believer and is with the Almighty.

Much love to his family.

You’re in our prayers.”

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