100 Years of the Grand Ole Opry
The business of country music was a somewhat scattered and individualistic endeavor well into the 20th century. It was 19 when Ralph eer made the first recordings of country musicians in Bristol, VA – Fiddlin’ John Carson, The Carter Family, Jimmie Rodgers – while traveling crosscountry to collect field recordings. But the sense of place and community that eventually came to define country music – and still does – is directly attributable to the weekly Opry broadcast on WSM-AM, which began two years earlier. The station’s 50,000 watt clear channel signal could be heard as far as Canada and Mexico. Its message –
isn’t just the longest
Nashville, and – perhaps most of all – a family rooted in music.
with Too Slim of Riders in the Sky. Talk to a debut artist about how they’re feeling. Then watch the show and be thankful. The other 229 shows, we’ll all be hard at work, but take one to do nothing but soak it in.”
For the anniversary, the regular schedule has been augmented by the March 19 Opry 100: A Live Celebration on NBC, Opry 100 Honors concerts, a first ever international show at London’s Royal Albert Hall in September, and much more. Honoring history and lighting the path forward are at the center of the discussion this year ... only more so. “It truly is a dance,” says Rogers, who is a 27-year Opry employee. “You can’t move toward the future without embracing what will be the future. We want make sure we get it as right with the next Lainey Wilson as we did with the current Lainey Wilson.
“I’ll never forget having her in to sing some songs, hearing her talk about serving time in her camper and tell us about coming to the Opry when she was nine,” he continues. “She is a perfect representation of what we do. She might play her next hit or a Judds song. She’ll probably
dispense some advice she got from Jeannie Seely. There’s no either-or with Lainey. “And in that way, the Opry can be a little bit of everything. Maybe you come to see Vince Gill but discover Kaitlin Butts or Avery Anna. Maybe you’re a big Riley reen fan, but find teve arle and want to hear more. I may be packaging that a little more neatly than it typically happens, but that’s what we shoot for.”
Like Wilson and Rogers, Opry VP/Artist & Industry Relations Jordan Pettit first attended as a child. When he began his now eight-year tenure, the balance was tilted. “During the 15 years I spent working for record labels, it seemed like the focus was on where the Opry had been and not where it was going,” he admits. “My first thought when I started was, how does the Opry reestablish relevance in today’s music scene? To be honest, that’s the easier part, because all of the work that went into 100 years of history has been done: Amazing stories of American music history have been made
dates back to its origins. “When Patsy Cline became a member of the cast – we’re talking 80 years ago – that meant signing a contract to play every Saturday night for 52 weeks,” Pettit explains. “Over time, that has evolved with the industry and what artists are able to do. In today’s touring world, it can be difficult to be here 10 or 12 times a year. So we’ve adapted to having more artists perform.”
here. So thinking about how we bring more excitement and target a younger demographic was paramount.”
At the time, Opry performances – to say nothing of membership – may have seemed unobtainable. “The Opry was extremely selective with very few slots to offer for debuts,” Pettit says. “As streaming grew, we saw the number of artists that were able to tour and sustain that increased dramatically, which coincided with us feeling the need to bring in more artists. We wanted to let them be a part of it earlier in their careers, while also telling our story to them and industry people who may not fully understand the significance or history.”
In 2018, the Opry was scheduling roughly 35 artist debuts a year. Last year, that number exceeded 140.
“We have opened the doors to the full breadth of what country music represents,” Pettit says. “We try to be a place where artists can express their work and find their place, whether you’re down the middle traditionalist or you’re somebody pressing the boundaries.”
The ongoing evolution of playing or joining the Opry
While 140 debuts sounds like a big number relative to the number of country artists, there’s a lot more going on. “The Opry is a variety show,” Pettit says. “We have lots of different genres represented – bluegrass, Southern Gospel, Americana, mainstream. Roughly half of that debut number is mainstream country and Americana.”
Supporting artists was also at the center of the development of the Opry NextStage program. “We do a lot more to drive value back to the artist – promoting album releases and other initiatives that are important to them,” Pettit says. “Since we started, we’ve had eight NextStage artists win New Male or Female at the ACMs, and they’ve landed 33 No. 1 songs with 43 weeks atop the Country Aircheck /Mediabase chart. Those artists include Lainey Wilson – who became the first Opry NextStage artist to become a member last year – as well as Riley Green, Parker McCollum, Megan Moroney, Nate Smith, Ella Langley, Tucker Wetmore and many others.
“We want them to feel like they’re part of this community,” Pettit continues. “At the end of the day, that’s what this is – a big family of people. When everybody’s hanging out backstage, it’s truly the one place in the world where you can find this kind of crossgenerational comradery.”
Kelsea Ballerini Chris Young Celebrating
100 years of the Grand Ole Opry with our members
Congratulations Dan, Gina, Jordan, Jenn and the entire team!
®
Opry Debut: April 4, 1959
Opry Induction: July 15, 1961
Opry Debut: Dec. 14, 1973
Opry Induction: June 9, 1984
Opry Debut: Jan. 13, 1996
Opry Induction: June 12, 2004
Opry Debut: June 16, 2017
Opry Induction: Dec. 10, 2022
Opry Debut: June 10, 2011
Opry Induction: April 20, 2024
Technology and the artists themselves have also helped. “Social media has been the biggest game changer in the 27 years I’ve been here,” Rogers says. “When I started in marketing, if a new artist like Brad Paisley was on the Opry , we had a means of telling people that. Today, a new artist – or even Brad – is most likely telling fans they’re on the Opry via their own platforms.” Pettit also points to the in-house social media and content team. “How we’ve invested in those areas to create more compelling content and social engagement is hugely valuable,” he says.
Much like the Opry itself, this year’s celebration is meant to reflect a commitment to the next 100 years as much as it celebrates the past century. “We’re going to have 100 debuts, but we’re also celebrating icons with our Opry Honors series, which began with Loretta Lynn in May,” Rogers says. “My guess is more people saw the Opry for the first time in Coal Miner’s Daughter than anything else. So I love that she’s the first honoree.”
The official 100th anniversary show on Nov. 28 will exclusively feature Opry members on the Opry stage ... but, “We’re also doing our first international show in September,” he says. “Juxtapositions all around, but when you look at it all together, it makes sense.”
And it makes so much sense, it’s almost overwhelming. Rogers: “There are times I walk out my office door and think, ‘Whoa. Did we mismanage the backstage list? There are so many people back here.’ But then it also looks like a trade organization meeting. Everywhere you turn, you see someone you’re really glad is there. Artists sometimes show up even when they’re not on the show because they saw the lineup and wanted to be here.”
To that point, Rogers notes that Gill attends often when he’s not performing. “One of my favorite things is seeing a young artist come offstage with their dream having come true and Vince, who they didn’t know was there, tells them, ‘Well done.’ I don’t think he sees it as a service to anybody. I think he really is just enjoying the show, which is the ultimate compliment to everybody behind the scenes making the show happen, as well.”
That is an effort and legacy much deeper than today’s staff and artists. “The is woven into the fabric of America,” Pettit says. “So many artists paved the way before country music was ever commercialized like it is today. Those are the people who rolled their sleeves up and made the Opry the institution it is now.”
Thus, Opry 100 is also a springboard into the future. “From the beginning of planning, we were asking
ourselves where we want to be at the end of year 100,” Rogers says. “I’m lucky enough to have been here for ’s 75th, and a lot of that was about getting to a place where we felt great about being in the national spotlight and building from there. This is that on steroids. My chief priority is to make sure that the Opry is and feels like home for country music artists and fans. Nothing we do changes that. But going into 101, I’d like for us to have driven much more familiarity with people across the country and internationally to the point they want to hear more from us.
“I am hopeful that our first international Opry show is the first of many,” he continues. “We’re going to continue to encourage new artists while celebrating those who have made us what we are. Several elements ’s 75th became evergreens, so I hope series continues, and that the distribution of these various pieces become evergreen as well. The ratings were great for the NBC special, so that bodes well for future broadcasts of that ilk. Social growth and everything else we do is all about driving even more interest in and love for country music and the .”
bunch of familiar faces,” he says. “It’s, ‘Hey, how you been,’ instead of, ‘Nice to meet you.’ And I’m getting more comfortable in interviews.”
He joined Corey Kent, Hudson Westbrook and Zach Top at Tuesday evening’s Lucchese party. “Corey’s team reached out about that and it turned it great,” he says. “It was good to see Corey again and I met Hudson. Zach Top popped onstage for a song, and Priscilla Block, too. It was a good time.”
For ACM Media Row and Sharla McCoy’s remotes, Wetmore was able to further relationships. “I’m seeing a
Wetmore’s mom, Sia, accompanied him to Lucchese. “She was a trooper all week, went to pretty much everything and loves to learn about the business,” he says. “She’s that mom who never missed a game when I was growing up. For her to see me traveling the country pursuing what I love, it’s a little bit hard on her. She’d love to be there at everything to support me. So ACMs were a week I could bring her along.” She also joined him at a content capture event for Kendra Scott Jewelry. “I got her a bunch of stuff for Mother’s ay and the red carpet.” Storms and rain throughout the day Tuesday disrupted the production schedule, so Wetmore and band only got a quick soundcheck. Weather cleared in time for the show that evening, and Wetmore and his band closed out the night with a sound that has more edge to it than his recorded music. “We revamped the live set at the beginning of the year,” he says. “It’s rocking ... and fun to be out there with the guys. I didn’t start touring until last August, so we had to find out what works and we’ve honed in on that.”
Wetmore is proud of his band. “They’re great dudes,” he says. “My guitar player and drummer I’ve known for five years now. They’re some of the first people I met when I moved to Nashville and I kept telling them, ‘Just wait. I’m going to make this work and we’ll get out on the road.’ A couple of them graduated from Belmont University last year, so the timing has been pretty cool to go out on tour about a month after that.”
After the kickoff, “I poured myself a glass of whiskey ‘cause it was a long day,” he says. A meetand-greet was followed by a catch-up with his team at a local bar. “I said hi to everyone, bought them a round of shots, and just went to bed.”
Wednesday’s main event was a reunion of sorts at Opry NextStage Live. “I didn’t get the chance to see Riley [Green], but I saw pretty much everybody else,” Wetmore says. “Anything that we do with the Opry is super fluid, super clean, and we’re all having a good time.” And the Opry team have been big supporters. “Before I moved to Nashville, I told my mom I’m going to play on that stage. our years later, I was. I’ve definitely caught all the love from the people at Opry.”
Getting a moment to speak with event emcee Jelly Roll was a highlight. “He’s such a good dude and always brings an energy that nobody can match,” says Wetmore, who considers Mr. Roll a mentor. “He’s always reaching out, asking how I’m doing and offering help wherever it’s needed. The guy’s got a heart of gold, wears it on his sleeve and doesn’t apologize for it. Having that conversation in front of the crowd was pretty cool.”
That night, Wetmore let himself cut loose. “Lily Rose had a party at the dueling piano bar,” he says. “Jessie Jo illon was having dinner nearby and called me to come over. She won Songwriter of the Year, so I congratulated her, and said hi to ave obb.
“That was my first time meeting ave,” he continues. “We’ve texted and tried to get together, but it just never
AWARDS WEEK
worked out. I was kind of tuned up at that point, if I’m being honest, and I saw a piano behind him. I was like, ‘I’m super sorry, but I’ve got to play this piano.’ So I sat there and played for 10 or 15 minutes while he watched. But then someone from the restaurant staff comes over and says, ‘Excuse me, sir.’ I lifted my head and I guess he recognized me and said, ‘Oh, I’m so sorry. Please continue.’ Kind of funny.”
Awards day was “pretty chill, actually,” in contrast to the night before. “I woke up and I got an IV,” he laughs. “Lily likes her tequila.”
Watching the show was a new experience. “I didn’t really know what to expect,” he says. “It was cool – not just to be there – but to feel like I’m a small part of it being nominated, even though I’m the new kid on the block.” Back in March, news of his nomination came when he’d just returned to Nashville from a road run. “My mom was in town and came to my room saying, ‘I know it’s early, but I don’t want you to miss this ACM announcement.’ I was like, ‘Oh, crap. I forgot.’ This was like 7:30am. So I went downstairs and saw my manager, Autumn, and her boyfriend, one of my roommates and my mom and her boyfriend. When it popped up, my jaw dropped and they were all freaking out.”
By the time he was at The Ford Center on awards night, any disappointment at not winning had long faded. “I’m so happy for Zach,” he says. “He’s absolutely killing it right now and deserved it, for sure. And I’m proud of the other guys, too. Me, Gavin [Adcock], Bailey [Zimmerman] and Shaboozey are good buddies. That’s a really good group of nominees and I’m blessed to be a part of it.” And as for the show, one moment stood out: “I’m a huge Alan Jackson fan, so that was the coolest thing I’ve ever seen.”
Afterward, Wetmore went backstage where he got to meet Miranda Lambert. “There was a bar back there, so I was hanging out with her, Shaboozey, Dan + Shay, Russell Dickerson – there was a whole mess of people.” A postshow dinner with the label followed. “After that, I went to Jelly Roll’s after-party until about 2am, then had to bus out to Orange Beach for a show. But it was a great week and good to see everybody.”
Derek “Big D” Haskins and Sean “Bubba” Powell have been doing mornings together for almost 30 years, but in terms of industry recognition, they’ve never been more celebrated. In addition to the Country Radio Hall of Fame induction, they are this year’s ACM National Daily Personality and have earned their second consecutive nomination for the (National) Radio Hall of Fame. First paired for mornings at then-WXCT/ Baton Rouge in 1996, the duo with the self-proclaimed “largest belly buttons in radio” joined crosstown WYNK three years later, where they began in syndication. They were based out of WSIX/Nashville from 2003-2011, or ed prod ction co pan il er sh in 2014 and returned to Nashville’s airwaves at WKDF in 2021. In addition to mornings on more than a liates, the pair oth o who are pilots host a wee l podcast and the syndicated weekend show onky Tonkin’ with Big Bubba.
Bubba: We were both 14 when we started in radio, but in different states. Radio was not work, so that was the draw. It was fun to play music, push buttons and talk to people on the phone.
Big D: I wanted to be a psychologist, but did radio because a teacher said I had a good voice.
Big D: W T was going to do a national search for a new morning show partner for me, and my wife said, “What about Bubba?” e was doing afternoons, had so much energy, was really good with the phones and just doing fun radio. When I offered him the job, I felt like I was about to give a kid an inheritance or a promise ring. But he said no, because he was going out drinking at night after his shift and that was his life. It took a couple of weeks, but finally he came around.
Bubba: We’ve done some dumb things over the years, including a contest where we asked people what they would do for concert tickets. This lady said she’d let dogs eat dog food off of her. o, we brought her out to the studio, put her in a kiddie pool, covered her with Alpo and let five dogs in. We would lose our career for doing something so stupid now what if a dog had bitten her? he stunk, but she won the tickets.
BIG D & BUBBA
Bubba: The work we do with t. ude hildren’s Research ospital has been formative. I was always the goofy guy and had never really done serious radio, but that opened me up to being vulnerable and showing a different side.
Big D: We are the official ountry morning show of the nited tates military via Armed orces Network. It means everything to us to be able to have listeners on who say, “ ey, I just got stateside. I was listening to you guys in jibouti.”
Bubba: We get calls from uantanamo Bay and Antarctica. We had confirmation they were listening on the space station. ra y places where you never thought
listening. opefully everything is safe. Be careful.” We instantly started getting emails from dot mil addresses that read, “ on’t worry, we’ve got this.” We were like, “Okay then. ere’s another eorge trait song.”
Big D: eople want entertaining audio back. As an industry, we got so caught up in trying to compete against streaming services that there was no place for personalities on the radio. It’s hard to come up with new ideas and content every single day, year after year. With the influx of podcasts, people now see how hard it is. odcasts don’t last long. Most people only do five, and they are never heard of again. We’ve done more than . ersonality is why people are attracted to us.
Big D: uring the “ ot milk?” campaign, we did an entire broadcast submerged in milk. We had a special scuba rig with microphones in a dunk tank filled with powdered milk that the fire department filled up with water, and a crowd of rednecks in Wal Mart standing around watching and listening.
Bubba: They had to continuously dump ice in it to keep it at a good temperature because if it started to spoil, it could have been unhealthy for us. We put our lives on the line! And you would never believe how opaque milk is. You can’t see anything. We had to train for it at a YM A pool. Our butts were so tight. We were not letting anything from outside in. But we had the smoothest skin afterwards.
Bubba: At least once a quarter we have a really poignant moment that reminds us why we do this. In 1 , we learned of a dying woman who had taking a helicopter ride on her bucket list. We found out and, within hours, she was on that helicopter. he flew around Nashville and gave us a play by play of what she was seeing. That one is special because she passed away very soon after.
Big D: Not to outdo that, but when A guys name their livestock after us, that’s when I know we’re making an impact.
There is a hunger for entertainment. There’s so much going on in the world, so much cra iness, and so many people pointing fingers at what they think is the problem. We want be the solution. We want be where people can go to get away from all of that.
One of the things I’m most proud of is running a company. I don’t think most jocks understand what all goes into it. Being able to see both sides of the microphone as a small business owner changes everything. There are many times when we have an in studio artist interview and, on one screen I’ve got their new release, the questions we want to ask or the game we want to play with them, and on the other screen I have spreadsheets of cashflow reports, vendors we’re looking at or insurance paperwork. earning how to run a small business has been the most impressive part of our career.
Big D: Bubba and I were flying West out of Nashville going somewhere in Arkansas. It was a beautiful, sunny day, but I look out and see an inverted triangle floating at our 1 o’clock, at about , feet altitude, and it was on fire! Bubba’s got his phone out recording while I called in a O to air traffic control. They said they don’t see anything but to keep an eye on it.
Bubba: I’m thinking we’re going to call eborah Norville and be on “Inside dition.”
Big D: It’s increasing in altitude, so air traffic control starts asking other aircraft in the area if they’re seeing this anomaly. Other pilots start coming on the radio mocking us with the “Twilight one” theme song . This goes on for 1 minutes, and then finally it hits us. Bubba goes, “You don’t think that’s the sun reflecting off the pyramid in Memphis, do you?” It was a ha e layer, which is why it was upside down and looked like it was on fire.
Bubba: veryone at air traffic was laughing at us.
Bubba: We got the news about the ountry Radio all of ame induction on a oom with R Riverside’s eather roglear, and I was completely flummoxed.
Big D: I would never say the word “flummoxed,” but we’re truly humbled and honored. CAC
While best known over the last decade as a Nashville record label executive, Clay Hunnicutt cut his teeth in radio, carving out a largely Southeast-based programming career in that medium that has earned him induction into the Country Radio Hall of Fame.
CLAY HUNNICUTT
y very rs ar s I was five years old. We went to Opryland amusement park, rode all the rides, and then my mom, brother and I went to the awards at the rand Ole Opry house that night. I made it about halfway through the show, and then fell asleep in one of the pews in the upper level.
y s ar in ra i at W Y hattanooga as an unpaid intern while I was at the niversity of Tennessee hattanooga. I was studying marketing, and thought I wanted to work for an ad agency because I loved the creative side. The internship was in the station’s production department, writing commercials, and I wound up spending 1 years there. I loved the energy and the instantaneous response of radio, being out in the community, and of course the music. I don’t know that I would have felt that way about any other radio station, but 1 1 was such an ama ing place with some ama ingly talented people.
y rs ay n e as an intern, I was shown two stacks of paper to file, each about two feet high. There weren’t computers, so everything was printed off and you hand wrote the production directions for the air personality cutting the spot. But I soon became one of those people who would do anything possible to be around the radio station: take out the trash, set up remotes, hang banners. I drove a four wheel drive truck, so on snow days, I would be out doing road reports for the morning show. I literally would do anything asked of me. Radio stations are really special places living, breathing entities.
r se r in ern in those 1 years at W Y, first hired part time, then full time as the roduction ir. Imaging ir. At years old, I became the , having never programmed before in my life. M ammy eorge, who is also in the ountry Radio all of ame, saw something in me, and felt like I understood the station and what it stood for. A lot of the other staff vouched for me as well. W Y was a share radio station, so it had as many shares as I had years.
er ive years , I left W Y to program W AR leveland, another legendary station. ome people credited my success at W Y to inheriting a share radio station, so I really wanted to prove that I could apply what I learned there to other places. When I got to W AR it was ranked ninth in the market, and when I left, it was No. 1. After two and a half years, I went back to hattanooga for three more years, this time as OM of a five station group, where I worked until moving to W I Nashville, then building and launching W B Atlanta as I moved up the ranks at lear hannel i eartMedia.
so the station had to buy a , pickup truck to give her. Talk about your career flashing in front of your eyes! ammy could have easily fired me, but didn’t.
en J iss in hattanooga was fairly new and we wanted to get noticed, we promoted
at a certain time. robably 1 , people showed up. They’re parking their cars and running down the street, blocking traffic, cops are going cra y, It’s absolute mayhem. We pull up in a stretch limousine, the gets out, gets on the microphone and says, “ adies and gentlemen, minem,’” and an intern from the station steps out dressed like a brown M Ms candy. our of us got arrested, charged with disturbing the peace, impeding emergency vehicles, false advertising they threw the book at us. We got bailed out and worked with the district attorney on a plea deal ahead of our court date, pledging the station to do community service, events with the Boys irls lubs, pick up trash on the side of the road, etc. But when we got to court the judge rejected the deal saying it was not nearly enough. We were given an hour to figure out what else we could add on. We were on probation for a year, but it definitely got the station noticed. uckily, none of the charges were felonies.
e r i J e hildren’s Research ospital really stands out. The couple of days a year where you give up all your time to do nothing but raise money for these children and families is really powerful. It makes an impact on you as a human being, as does raising money for tornado and hurricane victims, which we did many times in hattanooga. That is the power of radio that T and the internet can’t do crack the mic, speak from the heart and watch as listeners react. Nothing I’ve seen in my career replaces that.
i e in a an a a i en a y ave away two brand new Toyota pickup trucks at the Riverbend estival when we only had one. The nine finalists were told we were going to do a reverse drawing from nine down to the top two. The last name I called was supposed to be the winner, but when I called it both finalists started jumping up and down thinking they’d won because the contest procedure was unclear to them . This is live in front of , people and on the radio. That was aturday night. On Monday the woman who did not win came to the radio station to complain,
a s nis e a ve r project outside repairing concrete and putting down pavers when I jumped on a oom call. I’m the head of the R Research ommittee, and they told me we had to do a call about the upcoming research project. I was still nasty dirty. verything from the shoulders down was covered in concrete dust and mud. That’s when they said I was being inducted into the ountry Radio all of ame. I could not have been less prepared or camera ready! It was an unbelievable surprise.
e a vi e a ays ive when I talk to college students or anybody else about a career in radio is that you must be present to win. You’ve got to show up and be willing to do whatever it takes. There’s no job too small or insignificant. There’s nothing beneath you. This is a hard job, and incredibly competitive, and you have to be willing to put in the work.
econdly, I don’t think I’d be where I am today if I hadn’t done some of what I call “educated stepping off the ledge” in order to do bigger things, even leaving i eart to start Big oud Records with eth ngland and hief aruk, oey Moi and raig Wiseman. Too many times people get scared of making a move and wind up staying sedentary. I would always encourage somebody to step off the ledge every once in a while to know you’re alive and that you can do it. CAC
MARY MCCOY
Three years ago, few outside Montgomery County, Texas were familiar with Mary McCoy, though she’s been a local institution for decades. Recognition from the Guinness Book of Records as the world’s longest-serving female radio presenter came in 2023. Last year, she entered the National Radio all o a e pro led in o ntr Aircheck’s September 2024 issue). Now comes the honor closest to her heart, induction into the Country Radio Hall of Fame. The indefatigable octogenarian recently celebrated her 74th anniversary in radio. She still co-hosts a daily Classic Country show with Larry Galla on KVST/Conroe, TX and keeps a schedule that would exhaust many half her age.
The night of my birthday, the city of Conroe unveiled that bust of me and now my birthday, Dec. 7, will be Mary McCoy Day in the city. My daughter Kim is my manager and keeps me busy. The Rotary wants me to speak to them. I spoke to 400 people at the Daughters of the American Revolution. When the two girls who were in charge saw my picture with Elvis Presley, the first thing out of their mouths was, “ id you kiss him?” I told them I’d never tell.
I was on the Louisiana Hayride and then the following week they brought Elvis to Conroe to perform in the high school football stadium. I was sitting on the steps behind the stage waiting to go on. He came up to me and introduced himself and I said, “I know who you are.”
I met George Jones, Jim Reeves, Johnny Cash, Slim Whitman – all these artists who are gone. I’m just so thankful I got to meet them. I’ve worked with so many, but the thrill of my life was finally getting to go to the Grand Ole Opry – my dream since I was yodeling at three years of age
I fell in love with [Opry announcer]Charlie Mattos, and told him my dream was to sing on the Grand Ole Opry I couldn’t sing anymore, but I could still talk. He said, “You don’t have to get an award to come back, you have a standing invitation to come back and announce.”
My mom would hear songs on the radio and copy as many words down as she could for me. She played the guitar and taught me what she knew. She made clippings of everything I’d ever done. There are so many wonderful memories.
One of my great-grandchildren, Kia, had an assignment to write about one of her heroes. She wrote a letter calling me her hero and won first place. I’d have given anything in the world if I could have been there for that program. It meant the world to me. When you can win a child over, you’ve accomplished something.
I’ve had so many young folks tell me how much they love music and ask what they should do. I tell them if you love it and want to do that, you can do it – don’t give up. I got to do everything I wanted, and I’ve loved every mile of it. When my time comes, I can say I did it my way.
celebrating 100 years of building and honoring country music’s legacy!
An unconventional journey from pre-med student to award-winning radio programmer was driven by a childhood love of music and latenight AM signals in upstate New York. After cutting her teeth at college stations and Poughkeepsie Rock and Country outlets, she honed her craft under mentors in Boston – launching innovative promotions, forging community partnerships and championing breaks for artists including Kenny Chesney and Eric Church. She also led on-air coverage through crises from 9/11 to the Boston Marathon bombing, emphasizing compassion and factual updates. As Brophey approaches retirement, she refl ects on radio’s healing power, the importance of knowing your market and the value of following your passion.
My path into radio is a little different from most. A lot of people grew up listening to radio and started when they were 1 or 1 . I did love radio music was so important to me at a young age. I grew up in the Adirondacks, about an hour north of Albany, NY. We heard Albany stations, sometimes even WB in Boston, or New York ity AM signals late at night. I listened constantly, but I was focused on medicine I wanted to be a doctor. I went to college as a pre med major.
In my sophomore year, some friends at the college station at t. awrence niversity urged me to sit in with them. It was the coolest thing, so I ended up on the air there. The call letters started with “ ” because the station predated the “W” “ ” divide. After freshman year, I told my parents I didn’t want medicine anymore I wanted radio. o I transferred to Marist ollege in oughkeepsie, which has an incredible communications program.
At Marist’s WMCR, I was music director, news director, you name it. We were so close to New York ity that I got to visit W N and meet some of my radio heroes. When I graduated, I found a job right away at W a rock powerhouse in oughkeepsie. Ironically, it’s now owned by Townsquare Media, so I can say I began my career at a Townsquare station and here I am back at Townsquare, though back then it was locally owned. I was a rock and roller at heart, but they needed help on the AM daytime side, so I moved over to W O , which was ountry.
This was the early ’80s, when country was just starting to get popular again. My very first interview was with Bobby Bare. I talked to pioneers of country music at a time when it wasn’t yet mainstream, and I thought, “This is it. This is what I want to do.” Two years later, making about 1 , a year, I decided to move on. I’d always loved the Boston Red ox, eltics and Bruins I wanted to be in Boston.
I moved to Boston for graduate school at merson ollege’s communications program. To pay for grad school, I leaned on radio, thinking I’d pivot to T later. I worked at WBO when it was ountry that was a hoot. Reba Mc ntire filmed her “Whoever’s In New ngland” video at ogan Airport, and I felt like I was part of something big. oon after, I switched back to op at another Boston station. When new ountry station WB launched, I jumped over there to do middays.
Harry Nelson was my PD and taught me how fiercely competitive you need to be in a major market. After arry left, Mike Brophey took over, and he was my biggest mentor. e taught me editing and masterful programming everything. Back in the tape days, I was adept with a grease pencil and ra or blade once we went digital, Mike showed me the ropes.
Every year I’d go to CRS and pick the brains of legendary s including es Acree and ene allam. “I’m
GINNY ROGERS BROPHEY
inny Rogers from WB Boston. Mind if I ask a few questions?” They welcomed me. ene once said, “You and Mike should write a book on how married couples work together you’re a rare case.” I told him, “ e’s boss at work I’m boss at home and somehow, it works.”
One little boy named Yan , battling brain tumors, became my personal project: I raised funds, sent i ads, Beats headphones, shoes whatever his family couldn’t afford. tories like that remind you how powerful radio can be.
When Reba cut her hair label sent red hair snippets to top stations. I trimmed my hair to match, and my M eter myth who later became reater Media’s O started calling me “Reba.” To this day, he still does.
My 24 years at WKLB were an incredible ride. Mike and I, with support from our Ms and eter myth, brought country music to Boston in a way nobody thought possible. arly on, big acts like eorge trait skipped Boston, playing Worcester instead. Once we proved country could thrive here through creative events and partnerships with t. ude hildren’s Research ospital and Tufts hildren’s ospital we turned that ship around. We hosted the Country Music Healing Tour at Tufts, inviting arrie nderwood, Rascal latts and Brett ldredge to perform for patients and families. They even named the hospital’s healing garden after our station.
When major tragedies struck the Boston Marathon bombing, 9 11, the ewiston shootings in Maine I was on the front lines. I coordinated with our teams, stayed on air to share and verify facts, let listeners call in and prioriti ed compassion over speculation. Those experiences taught me and my teams how to handle crisis with care.
I’ve also loved spontaneous, out of the box promotions. One spring, we gave away uke Bryan’s leased hevrolet truck complete with his signature on the visor as a spring promotion. That kind of spontaneity just doesn’t happen much anymore.
Listener-wise, Stan and Elaine in Boston were super fans they went to every concert, called in constantly, and eventually moved to Nashville, but they never stopped tuning in. That connection to picture a real person in your mind as you talk on air is crucial.
Programming-wise, we mixed in pop leaning country when research said “maybe,” trusting our gut on local hits like “ ruise” by lorida eorgia ine or early ip Moore singles sometimes before they even had record deals. We also factored in Boston’s long winters: when daylight ends at pm, playing too many ballads in the afternoon can drag a station’s mood down, so we kept up the tempo through winter months.
If I could go back and advise my college freshman self, I’d say: follow your heart. ven though medicine heals, music heals too and it’s okay to chase your dream. After I lost my gig at W B and a stint at The Bull WBW ended, I worked two years as a dialysis tech. I loved my patients, but reali ed I belonged in radio where “nobody dies,” and every day offers something new. o I took the job at WO in New ampshire, covering Maine and northern Massachusetts, and haven’t looked back.
Along the way, mentoring has been a joy: interns including osh asler, Marie Miscia Bradshaw, Nicole unt, Megan O’ ara, Briana alluccio and ana Mc aughlin went on to great careers in Nashville and beyond. To me, that’s the truest testament of success.
I’m also proud of friendships I’ve built including with enny hesney. We rose together in the ’9 s he’s loyal, always remembers the people who supported him. I was also one of the original 1 radio programmers who believed in ric hurch, and I still have the letter he sent us, framed in my office. CAC
A lineage in major market Texas radio didn’t stop Josh Holstead from proving himself on his own terms. From boosting phone lines while covering high school football to captaining a successful nationally syndicated show, Holstead lived up to his name ... and picked up a new one along the way.
JOSH “ROWDY YATES” HOLSTEAD
My father was one of the most respected Dallas/Fort Worth radio news journalists. Joe Holstead worked with Gordon McClendon at KLIF-AM, which went Country in 1981 right at the beginning of the Urban Cowboy era. He then went to work for WBAP when it was still very much a Country station. So I grew up literally running around in some of the greatest radio stations on the planet, and exposed to a whole bunch of very talented radio people.
Early one Saturday, my dad had a shift and I was making myself busy in the newsroom when some kids got into the building – pounding up and down the hall, opening and closing doors and messing with the vending machines. It wasn’t uncommon for kids to show up at the station hoping to meet the disc jockeys. They got into the newsroom and my dad’s like, “That’s enough.” He drops what he’s doing and starts rounding them up. Well, I recognized them and tried to speak up, but he didn’t care. He threw them out the side door, right onto Commerce Street in downtown Dallas at 8am on a Saturday. Dad got back to the newsroom, put a fresh cigarette in his mouth and started beating on the typewriter for his next newscast. Then we heard one of the disc jockeys, Mike Selden, on the intercom: “Hey big Joe: Kind of curious. Did you see where the Osmond Family went?”
The second I got my driver’s license, I knew I was going to find a radio job somewhere. ven before that, my mother would drive me to an AM in Denton on Sundays where I ran the church tapes and occasionally jumped on the air to give a weather forecast. I got my big break when I was 16: KLIF PD Dan Bennett hired me for weekends. The station didn’t have near the audience at that point, but it was still cool to be working where my dad had once worked.
rehearsed and hit the street like a bunch of beasts. very nightclub and event, the Houston Livestock Show & Rodeo – we were promotionally active in a way the morning show wasn’t.
I was in Galveston taking a vacation when they told me I’d be in mornings when I got back the following Monday. The phone started going crazy after that. Salespeople were concerned about losing endorsement clients, so I said the hell with it, came back and went on the air immediately. Priority one was to save the business, and KILT never lost a client. Then something unexpected happened: Ratings went up ... and not by a little. In the first days with me, rin Austin and owboy ave Bayless, we beat B in mornings for the first time in five years. In less than five months, we were in the top five.
wasn’t listening. People laughed at me all weekend long. I could fire you for this ... but that 1 , mistake gave us hundreds of thousands of dollars-worth of publicity.” He paused. “Don’t ever do it again.”
n er i e e re , I was telling a stupid criminal story about two San Francisco dope dealers who led some cops on a meandering slowspeed chase. One was driving and the other was trying to destroy the evidence by dumping a bucket-load of cocaine out the window. At the time, local T channel 1 had a bit of a reputation as a party station. A number of their reporters and anchors had well-publicized brushes with the law. So the punchline to my story was, “The good news is there were no injuries, the bandits were apprehended ... and the channel 1 news department volunteered to fly out and clean up the mess.”
They realized I was very reliable for my age, and they also had a secret weapon if I ever misbehaved: Somebody might just pick up the phone and call my father. ven though he was working for a competing radio station, they knew that he would kick the shit out of me if I embarrassed the family name.
Dan Bennett actually did that once. I had been told to make some sort of a change on an equalizer and I guess missed part of the instruction. The chief engineer insisted that an fire me. Instead, he called my dad, who said, “This was his job to get, this is his job to lose. If he deserves to get fired, then fire him.” But an decided I didn’t deserve to be fired. e saved me when I was not even 17.
y rs i e , the owner wanted to avoid the expensive long distance and setup charges we got every time we traveled to do local football. He showed us how to locate the nearest pay telephone, climb the pole and splice wires in to bypass having to pay. The only problem was when somebody picked up the phone to make a call right in the middle of the broadcast.
I went from KIKK to KILT on St. Patrick’s Day 1997 and it did not take long. Our afternoon show became the biggest, most listened-to thing on that station, which was weird because Hudson & Harrigan were the gold standard in mornings. We were well-prepped,
Well, their GM got wind of it, had a baby and called our M. I got called into Owen’s office to listen as the guy rattled off, “ ow dare your disc jockey say this! I can’t believe this! I’m going to sue you! I’m going to cancel all of my advertising. I won’t spend another dime!” Owen asked his secretary to grab the KTRK file and started flipping through it. Then he said to the guy, “I just took a look at your file and you haven’t spent a dime on KIKK in two years. You can’t cancel advertising money you’re not spending. You’re wasting my goddamn time.” He hung up on him, and that’s all that was ever said about that.
in r in s ey one time, which is where Westwood One’s Pam Green heard me. I started doing some specials for them. I was already essentially doing a local version of Westwood One’s Country Gold show when John Howell left, so I called them up. The show was down to stations from 1 and was going to be canceled, but they said if I could get KILT to carry it, they’d give me a year to turn things around. I got it up to 1 affiliates before Westwood One fired me and put Randy Owen on. I took what they paid me to sit on the sidelines for nine months, formed my own company and service-marked the Rowdy Yates name. And now we’re on 1 radio stations.
We had a $10,000 song of the day, which you had to pull up and play. This particular Thursday, the song was Reba’s “The Heart Is A Lonely Hunter,” but I played “The Heart Won’t Lie” by Reba and Vince Gill. The phones went crazy, I was confused and I gave away 1 , to someone I shouldn’t have. And if the phones were bonkers when I played the wrong song, you can imagine the calls I got afterward. “You played the wrong song!” “You accidentally gave away 1 , !” “Are they going to let you keep your job?” It was a long holiday weekend and I spent all of it thinking they’d fire me or ask me to pay the 1 grand.
Tuesday morning, PD Debbie Brazier took me straight to M Owen Weber’s office. e goes, “I want to tell you something, Joshua. Ten thousand dollars is a lot of money, and just because I wasn’t here doesn’t mean I
I was at the Ace Hardware in Richmond when SuiteRadio’s Pat Fant called. They needed someone who knew Country radio. We went to lunch, had a great time and then went to his office. o and behold, I ran into old friends including Donna McKenzie, Maria Todd, Adam Smasher and Mark Fisher. Right then I decided I didn’t know what it was, but I was going to do something for these guys. It felt like home.
They said they were thinking about assembling a last minute CRS panel about Texas country. Tim Roberts, oel Raab and eff arrison were going to be on the call, which was somewhat suspicious. We exchanged a few pleasantries and then eff dropped the all news on me. After I got off the call, I told my wife. he was happy and I was happy. Then you start thinking back on your career – what you accomplished and what you hope people remember you for. Then you remember all the stupid things you did that probably should have kept you out of the Hall of Fame. You start to question, “Do I really belong here?” But I got over that real fast. CAC
Labels preview music priorities through the end of 2025
Miranda Lambert, “Run,” out now: “Fans responded passionately to the song, flooding social media with personal stories about how its lyrics resonated deeply with them. Miranda continues to be a trailbla er, embracing and inspiring a new generation of female artists.”
romotion Stacy Blythe
Morgan Wallen I’m The Problem, out now: “A masterpiece showcasing Morgan’s artistic evolution and diverse musical influences. This is the Album Of The Year.” ead Marketing Brianne Deslippe Hailey Whitters, Corn Queen, out now: “Whitters is continuing to carve out her own space in country music one where nostalgia and modernity blend seamlessly.”
All Country News
Hardy Country! EP, out now: “ ardy’s new showcases the explosive single avorite ountry ong,’ which is rapidly climbing the charts following the strongest radio add debut of his career.” Blythe
Ernest, Cody Lohden, Chandler Walter & Rhys Rutherford, Cadillac Sessions, out now: “We’re thrilled to launch e ille Records in partnership with rnest, and officially introduce ody, handler and Rhys with the label’s inaugural project Cadillac Sessions these boys, with more new music coming soon.”
Marketing Lucy Bartozzi
Lauren Watkins, Kashus Culpepper, Jake Worthington, Thelma & James, Ashley Cooke, Stephen Wilson Jr., Ink and more: be more excited about this next class of artists and songwriters. They are raising the bar with unique, exceptional music.” eslippe
• Rascal Flatts, “I are You,” top and climbing: “ ust wrapped sold out tour, and new album celebrating years, Life Is A Highway: Refueled Duets romotion Marketing Erik Powell Jackson Dean, “ eavens To Betsy,” top : After wrapping a uropean tour, ean is in the studio recording new music with uke ick. Tracks releasing all summer.
• Carly Pearce, Hummingbird: No Rain, No Flowers (Deluxe) now: Hummingbird World Tour wrapped in May, and earce is in the studio working on new music for a release.
Chase McDaniel, “Burned own eaven”: “More than stations are already playing his radio single, and he’s working with producer indsay Rimes on his debut album, Mc aniel will be out on the road all year.”
• Tim McGraw f arker Mc ollum, “ aper mbrellas”: “This fun summertime song already has 1 stations
Jason Aldean, “Whiskey rink”: “ ason just celebrated his th top 1 hit with Whiskey rink,’ which is climbing the charts on its way to the top. e also celebrated his 9th No. 1 single, a collaboration with ohn Morgan, riends ike That.’ New single coming soon. is Full Throttle Tour started in May.” romotion Lee Adams Lainey Wilson: “ ainey recently celebrated her eighth No. 1 single with .’ New single omewhere Over aredo’ previews the forthcoming deluxe version of her rammy nominated Whirlwind. ainey’s nearly sold out Whirlwind World Tour kicks off this summer, following her winter sold out uropean tour.”
John Morgan: “ ohn celebrated his first No. 1 single as an artist when riends ike That’ with Aldean went No. 1 in April. e’s had two as a songwriter: Trouble With A eartbreak’ and If I idn’t ove You.’ is debut album, Carolina Blue, came out April , and his next single, id Myself,’ comes out in une.”
Dustin Lynch: “ ustin came off with his 1 th No. 1, hevrolet,’ a collaboration with elly Roll. e’ll round out with a new single, a new album and continuing to pop up with his M country shows. They are a new way for ustin to showcase his music and skills, and are drawing rave reviews.”
Megan Moroney: “ oming off her platinum selling hit Am I Okay,’ Moroney teams up with country legend enny hesney for a one of a kind duet, You ad To Be There.’” Sony/Nashville
• Mitchell Tenpenny, “ ame Moon,” out now: “Terrific track drops dollops of chiming guitar, thumpy percussion, piano chords and a gorgeous echoey atmosphere into a gently swirling pool of sound. Amidst it all is Tenpenny’s soft, romantic tenor vocal. This is one enchanting little record.” MusicRow
• Dylan Marlowe, “ icture erfect,” out now: “ reaming of life together and of becoming successful down the road with a house, kids, land and years of memories. weetly sung.” MusicRow Old Dominion: New music coming soon.
Dylan Scott, “What e’ll Never ave,” at radio now:
“This is on track to being his biggest song to date and is already certified platinum with more than 1 million streams. New album, Easy Does It, is out now, and we’ve got follow up hits for days on this one!” romotion RJ Meacham
• Lee Brice: “With ry’ on the charts and at radio now, be on the lookout for another killer collab from ee, aid No ountry Boy ver,’ which features amey ohnson, errod Nieman, Randy ouser, allas avidson and Rob atch. This rowdy, raucous throwdown drops uly and is a focus track leading up to ee’s March album, You,
“On the heels of his debut single, ife With You,’ hitting No. , going gold and on the way to platinum, elsey’s back to show off another side and we’ll be coming with tempo to kick the summer off right. tay tuned!”
The urb promo team is beginning the early stages of introducing race to radio with current focus track, “I ,” featuring ranklin onas. “Another track, reedom,’ featuring elsey art, is beginning to
“As we celebrate a very special th anniversary of Rodney’s mega hit, Watching You,’ now featuring his son and the original inspiration behind the song, lijah Atkins we continue to gear up for more new music from Rodney leading to his album
“ annah continues to record and release killer new music as we build and engage with her ever expanding fanbase. heck out the most recent track, The Women I Am,’ featuring one of her idols, Martina McBride.”
“ ingle Again’ is preparing to top the charts and catapult him into stardom with high consistent streams and solid research everywhere. an’t wait to bring you more music from this electric performer.”
: “ ining up for his fourth consecutive chart topper with ark.’ We are parking Tyler as a proven hitmaker in our format. More music coming in the fall.” : “ ands Of Time’ is taking no time at all when it comes to streaming and research. One of ric’s fastest rising singles is the perfect lead in to his fall tour.
With the second highest debut album launch this decade, his second single, , ,1,’ is on fire and quickly climbing though the charts. ome to one of his sold out shows and hear the crowd sing every word. an also catch him on the Thomas Rhett
“With their self produced release, inish This rink,’ the boys continue to show the world why they are one of the most beloved and talented artists in the format. urrently finishing up their new album.” , new music coming soon: “ trap in!”
njoying the success of his latest summer hit, ruity rink,’ which leads us to his highly anticipated , uly 11. The sixth season of Hoge will also debut later that month on portsman
LoCash, “Wrong Hearts,” impacted May 19: “The follow-up to their massive two-week No.1, ‘Hometown Home,’ ‘Wrong Hearts’ is sung with heart and country confidence.” MusicRow
• Jake Owen: Two new projects mid-late summer2025.
• Daves Highway, If You Asked Me, Aug. 15: Fifth album with five originals and a cover of Martina McBride’s “Anyway.” Wynn Williams Country Therapy, Aug. 20: The collegiate steer wrestler-turned-musician’s project features “original dancehall twirlers, honkytonk tunes and his rendition of eorge trait’s The ireman.’” artner Keith Gale Hayden Haddock: “Launched his 2025 Waterfall Series with the introduction of newest single and rapturous love song, ‘Keep Me Up.’”
Craig Campbell, “Missing You”: out now.
Zach Top, new music in June: Lead track from his sophomore album on the heels of his double-platinum No. 1 “I Never Lie.”
Ashland Craft, Dive Bar Beauty Queen, out now.
• Jenna Paulette, “The rophet,” collab with Ashley McBryde.
• Jason Scott & The High Heat: Touring this summer in support of their latest release, American Grin
• “While Shaboozey, Sam Barber and Max McNown continue their climb up the charts, get ready for some summertime vibes with new music from Niko Moon. Also, Randy Houser has been working hard in the studio and will have new music coming your way very soon.” romotion Heather Propper
Sam Hunt , “Country House”: “Sam Hunt has another hit on his hands with ‘Country House.’ Last year, Sam celebrated his 10th No. 1, ‘Outskirts,’ and he’s poised for another. Chickens on the rooftop, am I right? New music is slated for later this year.” romotion Miranda McDonald
• Jon Pardi: “ arlier this year, ardi released his latest album, Honkytonk Hollywood. There is no more apt title than that for on. Buckle in and kick your Boots Off.’ If you’re looking for country music, he’s got it.”
Luke Bryan: “Between American Idol, Farm Tour and his regular headlining tour, uke Bryan is everywhere, including on the radio with his latest hit, ‘Country Song Came On.’ Catch Luke at one of his many tour dates this summer fall.”
Parker McCollum Parker McCollum, June 27: “To quote arker, It took me this long to figure out who I wanted to be for the rest of my life.’ The album is spectacular and, I believe, an absolute game changer for him. Listen from start to finish. What inda Man’ is the first release.”
• Keith Urban , “Straight Line,” continuing to climb the charts: “Everyone should see Keith Urban in concert at least once in their lifetime, but preferably multiple times. See Keith on the High and Alive World Tour this year!”
Dierks Bentley, Broken Branches, June 13: “The album is full of the sound you’ve come to know and love from Dierks. On repeat: ‘Never You’ featuring Miranda Lambert. His current single, ‘She Hates Me,’ continues to work its way north on the airplay chart.”
Jordan Davis, “Bar None”: “ is fastest rising single to date. To compliment another hit, his forthcoming album, Learn The Hard Way, is out Aug. 15.”
Vincent Mason: “ incent is on every one to watch’ list you can find, with good reason. With a sold out debut headlining tour, he has also been asked to join Riley Green, ordan avis and arker Mc ollum on tours in . is headlining tour isn’t the only debut for incent. e released his debut radio single, ‘Wish You Well,’ earlier this year. Good luck getting this one out of your head.”
Carter Faith : “Carter Faith first captured everyone’s attention at this year’s UMG At The Ryman luncheon, and continues that trend anywhere she performs. Expect to hear more great music from the powerhouse vocalist songwriter.”
• Riley Green, “Worst Way,” out now: “On the heels of a monster hit, Riley is on the road for his Damn Country Music Tour this summer and preparing to send ountry radio a new single. Expect the four-time ACM Award winner to keep getting hotter as the summer heats up.”
Ryan Dokke
Brett Young, “ rink With You,” out now: “Brett is set to release his new album, 2.0, June 20 with his single, ‘Drink With You,’ already climbing the charts. Look for a 2.0 version of the diamond certified In ase You idn’t Know,’ featuring Hannah McFarland.”
Greylan James , “Wait Til You Have Kids”: “The ACM Award - winning songwriter delivers a track perfectly crafted for Country radio audiences. This song connects, whether you’re a parent or hearing it as a fond memory of something your parents said to you growing up. Relatability still matters, and this song checks the box.”
Caroline Jones, “No Tellin’,” out now: “ aroline’s first release with Nashville Harbor Records & Entertainment, ‘No Tellin’,’ captures what it means to be authentic
and
her own shows, look for her on the road this summer as a member of ac Brown Band.”
Kane Brown, “Backseat river,” out now: anding his 14th top 10 at Country radio and currently on The High Road Tour
• Nate Smith, “ ix What You idn’t Break,” out now: “ mith is the first artist to start a career with three consecutive multi week No. 1 records in R R Mediabase history. WY B,’ off of his sophomore album, California Gold, is heading in that direction.” ony Nashville
Corey Kent, “This Heart,” out now: “Heartbreak, crunchy guitars and sleek production collide as he blames his latest emotional-relational ache on his own heart, wishing he could stop the pain from seeping through.” Billboard
• Ty Myers: While “Ends Of The Earth” is still climbing at radio, romotion ommercial trategy Josh Easler reports Myers is “back in the studio working on his sophomore project with release details TB . ook for new music this year.”
George Birge: “ It Won’t Be ong’ is rising and appears it will take its place in his repertoire alongside ‘Mind On You’ and ‘Cowboy Songs’ as another hit for him.”
Chris Lane: First full-length album with the label, Shade Tree, featuring current radio single “If I ie Before You” is out June 20.
• Kaleb Sanders: Fourth Red Street release, “Money Can’t Buy,” out in uly with more new music in the fall.
Taylor Austin Dye: Debut release fall2025.
Ryan Larkins: Just released “Who Rescued Who” in partnership with K-9 for Warriors to help returning war veterans handle T using therapy dogs. “Mayberry Memories” dropping later this month.
• Ryan Griffin, Into the Wild,Aug. 1: Seven new tracks, including a collab with Lady A’s Charles Kelley.
Ian Flanigan: will see lanigan on the road supporting his latest album, The Man My Mama Raised, as well as writing for his next release in 2026.
• Randall Fowler: Look for two of Fowler’s selfpenned songs on the August album release from Bailey immerman. owler is out supporting his latest single, “ eart To Break Mine.”
Brooke Moriber: “Brooke’s Nashville in New York writers round series is on fire, while she continues releasing original and captivating country songs. Her latest, ‘I Still Need You’ is capturing the hearts of old and new fans.” ounder res. David Ross
Jim Ranger: New music dropping the second half of the year while continuing his cross-country tour. “His latest single, ‘Gotchu,’ is turning heads.”
• Flanigan, Fowler and Ranger’s Southbound Writers Round Tour continues in the Northeast in July and will then hit the Midwest outhwest beginning .
Meghan Patrick, “ olden hild,” out now: “A reflective and honest track that’s connecting with Country radio’s core audience Meghan’s first . . solo top is just getting started.” romotion Jeff Davis Lanco, “We Grew Up Together,” out now: “With heartfelt storytelling and familiar charm, Lanco is reconnecting
with Country radio and listeners alike on this very personal song from their sophomore album, out now.”
• Dillon Carmichael, Keepin’ Country Alive, June 13: “Dillon Carmichael is Keepin’ Country Alive with his new album and a fresh radio single coming just in time for summer.”
The Kentucky Gentlemen, Rhinestone Revolution, out now: “The hooks, beats and catchy tracks that make up [their debut album]serve as the Kentucky Gentlemen’s biggest calling card to date in an ongoing quest to write radio-friendly country songs as independent Nashville artists.” Jonathan Bernstein, Rolling Stone Matt Lang, “Outta The Bar,” out now All Night Longer, Nov. 1 : “With more than million career streams, Quebec-born Matt Lang delivers another rowdy anthem showcasing his energetic stage presence, irresistible vocals and honky -tonk swagger. His 2024 album gets a deluxe edition release in November, continuing to solidify his reputation as Canada’s brightest rising country star in Nashville.” M treaming
Radio Lance Houston Hays, “Miss Take,” une “Red irt Therapy,” uly “ ross My eart,” Aug. 9: “Blending sharp lyricism and undeniable charm, Hays delivers a clever, relatable track about heartbreak and hard-learned lessons in June. A month later, he channels relatable heartbreak into a high-energy track with vivid imagery and feel-good country edge. The August release is a captivating record about struggling to move past lingering memories that highlights his distinctive ability to craft songs that resonate deeply with country listeners everywhere.”
Grant Gilbert, West of Fort Worth, June 27: “With vibrant storytelling and anthemic Texas charm, Gilbert’s new album showcases a spirited, rowdy cover of ‘Here For The arty’ alongside five fan favorite tracks.”
Reid Haughton, “Somebody To You,” July 11: “Alabama native Reid Haughton delivers heartfelt vulnerability with ‘Somebody To You,’ a powerful anthem that captures life’s highs, lows and unconditional love building on the success of his release with rake White, The Wheel.’” Ryan Charles, “All Wool,” une “ rairie Roads With My ogs,” uly “A ong Way,” Aug. 9: “Wyoming’s own Ryan Charles returns in June with his signature iggy Buckaroo’ style to build upon his string of viral hits. He keeps the momentum rolling with the July release, showcasing his undeniable charm. In August, his cowboyrap swagger meets Sierra Ferrell’s Grammy - winning folk finesse on A ong Way,’ which showcases two genre defiers pushing country music forward with style, substance and unforgettable vocal chemistry.”
Tigirlily Gold, “Forever from Here,” out now: “The rippling, sparkly track is full of energy and sunshine. So is the harmony soaked duet performance. This effervescent single is their finest to date.” MusicRow
Jelly Roll, “Heart Of Stone”: “After seven straight No. 1 Country singles, Jelly Roll’s latest is climbing the charts as he and ost Malone are on their Big Ass Stadium Tour for the summer. You can see and hear Jelly Roll everywhere as he continues to build a rock solid foundation for his country music career.” Innovation Audience Adrian Michaels Drew Baldridge, “Tough eople”: “ rew is following up his first No. 1 single with a powerful song about the human spirit and resilience called Tough eople.’ rew was named i eart’s On The erge artist while this song is his fastest charting to date. Look for Drew on tour with Bailey immerman this summer.”
tell hard truths. New label. New music. Check out Caroline’s new track as it picks up steam at Country radio. In addition to
Parmalee, “Cowgirl”: “More than 10 years, five No. 1s and one billion streams into their country music odyssey, Parmalee is again flexing their Carolina swagger with the release of their seven-song album Fell In Love With A Cowgirl. Parmalee remains the most played country band of the decade as they deliver an uptempo smash titled ‘Cowgirl.’”
Frank Ray, “Miami In Tennessee”: “A straight-up party. It’s everything I bring to the stage wrapped up in one song,” Ray says.
Lanie Gardner: “Acclaimed by Billboard as ‘a true artist with staying power,’ Lanie is making friends at radio and gathering new fans as we prepare her first release.”
TRIPLE TIGERS
Russell Dickerson, Famous Back Home, August: Features the “biggest streaming and fastest moving
RaeLynn: “Returns home to The Valory Music Co., ushering in a bold new era of music. Look for her on the road this summer with Jason Aldean.”
• Conner Smith: “Conner has been busy in the studio, and we look forward to sharing great new music from him soon.”
WAR
Dan + Shay, “Always Gonna Be,” out now: “This relaxed, sunny track is the soundtrack to rural communities, weekend football tailgate parties, and young lovers dreaming of growing old together.” –Billboard
• Chase Matthew, “Darlin’,” out now: “Not only a banger on the radio, but the Darlin’ hats are front and center at his sold-out headline shows. Chase is always a crowd favorite as direct support on the Keith Urban world tour.”
–Dir./National Radio Promotion Michael Chase
Alexandra Kay
Artist, Cody has further solidified his reputation as one of country music’s most authentic voices. He continues to bring heartfelt storytelling to fans on tour.” –VP/ Radio Accounts Tom Martens
Dasha, “Not At This Party,” out now: “The followup to her breakout Top 5 radio hit ‘Austin,’ the most streamed song by a solo female country artist in 2024. The ACM-nominated artist blends sharp storytelling with modern country flair.”
–Dir./Radio Accounts Lou Ramirez
Gavin Adcock, “Never Call Again,” June: “His debut album, Actin’ Up Again, became 2024’s largest majorlabel country debut from a solo male artist, earning more than 15 million US streams in its first week. With more than one billion global career streams and over 100,000 tickets sold, Adcock has built a fiercely loyal fanbase through his high-energy, rowdy live shows. His authentic storytelling and raw emotion earned him a nomination for New Male Artist of the Year at the 60th ACM Awards, setting the stage for his new single ‘Never Call Again,’ which impacts radio June 16.”
INDEPENDENT
Preston Cooper
Publisher/CEO Lon Helton lon@countryaircheck.com
Coordinator/Design & Production Addie Morton addie@countryaircheck.com
VP/Sales & Marketing April Johnson april@countryaircheck.com
Brian Kelley, Sunshine State of Mind Season Two, Chapter One, June 20: “The blue-skied followup to Season One (2021) is the ultimate summer soundtrack. Anchored in a Coastal Country vibe he calls ‘Palm Tree Country,’ the full-length album he co-wrote takes fans to a Sunshine State of Mind – are you ready?” –Sweet Talk Publicity
Whiskey Myers, Whomp Whack Thunder, Sept. 26: “Whiskey Myers is generating some of the most exciting music in the country-western genre. And rock, for that matter. And Alt-Country. And Americana ... I love ‘em.” Taylor Sheridan Chase Rice, new music soon: “Fully departed from his bro-country past and writing thoughtful country ballads and murder songs with the likes of Lori McKenna … he’s trying to do what creative people are supposed to: grow and change.” –Marissa Moss, Rolling Stone CAC
Exec. Managing Editor Caitlin DeForest caitlin@countryaircheck.com
Sr. Radio Analyst Chris Huff chris@countryaircheck.com
Manager/Graphics, IT & Administration Kelley Hampton kelley@countryaircheck.com
Exec. Radio Editor Phyllis Stark phyllis@countryaircheck.com
Art Direction Jerry Holthouse jerry@countryaircheck.com
President/COO Chuck Aly chuck@countryaircheck.com
artist and manager are in lockstep. And then there are times where artists just want to be on the show and don’t care what they do ... and nobody remembers it.
With coastal labels doing startups and seemingly more involved in their Nashville operations, are we regressing to a time when the local labels were just satellite offices for New York and LA?
I don’t know, but I hope not. I hope this group of Nashville-based label heads have the backbone to stand up and not give in to the whims. And it’s not all bad. There are ways we’re waking up to things we probably should have looked at already. Where I’m concerned is the A&R process, because that’s my pipeline. Are labels signing true artists or are they signing singles and there’s nothing behind the curtain?
We’re seeing a lot of that, and I’m not going to say there haven’t been lots of one-hit wonders in the past. But signing people specifically off social numbers clogs the system. There are only so many acts you can truly pay attention to and develop into superstars. When you sign someone, the clock starts ticking to a certain extent. You have momentum coming off of TikTok or Instagram and spend a certain budget ... but if it doesn’t connect, everyone’s going, “We need a hit!” I’m like, “Why didn’t you think about that before?”
There’s an act I got pitched and, after I agreed to the meeting, I was told there is no music. I busted out laughing and the attorney said, “Don’t worry about it. You’ll be impressed.” And I was, but when I heard the music the act had just started writing, they didn’t have anything. Had I heard those songs prior, I wouldn’t have taken the meeting. But they got signed because New York was in the game and the act has social numbers. The attorneys have gotten smart enough to take these artists to the coasts first, get interest up, and these Nashville labels are so afraid of having to do all the work and make 50 cents on the dollar, they’ll jump in and sign them.
So the acts get a couple million to sign, but the clock’s ticking. Money’s being spent and the shiny ball suddenly isn’t so shiny anymore. You’re looking down the road hoping there’s still something there.
Can an artist who develops at the rate of a Kenny Chesney or Luke Bryan make it in today’s world? Whether we recognize it or not right now, they’re out there doing it. The financials have just changed. If you’re 19, come to town and somebody offers you a million to sign, you don’t go, “Nah, I’ll just develop over here.” The question for labels becomes, when do you stop pouring money into something that deep down, you know you missed on? When does that drum beat get loud enough?
Is that sustainable?
It’s not. Certainly not for a Nashville label. I don’t know what the budgets are for New York and LA, but they seem to be just fine throwing money out the window. Obviously they’re making way more money than we are here, but doesn’t playing it that way clog the pipeline in each label? There’s contraction in the staffs, but it hasn’t stopped the number of acts they’re signing. You have three big acts who offset the mistakes, but the acts at the bottom who could have grown with some attention ... they flounder. It’s been that way for a long, long time, we’re just seeing it [more acutely] with outside players coming in. And some of that is really good if it’s bringing quality [industry] people to this town. I feel great about more smart people here if they have a vision. Doesn’t have to be Clarence’s vision.
With all of that and dwindling staffs at radio, do you have concerns about a diminishing of the sense of community in country music?
It’s pretty strong. We all build our own group. Mine are friends, but also mentors. When my staff comes down the hall here thinking I have the answer, 95% of the time I don’t. But I know somebody who does. “Give me five minutes,” and I’m picking up the phone. The day you think you know everything, bad things happen. You see people and think, “Smartest fucker in the world. Just ask them.” They know everything, but being curious is a fantastic thing. Pick up the phone. Go to lunch. I keep a list in my book of people I need to call because, if you don’t, they’ll fall out of your community. All of a sudden you haven’t talked in six, eight months. It’s easy to get too busy.
Pairing that nugget with your annual brainstorming meetings, and it seems you’re very intentional about getting off the hamster wheel from time to time. True?
[The late] Stan Moress hired me, and there was not an act he wouldn’t sign. Doug Casmus and I did day-to-day on, at one time, 13 acts. This was without cellphones and computers. Every night I went to bed having six or seven legal pads beside me. I’d wake up in the middle of the night going, “Oh, shit. Oh, shit.” Drove my wife crazy. But I learned so much from Stan, and he did me a solid. When I came to town, he said, “I’ll take you to every meeting with me. Don’t feel like you need to say anything and show how much you don’t know. Just sit there and listen.” So we’d go to a restaurant and there’d be Joe Galante, Roy Wunsch or Jimmy Bowen. Eventually, they know me because they’d seen me with Stan. When I came out of that job, the one thing I told myself is that I’d never be so busy that I can’t manage. Back to your first question: Is it looking around corners or dealing with the shit? My entire time at Stan’s, I rarely looked around the corner, and was never asked
THE INTERVIEW
to. We were signing at a fever pace and I was scared to death every day I was going to get fired. But it probably led to me being a better manager now.
Where does radio ultimately land in terms of its relative importance to this format amongst, socials, DSPs and the rest?
Since I came to town, I’ve heard of the demise of Country radio. It’s not going away. There are some other things in the recipe now, so you can’t just do radio. You can say you’re just going to focus on DSPs. Artists will say they don’t want to play the radio game. But ... yes, they do. When they have something that smells like a hit and it goes to radio and hits the top 10, it’s like you’ve poured gasoline on a fire. They’re like, “Whoa!”
I’ve got so many really good friends at radio, including from the days when I was tour manager for Exile. They struggle some days with economics, like we all do. But everything changes.
“The one thing I told myself is that I’d never be so busy that I can’t manage.”
What do you think when you see peers – Mike Dungan, Randy Goodman – stepping away?
I’m sad. I’m sad for that period of time when they were fantastic leaders and mentors. You couldn’t find two more different personalities than those two. But I look at the legacy they left behind. I look at the acts that Mike had signed when he took over Capitol, and what he added – Keith Urban, Chris Stapleton and others. And I look at Sony when Randy took over and there wasn’t a Luke Combs, Kane Brown or Megan Moroney.
Those two guys were built to run labels. Dungan’s got 10,000 stories of his experiences all over the country. Randy came at it differently, working with Tandy Rice, then Joe [Galante] and even a brief stint with me when Lyric Street went away. He hated that period. But he learned about management and took that back with him to Sony. All three of us go with our wives ... we vacation together. They’re really good friends, but taking that out of it, we’re going to miss their backbone and their musical sense. I look around and don’t see anybody like that.
I guess it happened when [former label heads] Rick Blackburn, Roy Wunsch and Jim Ed Norman left. Then Espo [former Warner head John Esposito] leaves. Who’s going to fill that void? Me? Oh, shit. No, I’m not the guy for that. I am the worst at being in the corporate world; it’s a lot harder than it looks. Having bosses on the coast and balancing their sensibilities versus your own versus the town as to what we should be signing ... what’s going to work and what’s not. Every now and then a Zach Bryan, Tyler Childers or Sturgill Simpson comes in, but there’s still a core thing this town is really good at.
I would guess people have asked you about running labels over the years.
I’m just not the guy. I wouldn’t have lasted six months with the pressure from people calling me all the time: “You need to sign this. Are you paying attention to that? Is this on your radar?” Yeah, it’s on my radar, but it’s not ready. “We’re getting ready to make it an offer.” Why? Who am I then? If that’s so, why are you calling me?
Are you off all the boards now?
I’m on the Country Music Hall of Fame Board that meets once a quarter, which feels much more manageable. I was really involved and loved being chair of CMA’s TV committee. I wanted to be on the executive committee because I wanted to be in on decision making, not just show up.
After 20 years, you get to a certain spot where my voice was louder than it felt like it should have been. That was okay when it was me, Dungan, Troy Tomlinson – people you’ve done it with. But when you have people who are just joining the board who are 10 times smarter than I am, but might not want to speak up because Clarence said something ... You know me. When I speak up, I fucking speak up. I went to [CMA CEO Sarah Trahern] and said, “It’s not fair.” I looked around and saw Jay Williams, Tyne Parrish, Jennie Smythe and Mary Hilliard Harrington – they need to take this thing. This is their journey, not mine. People ask if I miss it. I do not miss board and committee meetings. I miss the people. Talk about community ... when you step into that board meeting, there are 50 people you haven’t seen since the last one. And you get to reconnect.
How much longer do you want to do this?
Till I freaking die, probably. As long I can do it at a high level and have fun doing it. Every day – not some days – every day I come in here I’m looking forward to it because I have acts that allow me to think out of the box. We can try things without knowing if it’s going to work. This Brooks & Dunn Reboot thing has kind of reenergized me for all my acts. Kix and Ronnie gave me a lot of leeway on that. We were a great team along with Randy Goodman, Sony and my bunch. We had a ball. We would go to the studio and watch young artists’ eyes light up at being there with Kix and Ronnie. That’s why I got in the music business – that enthusiasm and energy. I give those two guys so much credit for letting me be a fucking carny. CAC
