FOUNDER / PUBLISHER ZAK KUHN
GENERAL MANAGER BLAIR MILLER
HEAD OF SALES ALEX PARRY
MANAGING EDITOR HANNAH BARNES
DESIGN GRACE CAIN
COVER PHOTO TAKEN BY STEPHANIE SIAU
COVER PHOTO COLORED BY J.C. ROBBINS
CONTRIBUTING WRITERS BRITTNEY MCKENNA JADA WATSON
“HAND ME THAT PINK DRILL!”
My shoes were ruined the day we shot this cover. It had just rained and we were standing in MUD! Sometimes you have to get your hands dirty — or feet (no free pics) — to get something great done. That’s the theme of this issue. On this cover, you see two artists who have experienced what most never will. Number one songs, sold out arena shows, adoring fans, the list goes on. But Drew Baldridge and Alexandra Kay built their careers and success ON THEIR OWN. Independently. Sure, both acts have found a new home at BBR Music Group/BMG Nashville, but to lay the groundwork of their careers independently, without a major label, was a struggle. These two built it from the ground up.
70 pages of print does not happen overnight. I could not have pulled it off without the dedicated team at TheNashvilleBriefing , who worked day and night. Thanks to all our advertisers who continue to trust us to share their messages, and thanks to the CRB Board and Country Radio Seminar for letting us debut our latest print issue at CRS for the second year in a row.
To reference a quote from my interview with famed music critic Bob Lefsetz from our last print issue, “Sex is the number one experience, but a great record is number two.” That has nothing to do with anything I said above, but it is a good line. So let’s keep making great music and not be afraid to get our hands (or shoes) a little dirty while chasing our dreams!
Let’s dive in! - Zak (Founder, The Nashville Briefing)
U.S. News – Best Lawyers has named us “Law firm of the Year” in Entertainment Law – Music eight times. And in Nashville, Loeb & Loeb has been the firm to know for over 30 years.
From talent and content creator representation, to sophisticated M&A transactions and IP counseling, we work with all facets of the music business.
With local roots and international reach, we’re ahead of the curve, helping clients reach new heights in an ever-evolving industry.
Set your sights higher. We’re all connected.
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Warner Music Nashville, VP Radio
Made to Stick by Chip and Dan Heath
Help my 1-year-old son feed our dog. It’s his favorite thing to do.
Love my Nespresso Vertuo coffee
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Riser House Entertainment, VP of Promotion
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Large with cream and vanilla swirl.
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Columbia Nashville, Sr. Director Promotion & Artist Development
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Big Machine Records ,VP of Radio Promotion
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Chase McDaniel
If you’re new around here, let me introduce my podcast, The Zak Kuhn Show. Every week I sit down with leaders and legends to learn their stories and gain their insight on the biz. Here are two interviews with two massive players:
Taylor Lindsey is the Chair and CEO of Sony Music Nashville. She took over the position at the start of this year after longtime Chairman and CEO Randy Goodman retired from the role. Lindsey’s current title seems like a natural fit, but when she was first offered a position at Sony in A&R, she was hesitant to take the job. Read the interview to find out why.
Cody Alan can be heard every morning as the host of SiriusXM’s The Highway. But if you thought he only had a face for radio, think again. He also hosts CMT’s flagship music show, Hot 20 Countdown, where his face can be seen weekly. Keith Urban says Cody Alan “makes Ryan Seacrest look like a slacker.” I’m not going to argue — Cody is the gold standard when it comes to country music personalities.
The following are highlights from my conversations with both leaders. If you want to watch my full interviews on YouTube, scan the QR code. If you want to lean into the coolness of print, stay right where you are!
- Zak Kuhn (Founder, TheNashvilleBriefing)
LISTEN TO THE PODCAST ON YOUR FAVORITE STREAMING
ZAK: I heard you say in an interview once that you were originally nervous to work at Sony because you didn’t want to work at a “big bad label.” What changed your mind?
TAYLOR: I started my career in music publishing and really had a passion for songwriters and the journey of a song. I obviously knew the impact that artists and labels had on that journey and saw firsthand how record labels and artists changed songwriters’ lives. But I would just hear these stories about how certain labels would treat artists, or you hear that they’re just a bank, and all these other things. I really struggled with accepting the job.
I was at BMG Publishing at the time. My now-husband, Derrick Southerland (then-boyfriend) and my sister, Hillary Lindsey, were both writers there. I was excited and happy to be working with them. I loved the roster of artists and other writers that I had and I wasn’t looking for any kind of a job change. But when Jim Catino called me and offered me the job, I prayed about it and talked to my sister and my now-husband and just told myself, “OK, it’s a two year contract. I can do anything for two years, and I’ll be a better publisher, having known the other side.” That other side being firsthand experience of the inner workings of a record label. So that’s really what it was. It was just about going, “I can do anything for two years. I can stick this out. I’ll learn a lot. I should just bite the bullet and do it.”
ZAK: So you really thought you were going to go back to publishing after two years at the label?
TAYLOR: Yes. But I’m the kind of person that goes 100% in. I knew it would be an undertaking. When I commit to something, I commit to it. I knew I wasn’t gonna go in and half ass it, but I definitely did not expect to extend that contract after that two year period. But I fell in love with it. I still love the writers and the songs, but I fell in love with the journey of an artist and the fast pace of a record label and how there’s no one day that’s the same and there are challenges every day. I got to use a different part of my creative brain and my business brain. There was just kind of no question at the end of that first contract if I would stay or not. It just happened.
ZAK: You are now Chair and CEO of Sony Music Nashville. What have you learned so far about how you do this job?
TAYLOR: I think it’s more about what I’m showing people as opposed to what I’m learning about how I do it. What I know about myself is that I lead with empathy, first and foremost. I think that not everyone has had an opportunity to see that. Obviously, I’m very competitive. I want to win. I know hard decisions have to be made. But in every decision, I consider the human element, the impact of that on the people, the impact of that decision on the artist, their music, their art and their careers. So I think it’s just more about how I’m showing that to everyone around me.
I mean, we’re in week four now? Randy Goodman kept me close and really helped me understand what the role would be, long before I think I even realized that it was a possibility that I would have it. To be fully transparent, running a record label and being a CEO and a chair was never an overarching career goal. It was never something where I sat back and said, “One day I’m gonna do this.” That’s not to say that I’m not grateful and here for it because I absolutely am. The chips just kind of fell where they fell, and it just happened.
But because of being able to watch Randy and Jim Catino and Ken and Steve Hodges at the time, and all of the other executives around me, I always had an eyes wide open view to what this would be. And so much of it also is being able to make it what I want it to be. That’s kind of the phase I think I’m in right now — if it ain’t broke, don’t fix it. But for the things that need a little tweaking, I have a white board to do it. I can create anything. Ken Robold and I are just dreaming up what we want this label to look like and how we want it to function right now. It’s fun and we’re looking at challenges as opportunities.
ZAK: Where do you think there’s room for innovation within the label?
TAYLOR: It’s everything. I don’t think that any label at any point can look at any policy or how they run any part of the company and feel like it’s 100% completed. There’s always room for growth and innovation. The marketplace is changing so rapidly and what people are looking for out of a major label partner is so unique these days to their own individual artistry and their own individual career goals. We have to just be more flexible overall. Yes, cultural changes have to happen. Yes, pushing boundaries in the digital marketing space has to happen. We have to think more about outside of social media as well. What are we relying on and what are we doing? What can we do? All of those things. We have to think about things from a policy standpoint and make sure that our policies aren’t outdated as technology in the marketplace changes. It’s just across the board. We’re assessing every inch of the label right now.
ZAK: How do you help keep an artst like Kane Brown at the top of their game?
TAYLOR: Generally speaking, so much of that is just sitting down with the artist ahead of the curation of the project to say, “What are your goals for this project? What do you want out of this project?” Because if we can clearly define the artist’s vision, we can clearly define what they need and what they’re looking for. That makes all of the other pieces easier to attack.
For an artist like Kane specifically, in my opinion, his new album The High Road is the best album he’s ever made. He really poured so much of himself creatively into this music. Both from writing songs and taking outside songs. Dann Huff produced. Margaret Tomlin and Chloe Weise Donovan helped A&R. Kane really leaned in with them to make sure the best songs were there and that they were songs that told his story on where he currently is in his life. Martha Earls and Nikki Boon have been amazing partners. Our marketing team and Parker Stacey, who’s leading the charge there, has come up with so many unique ideas and plans and strategies. Things we’ve never done before with any artist to try out on Kane for this record. It’s not so much about going, “OK, we need to just tell Kane to post, post, post.” It’s not about that. Yeah, he has an opportunity to have a direct impact and a direct relationship with his fans in a way that we can’t as his label partner, through his socials. But there are so many more pieces to the puzzle for an artist and for Kane specifically. When you look across what our marketing plan is for the album, you’ll see that it’s very healthy.
We’re using our reach for every demographic, whether they’re a 20-year-old kid in their college dorm or whether they’re a 55-year-old guy in the middle of nowhere somewhere in the United States.
ZAK: Where do you think the next star in country music is going to come from?
TAYLOR: I’ll never tell [laughs]. We think about this a lot. But a lot of it for us is going back a little bit to the gut in A&R. We have to obviously look at the data and we do, of course. I’m not dismissing the analytics. At the same time though, we are very much at a place as a company where artist development is one of our top priorities. Therefore, we are not going to sign moments, we are going to sign careers. And so that means that our A&R scouting, and where we think we’re finding those artists is different these days. But I can’t tell you that! That’s like a trade secret.
ZAK: If you were trying to sign a young artist who was having similar reservations that you had when you first came to Sony about joining a big label system, what would you tell them to put their mind at ease?
TAYLOR: I’d first tell them that I also had reservations about a major label system. But I would tell them Sony creates partnerships with artists, first and foremost. This isn’t about us as a label telling an artist who they should be or what they should do, what they should look like or what song they should cut. It’s about taking their vision as their partner and helping expand that vision and grow that vision with them.
I would also walk them through some of the things Sony can help with and offer. Yes there’s a checkbook. That’s helpful for a young artist to grow. But also, you have a team of 80+ people with decades and decades of experience. When you combine all of those people’s time within a label system, what you get from there is a lot of education. You have an opportunity to say to an artist, “Hey, you can go down this path and this could be the outcome because we’ve experienced this, or you could go down this path and this could be the outcome because we’ve experienced this. Also, here’s some knowledge that you may not know of and here’s some data that we just figured out.” It’s all of those things to lay out in front of an artist to say, “We will follow you down whichever path you take. Where do you wanna go?”
I don’t feel like independent artists can have those resources and nor should they. They should be focused on their art and their fans and their socials and touring and all of that stuff. But to me, that’s something that really is an invaluable part of what a major label system can offer.
ZAK: Cody, walk me through everything you do?
CODY: So SiriusXM The Highway, I do the morning show every day live. That is a 6 a.m. to 12 noon Eastern Time commitment. So I’m there early every morning. That’s my focus during the week for them. I also do a lot of SiriusXM’s country music interviews with artists and I also host most of their specials if it involves country music. For CMT, I host the weekly Hot 20 Countdown, which I tape in the afternoons, or travel for shoots on weekends. Sometimes it’s spontaneous. For example, I just got a call today from CMT that was, “Oh, we possibly have Dolly tomorrow.” I’m like, “Dolly tomorrow? Can do!” In addition to on-camera tapings, I do some CMT voice work weekly. I’ve also been doing a few specials when they pop up, like the CBS New Year’s Eve Big Bash, which has been incredible to be a part of the past few years.
ZAK: How do you feel that most of the content you create every day for SiriusXM ends up behind a paywall and not archived anywhere? Does it change your strategy at all?
CODY: Doesn’t bother me. There definitely are teasers out there and I try to post stuff regularly to lead people to the app or to having a subscription to listen. But I actually think there’s a little more freedom with it. We’re not in the constraints of ratings that terrestrial radio has. And I’m not thinking, “We’ve got to go to a commercial break in 30 seconds so we have to wrap this up.”
Our show breathes a lot more than I think a conventional radio show does. There’s a lot more oxygen to do fun things and have more freedom with whatever direction we want the conversation to go. The only strategy shift is the challenge of creating content people would want to pay for. That bar is high.
ZAK: How do you balance social media to grow your own personal brand, but also to enhance the brands at CMT and SiriusXM?
CODY: There is a delicate balance. I use the platforms to let people know where I’m found, what’s happening on the shows and hopefully tease them to want to tune in. In regards to the personal brand, I think that’s the more difficult part for anybody on social media. I’m lucky because my job is doing cool things a lot of people want to see. So it’s that fine line of being authentic and personal, while at the same time promoting along the way. The challenge is also that it’s always changing, and I’m learning more all the time. That algorithm, am I right?
ZAK: I’ve noticed that in the past handful of years, you’ve gained close to 500,000 followers on Instagram. Where did you see the biggest leap?
CODY: I think it’s a combination of things. Country music is certainly hot. I think being a face and voice who’s been around a little while and is perhaps trusted by fans, that probably means something. I’ve also been able to create really unique content. If you think about the CMT stuff, there’s no other TV show that does what we do — a weekly country music show with interviews and news. I’ve been able to share some of the content from that and post it on my social media. Then you add the content from a juggarnaut
like The Highway, and even if it’s just short clips, it’s still impactful. Also, because I’m a bit different, perhaps that has led a different audience to me. The LGBTQ community has embraced me, which has been great. But I think most importantly, with every post I try to show some of my personality and authentic nature, which I hope translates to more followers and interest. I also try to keep the reps going and post stuff consistently. Even now, I’m thinking, “Okay, let’s not be stale. What’s the next thing we could do that’s unique or interesting?” You know, hot, cute, sexy people get on social media and have big numbers. I don’t consider myself to be one of those things, so I have to be more creative.
ZAK: What are you talking about??
CODY: Ha! You have to look for new ways to grab people’s eyeballs. That’s my point. No matter who you are, you have to look for ways to get someone’s attention, for them to want to be a part of your tribe or group. And that’s super challenging still.
ZAK: How do you think about making someone a Cody Alan fan and not just tuning into your content because you’re interviewing Keith Urban or Lainey Wilson?
CODY: I think number one, it’s about trust. The fans who are watching and stick around trust you to not only ask great questions, but to somehow bring the star they love to life and in a different way than they have seen before. I’m always looking for ways that I can ask a question. I’m listening to what an artist I talk to is saying, and then I try to react in a genuine way. I’m looking for the curiosity questions along the way that genuinely hit me. “I’d love to know the answer to …” That kind of thing. You’re really good at that too, Zak. Those are the things that I think make people want to come back to you. It’s challenging to pull that off, but that’s the job.
ZAK: When you got that call to interview Dolly tomorrow, do you go, “Crap I wish I had more time to prepare?”
CODY: I think I like the pressure. Obviously, I like to be prepared and have an idea of what things I want to talk about and what things she wants to talk about. I mean, she’s Dolly. She decides what she wants to talk about! But I also kind of open myself up to, what’s my personal experience with Dolly? What are the things I’m genuinely curious about that I haven’t asked before and that might be fun to ask this time? And I think that builds that trust I was talking about with the audience. It builds that kind of genuine friendly warmth and fun you want with someone you’re watching or listening to. If I had to narrow it down, I think that’s probably the first reason people become fans and say, “I kinda like that guy. He just seems warm, fun, and friendly.” And I am, or try to be. But that good first impression really allows me the space to then create moments that are memorable and entertaining. Not just Mr. Nice Guy.
ZAK: What’s your goal within the first two minutes of sitting down with someone like Dolly to establish a tone and make them feel comfortable?
CODY: It’s different with every artist, honestly. They want you to show that you have thought through their work and
what they’re there to sit down and talk about. That’s why with some artists I’m careful to start with some of the business. And then other artists, I kind of go, all right, you know me, I know you, let me try to relate in some connective way like we always have. So I’ll bring up the last visit we had, or maybe something I saw on social media or something I related to from a lyric. With most artist interviews for me, it’s about making a personal connection first and then getting to the business.
ZAK: Any advice for a new artist coming into The Highway on how to leave a lasting impression on the show and be a good guest?
CODY: Bring snacks! Kidding. I would say be yourself, keep it real and know your story. Everyone’s got a journey and the audience wants to know about yours. So any life experience that makes you memorable, be prepared to share. I feel like my job as an interviewer is to find out what makes the artist most interesting. Outside of the music, it’s always those fun or real life moments that make an artist stand out. One example is Kane Brown recently telling me that he always wears socks! Like everywhere! Even to the beach. That was a fun reveal and made for a great, memorable moment. Also relax and just be yourself. Don’t try too hard. At the end of the day, it’s a conversation, right?
ZAK: You say that you’re not a “gotcha” kind of interviewer, but you’ve got one of the biggest platforms in country music and you would be impossible for people to write off. Don’t you think “gotcha moments” get heat, get clicks, get attention? Why is that not your style?
CODY: Because it’s not what I’m chasing. I’m not in it for a quick blitz of attention for clicks and followers. I’m much more interested in being a long-term trusted guy who does great, entertaining interviews. Thankfully, that approach has worked! I probably could be more of a sensationalist, but it’s just not who I am. I like to think as an interviewer I’m somewhere between Jimmy Fallon and Andy Cohen, but the truth is, I’m a lot more Fallon.
It comes down to what your intention is. Is the intention to create tension to make someone feel uncomfortable? That’s not what I do. I’m someone who might be curious about things but asks them in a professional way that is not about me creating some sort of TMZ tense moment just for the sake of accelerating my social media clout. That would read as disingenuous to my personal constitution. I don’t think it feels good to the audience either. I’d rather be the guy that can walk through a difficult question in a way that feels real and like a natural conversation. I’ll let the artist decide where they’re going to take something. A good example of this is we had Warren Zeiders in the studio. He’s out there on social media and is a bit of a sex symbol, right? He was on Kelly Clarkson’s TV show and Kelly got flustered over his shirtless pic. It was hilarious! So instead of asking him about girlfriends, I asked about that Kelly moment, and he took it from there and told us he did not have a girlfriend. I got the answer, without having to make it uncomfortable for him, me or the audience.
ZAK: But don’t you sometimes feel pressure when there is a moment happening in a media cycle? Like at this moment
people are speculating that Megan Moroney and Riley Green are dating. If say, Megan came on your show, wouldn’t you have to bring it up?
CODY: Absolutely! One way to do that question would be to relate it to one of her songs where she talks about guys. I would maybe look for an opening there in a lyric where she’s maybe being flirtatious. I could also ask something like, “Hey we’re hearing these rumors, do you want to clear any of this up?” And let her take it from there. Again, it’s all in the framing of the question and how you ask it. I mean, I want Megan Moroney to be around for a long time. I don’t want to harm her reputation or anything like that or make her feel tense or uncomfortable. Why would I do that? I want her to have a great experience, and I want her to come back on my show for years to come.
ZAK: Once at CMT, you had an interaction with Larry King, who gave you a little advice. What was that interaction like?
CODY: He was so cool and exactly like I expected him to be. He was the same guy he was on TV, suspenders and all. That’s why he was so successful. And I think the people who are real on radio, TV, social media, whatever, their authenticity always shines through. With Larry, he gave me a great line that I used in my book. When I wrote Hear’s The Thing, I wanted to wrap my life story and wild country music adventures around a theme and idea that might be helpful for other people. One thing I’ve genuinely learned, that is so helpful, is the art of listening. He said to me, “I never learned anything while I was talking.”
And I thought, “Whoa, that’s pretty great,” and a very true statement for me. My whole life has been built on listening — in interviews with artists, hearing music or the listeners on the radio, and finally listening to my own inner voice when coming out.
ZAK: Wrapping up here, you are like the Crock-Pot Santa for the stars of country music. You have gotten Crock-Pots for Taylor Swift, Kelsea Ballerini and others. Why?
CODY: Well, everybody needs one, Zak.
ZAK: I’ve never used one in my life. Don’t send me one! I’m not fishing for that. I won’t even use it. I just want to know why you think it’s the perfect gift.
CODY: I don’t know why you wouldn’t use it. You put whatever you’re cooking into the Crock-Pot in the morning, and then eight hours later, when you’re home for dinner, after work, it’s all ready to go. And it takes very little cooking knowledge to be able to use it. It all started as a joke with Taylor Swift. I was kind of teasing when I gave it to her, but it became this sort of bigger thing. Blake Shelton happened to hear that interview of me giving the Crock-Pot to Taylor Swift and she was like, “Oh my God, thank you so much.” She had just bought her Nashville penthouse. She hadn’t furnished it yet and had no appliances or whatever. Blake heard that and every time I’m with him nowadays, he will bring that up. He’ll be like, “You’re the guy who gave Taylor Swift a damn Crock-Pot, man.” And so there is this ongoing joke. And then of course, years later, I gave Blake a Crock-Pot as well, because he kept begging, and Kelsea and others. It probably goes back to my Southern roots a little bit and just sort of loving the coziness of it.
ZAK: What’s been unsaid?
CODY: You know, one thing is that I feel like I’ve rediscovered recently a love for our business again. In this sort of voicetracked, AI, machinery radio world, some of the humanity and magic is being eliminated. Slowly it seems we’re losing some of the human connection that makes radio great. It’s also our best differentiation from the streaming competition which just churns out playlists. And I’ve realized that again since I’ve been at SiriusXM. If you sat in our studio one morning, it would blow your mind how the audience is there and very interested in interaction on the phones and making a human connection. They want you to say something that means something to them, and they want to be a part of it. I hope we don’t lose sight of this in the future.
Radio is the original social media in so many ways, and the SiriusXM experience of being live and in person and actually talking to listeners every single day has given me a fresh perspective on the amazing people out there. They want you to be there for them and be their friend and entertain and inform them. It’s just been so fun to be that guy again. It’s why I got into the business in the first place.
“In America, the president reigns for four years, and journalism governs forever and ever.” - Oscar Wilde.
The internet says that’s an Oscar Wilde quote. It probably is, but who can say for sure? One thing we are sure about is that these media companies are leading the country music conversation on the internet. Get to know them all! - Zak (Founder, Nashville Briefing)
EST. 2016 | FOUNDED BY SHANE HUSTON
EMAIL: ALLCOUNTRYNEWS@GMAIL.COM
All Country News is an independent country music news and entertainment outlet featuring the hottest news and newest music. Our original programming consists of daily written editorial on allcountrynews.com, a weekly newsletter sent to country music industry insiders and fans, the weekly All Country News Podcast, the monthly Country Confidential Podcast, and a Spotify Playlist updated every Friday titled “New Music Roundup by All Country News.” With over 1 million followers across Instagram, Facebook, TikTok, Threads, X, and YouTube - All Country News reaches over 30 million country music fans on social media every single month. We encourage anyone and everyone looking to AMPLIFY their music, organization, or event to the All Country News audience to reach out to our welcoming team!
EST. 2015 | FOUNDED BY STEVE GAZIBARA AND WES LANGELER
EMAIL: WES@WHISKEYRIFF.COM
Whiskey Riff is a leading online media brand and lifestyle company built on country music, the great outdoors and American culture. Our unapologetic approach to creating content is rooted in authenticity, passion and hard work.
EST. 2019 | FOUNDED BY LAUREN BLACK AND RED LIGHT MANAGEMENT
EMAIL: LAUREN.BLACK@COUNTRYNOW.COM
Country Now is the ultimate destination for country music fans, delivering the latest news, exclusive interviews and trending stories from the world of country music. With in-depth coverage of superstars to rising artists, including breaking updates on music releases, tours and awards shows, Country Now brings fans closer to the stars they love. We are committed to reporting with integrity and authenticity while consistently promoting country music in a positive light. Country Now stays relevant by staying on top of what’s happening in country music, from breaking news stories and trending topics to discovering new and emerging talent.
EST. 2022 | FOUNDED BY DYLAN LOWE
EMAIL: THECOUNTRYWIRE@GMAIL.COM
Keeping country music fans up to date with all of the latest news regarding their favorite artists and country music as a whole. While The Country Wire is centered around all of the latest news and trends around country music, it is a priority to pay respect to past country stars as well.
EST. 2024 | FOUNDED BY RICH ANTONIELLO AND CHRIS RUEDIGER
EMAIL: INFO@FORT-NASH.COM
At Fort Nash, we re-imagined how the country music fan consumes all things country culture. Through our network of leading voices in the country space, we will deliver high-quality media in the country music discovery, country music news, country lifestyle and country industry news sectors. We specialize in premium content development that is distributed and amplified through our network of media platforms and partners. We create, curate, distribute and lead the top conversations in country culture. We invest in premium IP and original content across our network. Our original content spams across four main sectors: music discovery, lifestyle, humor and industry news.
EST. 2020 | FOUNDED BY DOM AND DONTE’ DIPONIO
EMAIL: LOWKEYCOUNTRY615@GMAIL.COM
Lowkey Country keeps country music fans engaged with a wide variety of content including breaking news, upcoming releases, new music, lyric posts, memes and discovering the next big thing in country music. We are a one-stop shop for everything happening in the country music world. We differentiate ourselves by focusing on helping rising artists gain visibility and grow their careers by connecting them with a wider fan base through our platform. One example is our recurring monthly segment, “Lowkey Artist on the Rise,” which highlights up-and-coming talent and provides additional exposure to help advance their careers. This is just one of the many ways we support and amplify rising artists.
EST. 2020 | FOUNDED BY OLIVIER ZUCKER AND DAVID JACOBS
EMAIL: HEYTHERE@HOLLER.COUNTRY
A multimedia platform specializing in country, Americana and roots music, Holler stands apart because it’s dedicated to telling country music’s complete story — from mainstream stars to rising indie artists and bygone legends. Unlike traditional country music media that focuses solely on commercial success, we dive deep into the genre’s rich history, regional variations and emerging voices. We believe country music deserves coverage as nuanced and diverse as the genre itself, making us the destination for fans who want to go beyond the hits and explore country’s full cultural impact. Holler stays at the forefront of country music coverage by actively championing both established and emerging voices across the genre’s expanding spectrum. Our editorial team tracks not just mainstream Nashville but the thriving scenes in Texas, Oklahoma and beyond. We identify rising artists before they break, analyze emerging trends as they develop and connect today’s innovations to country’s rich traditions.
EST. 2017 | FOUNDED BY NICK TRESSLER AND JACOB GUERTIN
EMAIL: INFO@RAISEDROWDY.COM
Raised Rowdy is more than a brand — it’s a lifestyle for music enthusiasts who live for the energy of live shows and the camaraderie of a rowdy crowd. Raised Rowdy champions rising artists and authentic music. From hosting events like writers’ rounds and full-band showcases to creating premium apparel that’s festival and bonfire-ready, Raised Rowdy thrives on building a community that connects fans, artists and industry insiders. With a focus on discovering the next big thing in country and Americana, the brand’s content captures the pulse of the scene while keeping things fun and relatable. At its core, Raised Rowdy celebrates the tried-and-true spirit of music lovers who embrace every moment, whether at a bar, a tailgate or under the stars at a festival. Unlike traditional platforms, Raised Rowdy doesn’t just cover music — it lives it.
EST. 2010 | FOUNDED BY TOWNSQUARE MEDIA
EMAIL: BILLY@TOWNSQUAREMEDIA.COM
Taste of Country exists to be the ultimate destination for country music fans, providing news, analysis and entertainment with a deep focus on country music and lifestyle content. We aim to keep fans updated on the latest in country music, offer insightful commentary and introduce hidden gems from the genre’s past. Our platform is set apart by exclusive access to A-list artists, original, contextualized content, being knowledgeable yet approachable and a deep connection with our audience.
“Being on the road and constantly touring, fitness has become a big part of my routine. It helps keep me grounded and gives me a chance to take time for myself each day. It’s not just great for my physical health, but it also boosts my mental endurance and well-being. I like to mix things up, whether it’s playing baseball, hitting the golf course, strength training, walking my dogs or going for a run. For this workout, I wanted to share a routine with strength and mobility in mind and exercises that support the body’s needs on stage — whether it’s stamina to keep up during a performance or the strength to support the body through long days of travel and practice. Fans can adapt this to their own needs based on their fitness level — just make sure to start light and work up gradually!” - Riley Green
• Stay consistent: Don’t let the busy schedule stop you. Even if it’s just 30 minutes, consistency is key.
• Form over weight: Always prioritize form. It’s better to lift lighter with proper form than to go heavy and risk injury.
• Recovery matters: Sleep, hydration, and mobility work (foam rolling and stretching) can make a huge difference.
• Be active every day: If you can’t hit the gym, get outside. Whether it’s walking your dog, hiking or a quick bodyweight workout at home, stay moving.
Riley Green’s most recent single “Worst Way,” is out now. His “Damn Country Music Tour” kicks off March 27 in Abbotsford, B.C., so he’s in the gym all the time these days getting ready for it. If you want to look like you love me, better start pumping now!
Exercise routine courtesy Riley Green for The Nashville Briefing Consult with your physician before beginning this or any exercise program. Before performing any exercise program remember to think about your current level of physical health.
courtesy Riley Green
If you’re visiting Nashville for the first time, or looking for some new spots to check out, Tayler Holder has got you covered. His latest single “Dyin Flame,” dropped November 21st and has amassed over 5 million streams. He’s currently on the Hits the Roof Tour with Tin Roof and is getting ready to join Warner Music Nashville artist Chase Matthew, as the special guest on his 2025 European Tour. The point is, he knows the local spots you’ll want to hit. Keep reading!
Best spot in Nashville for breakfast?
I’m not going to lie, I love First Watch. I know it’s a chain and not a local Nashville spot but that is my favorite breakfast spot all over. Can’t go wrong with the Million Dollar Bacon.
Best spot in Nashville for coffee?
My favorite spot right now is The Well. Super easy to go and grab a cup before or after any of my writes.
Best lunch spot?
Bar Taco hands down. It was the first place I ever had lunch in Nashville and I’ve loved it ever since.
Favorite hidden spot in town?
I think I recently found the best burger spot in Nashville. It’s a food truck next door to Basement East called Bad Luck Burger. It might be one of the best burgers I’ve ever had.
Best date spot?
Can’t go wrong with Hal’s. Across the board — their service, their food and the little band at the entrances. It is by far my favorite spot for date night.
Favorite late-night food spot?
I love Whataburger. Being from Texas, it definitely will always be the go-to for me.
Where do you get your hair cut?
I actually get my hair cut at my house. I have a friend who has been cutting hair her entire life and she always gets me right before an event or before we go on the road for shows.
What’s one thing a tourist should not miss while in town?
I hate this answer so much but it just has to be Broadway. It’s such a crazy place that always has stuff going on. It has so many options and plenty of live music.
Favorite place to record music?
My favorite spot to record is my house. I’ve been working on a studio for over six months and just finished it up. I got to cut the vocals for one of my upcoming singles here and it’s the most excited I’ve ever been for a song.
Isabella Rosalen is a celebrity hair, makeup and grooming artist with nearly 10 years of experience. She is currently Director of Image and Style at Big Loud Records in Nashville and works across the entire roster of superstar clients. Read on to find out the best cover-up for pimples and so much more!
What is your creative process and how do you create a unique glam look that aligns with an artist’s branding?
For my creative process, I like to talk personally with artists to discuss their upcoming projects and hear any creative input. It’s extremely helpful to connect with their wardrobe stylists to see outfit selects for projects, to have a good understanding of colors, textures, etc. From there, I usually create a mood board and/or consult with the artist on my ideas. If it’s new music, sometimes it’s helpful to hear samples to really understand what the artist is trying to embody with their look. When they’re creating new music, that usually means evolution in their personal brand and image as well.
What is the one male makeup product in your kit you always find yourself reaching for?
Translucent powder! A kit must-have to control oil and shine.
What’s a beauty trend you’re loving right now and how do you incorporate it into your work?
I feel like the last two years or so have been all about “natural glam,” so it’s about finding a balance between “show glam” and “natural glam.” I have been focusing a lot on skin preparation before makeup application and that makes all the difference when you’re wanting long-lasting makeup and a fresh glow!
How do you ensure that makeup holds up under stage lights, cameras, or long performance hours? It’s all about the skin preparation prior to makeup application along with an amazing setting spray. The setting spray I can’t live without is the ONE/ SIZE On ‘Til Dawn.
What’s another tool you can’t live without right now?
I cannot live without the Real Techniques Mini Miracle Concealer Puff. It’s the BEST for setting under eyes, doing little touchups, liquid highlighter, etc. It’s very multi-purpose and a must-have in my kit right now.
What’s your favorite hair product for men and women?
My favorite women’s hair product is the UNITE TEXTURIZA Spray. It’s the best for creating texture and volume! My favorite men’s hair product is UNITE GO24/7 Styling Cream. It’s great for creating a polished look or texture since it has flexible but buildable control.
What’s the best way to do your makeup on a budget?
I think getting products that are multi-use is a great way to be more conscious of cost. Having a product that’s safe for eyes, lips and cheeks will not only save you money, but space in your makeup bag too! My favorite all-in-one product is NUDESTIX Nudies.
What is one thing that is misunderstood about what you do?
That there is more to glam than just hair styling and makeup artistry. Every look is more calculated than just picking a fun eyeshadow. As someone who does glam, you are a lighting specialist, scientist, photographer, therapist (lol), marketing guru and so much more. You must have knowledge of products and the effects they will have on skin and hair and in what lighting. There is a marketing strategy behind each look that includes considering what will reflect the artist’s brand the best. You truly don’t “just do glam.”
Best cover up for pimples?
I love a good medium/full coverage concealer. My favorite right now is the Makeup by Mario SurrealSkin Awakening Concealer. Pimples and texture don’t go away by covering them, but this will hide the redness and irritation.
Erin Kinsey has amassed over 110 million streams across her entire catalog. But does she have good dating advice? Keep reading to find out! These questions were submitted by our very own Nashville Briefing readers and fans of Kinsey!
What is a green flag for you?
A huge green flag for me is someone who is confident without being cocky and can either be the life of the party or let someone else take the lead. I think it shows how much respect and awareness someone has when you see how they act in a group.
What is a red flag for you?
Well, one red flag is someone who cannot read the room. Another one is someone who can’t listen. I feel like you can tell when someone is actually trying to hear what you’re saying versus when they’re just thinking about what they’re going to say when you’re done talking.
How do I make a subtle move on my crush?
Finding reasonable excuses to reach out to someone and talk to them is always a good move. Telling them you saw something you thought they’d like, following up on something they mentioned they were doing or had going on, or just being bold and sending that “Hi” that can lead to more conversation!
What gives you the ick from a person you’re dating?
An instant ick is someone being rude or unkind. To service workers, to strangers, to the dog, there’s just no need. It can really change how you view someone. Also socks and sandals. Very hard to come back from that.
Has the “foundation” of dating changed forever because of social media?
Social media has definitely changed the dating world. Seeing everyone’s highlight reel can be misleading, making you feel like your relationship—or even yourself—aren’t good enough. But at the end of the day, what truly matters is being happy and feeling safe in your relationship. You’re the one living that reality, both online and offline. So why worry about others’ opinions when they’re only seeing a tiny piece of your life?
What’s more important, instant chemistry or a connection that grows over time?
For me, I love a connection that grows. I haven’t been in a place where I need to rush to be in a relationship just for the sake of being with someone. But it would be untrue to say there doesn’t need to be that instant attraction, at least a little! I’ve learned that for me, I want the person I’m dating to also be one of my best friends. And that trust and connection can only truly happen with time.
How often should date nights happen?
This is a tough one. Life can be busy and hectic at times and that can make it hard. But it can be something small and easy. I think weekly time set aside to enjoy each other is so important. There’s a difference between grabbing dinner and going out for a meal together. There’s a difference between having the TV on and watching a movie together. There’s a difference between taking the dogs on a walk and going for a walk together. It doesn’t have to be big, but deciding to intentionally take time to put the world on pause for a minute at least once a week has always been time I really cherish and need in the midst of life.
What’s your favorite date you’ve ever been on?
My favorite date I’ve ever been on is when a boy told me to “get ready but stay cozy” and he made me a steak and lobster dinner in my kitchen. He bought a bunch of fancy Beauty and the Beast-looking candles and we ate at home and then watched a movie. When I travel as much as I get to, I do really love being at home. I’m also an acts of service girly, so this was super special and sweet to me.
THE RESULTS ARE IN. IS COUNTRY MUSIC DOING ANY BETTER THAN LAST YEAR?
Ten years ago, in a Country Radio Seminar session entitled Unlocking the Secrets to Music Scheduling,” radio consultant Keith Hill spoke about “eliminating clusters of sameness” in programming. Reporting on the session in the March 2, 2015 issue of Country Aircheck, Chuck Aly noted that Hill “likened radio to a salad saying no one wants consecutive bites of onion, or too many bites in a row of just lettuce.”
We know where this is going, right?
“The first thing is to cut females from the 20s to the teens,” Hill said at the time. He recommended a more specific target of 13%, because, as he declared, “Women want to hear males.”
Three months later, Hill was repeating his salad metaphor to Russ Penuell in the May 26, 2015 issue of Aircheck: “Trust me, I play great female records and we’ve got some right now; they’re just not the lettuce in our salad. The lettuce is Luke Bryan and Blake Shelton, Keith Urban and artists like that. The tomatoes of our salad are the females.”
In the ten years since #TomatoGate, much ink has been spilled on representation on country radio, with reporting, interviews, studies, and even books (Marissa R. Moss’s book HerCounry covers the topic.) And despite the global spotlight on the historic and persistent gender and racial inequity that plagues the country music industry, the format continued to double-down to keep the airwaves white, straight, and male.
One year ago, I reported that songs by women were given 9.87% of the airplay on country radio in 2023. It’s difficult to believe that that number further declined in 2024, and yet, that’s precisely what happened.
In 2024 — a year in which country music was at the forefront of industry discourse and crossed over to dominate allgenre spaces — songs by women received 8.39% of the airplay on country radio, down 1.48% from 2023. And like 2023, songs by women declined through the year, rising from 7.97% in January to a peak of 9.93% in April before declining to a low of 7.18% in November. Unsurprisingly, most of this airplay (8.23%) was for songs by white women, with 0.09% for songs by Black women, 0.00% for songs by women of color (country artists of Indigenous, Asian and Mexican American heritage), and 0.07% for multiethnic collaborations or groups of women.
To calculate these statistics, I downloaded the weekly current, recurrent and gold airplay reports from Mediabase for each week in 2024 and manually coded the data according to the biographies of all artists whose songs were played between January 1 and December 31. Songs by men were programmed at 86.13% of radio playlists (predominantly songs by white men, which were at 80.95%), with the remaining 5.48% for songs by collaborations and groups of men and women (4.99% for white collaborations, 0.03% for those by Black artists and 0.46% for multiethnic collaborations).
Not only did programming become even more maleleaning in 2024 (a 2.46% increase from 2023), it somehow — in a year in which two of the biggest songs in the United States were country songs by Black artists — remained just as white (94.17% in 2024, up 0.6% from 2023). Just one song by a nonbinary artist was played in 2024 (a non-country artist), leaving their songs programmed at 0.00003% last year.
The decline in airplay allotted to songs by women was felt at all levels of programming; airplay for current singles vying for chart contention was down to 4.74%, for recurrent tracks to 0.89% and for gold records retained in station catalogues down to 2.76%. Songs by men are programmed 7.5 times more than songs by women in currents, 23.4 times more in recurrent programming and 10.7 times more in gold
Chart 1: Percentage of country radio airplay for songs by men, women, nonbinary artists and male/female collaborations/groups in 2024.
catalog songs. Not only do songs by women continue to be lost through the programming pipeline, but songs by men have increased in each of these categories. Though the increase may seem marginal to some, the loss of any space for songs by women and continued denial to space for women of color contributes to their continued erasure from audiences’ ears.
At this rate of airplay, audiences still are not hearing women’s voices on radio. The morning drive (6-10 a.m.), midday (10 a.m-3 p.m.) and afternoon drive (3-7 p.m.) periods are the three periods with the highest rate of listenership and the most crucial for exposure to radio listeners. Analyzing this data by the time of day that songs by women are played shows us that songs by women are played more when audiences are sleeping.
For an average station, one that plays about 338 songs a day, this means that just 29 songs by women were played over a 24-hour cycle in 2024 (four fewer songs than in 2023) against 291 by men (12 songs more) and 18 by male/ female collaborations and groups. At this rate, songs by women are programmed at a daily average of one song per hour with 1.5 songs per hour in the evenings and overnights. With so few songs played by women across the three coveted daytime dayparts, listeners tuning in to their favorite station for an entire hour are still not hearing songs by women.
At the start of December, the media paid a lot of attention to the Billboard Country Airplay chart when Ella Langley’s duet with Riley Green, “you look like you love me,” reached No. 1. It was the first song featuring a woman’s voice to hit the top spot since “Save Me,” Jelly Roll’s collaboration with Lainey Wilson, which held the top position for two weeks in December 2023. Never mind that it took collaborations with men for country radio to program songs by women
2: Percentage of airplay for current singles, recurrent tracks, and gold catalog records played on country radio in 2024.
Chart 3: Spin counts for songs by daypart.
The average country radio station played 338 songs per day in 2024: 86.13% for songs by men, 8.39% for songs by women, and 5.48% for songs by male/female collaborations and ensembles. This table shows how these percentages are distributed as discrete spins throughout the 24 hour day.
to the top of the charts; the last song by a woman to reach No. 1 on Billboard Country Airplay was Wilson’s own “Watermelon Moonshine,” which spent three weeks there in October 2023. Unless a song by a solo female artist reaches the top of the chart before the country radio community descends on Nashville for CRS this February, it will have been 71 weeks since the last song by a woman reached No. 1.
The Mediabase Airplay chart played out a little differently than Billboard; Wilson was the only woman to have a No. 1 song in 2023 and one of two women to reach the top of the Mediabase chart in 2024. Songs by women averaged 12.7% of the weekly 50-position chart in 2024, and only Wilson’s “Wildflowers and Wild Horses” (May 4) and Ashley Cooke’s “your place” (June 22) were programmed in the No. 1 spot. Outside of these two songs, women’s voices were heard on just two other No. 1 songs: “you look like you love me” reached No. 1 on December 7 and Koe Wetzel’s collaboration with Jessie Murph, “High Road,” held the top position for the last two weeks of the year.
Only two other songs by women peaked in the Top 10 in 2024 — Dasha’s “Austin” reached No. 4 in November and Wilson’s “4X4XU” spent most of December at No. 9 (though it’s still climbing in the early weeks of 2025). And these three women — Cooke, Wilson, and Dasha — are the only women to have songs on Mediabase’s 50-position year end list at Nos. 31, 40 and 45, respectively, with “Save Me” at No. 3 and “we don’t fight anymore,” Carly Pearce’s collaboration with Chris Stapleton, at No. 34. Just 6% of Mediabase’s Airplay chart (10% if including collabs) were songs by women played with enough frequency in 2024 to land in the year-end’s most-played songs (down from five songs in 2023).
And they’re all white artists.
Perhaps the most talked-about artist of 2024 was Beyoncé, who surprise-dropped two country songs in February during Super Bowl LVIII. All eyes were on Nashville for some kind of a response, and controversy erupted before the format had a chance to hit play. An employee of KYKC in southern Oklahoma responded to a listener request to play the new Beyoncé song by saying, “Hi — we do not play Beyoncé on KYKC as we are a country music station.” The listener posted a screenshot of the email, and within hours, country radio’s presumed refusal to play the song (“TEXAS HOLD ‘EM,” if you’re wondering) was all over the media.
The media swirl responded faster than the actual situation was developing within the music industry. A Billboard article form February 13 (two days post surprise drop) accused the format of “being slow to play her songs” -before the track was serviced to the format and ahead of its February 20, 2024 impact date.
Contrary to widespread reporting in the first two weeks following the song’s arrival, country radio did in fact play “TEXAS HOLD ‘EM.” Not only were stations quick to add the track the Tuesday following its release (the mostadded that week), many stations put it into high-rotation spots, which catapulted it onto the Airplay chart after just six days of airplay. This is unprecedented for the format, a system that is typically slower-moving than fan-driven digital environments.
To debut after just six days and consistently receive increased airplay was a sign of the format adding and playing a single in high rotation. And perhaps most critically, the song was immediately being played in high rotation and within daytime programming: 47.6% of the airplay received in its first week occurred between 6 a.m. and 7 p.m., dropping to 36% in week two.
But that didn’t last long, as stations shifted the track’s airplay to evenings and overnights after just a few weeks, creating a pathway for it to exit the charts and playlists altogether.
When promotion for “TEXAS HOLD ‘EM” on U.S. country radio ended on April 21, the song exited the chart having peaked at No. 29 on March 23. But more critically, and unsurprisingly for a format designed around narratives of whiteness, the song dropped to recurrent rotation on April 27. “TEXAS HOLD ‘EM” averaged seven spins a week on the format (on weeks with airplay) following its drop to recurrent rotation.
In the 46 report weeks following “TEXAS HOLD ‘EM”’s release and after much discussion at CRS 2024 about the opportunity for the format to build pathways to airplay for the many Black women in country music, there has been no change at country radio. Songs by Black women received 0.09% of the overall airplay in 2024; 88.98% of those spins were for “TEXAS HOLD ‘EM,” 4.52% (0.005% overall) were for Black female country artists and 6.5% (0.006% overall) for non-country songs by Black women. For reference, 0.01% is equivalent to one spin, which is 0.000017% overall. The format didn’t just fail to support one of the biggest artists in the world, but it failed at the call to action for Black female country artists.
In the weeks leading up to the CRS meeting in 2015 where the salad metaphor was first discussed, former Sony Nashville CEO Gary Overton mentioned in an interview with Nate Rau of The Tennessean that he regularly tells his staff, “If an artist is not on country radio, they don’t exist.” Within the span of just a few weeks, representatives of both labels and radio were proclaiming (without anyone questioning the discrimination embedded in their statements” that if you’re not a white, cisgendered, heterosexual, able-bodied man, your songs are limited in programming, and if your songs are not played on radio,
you don’t exist within the industry’s mainstream space.
But in focusing on gender, on declaring women tomatoes and speaking of quotas limiting their songs, we are missing the bigger picture in how these beliefs and practices work to keep the industry white. And it’s the limitations placed on white women — limiting airplay for their songs, putting them in competition with one another, allowing only one at a time to succeed — that reinforce this system. The doubling-down that we’re seeing in programming and continued decline in airplay for songs by women functions as a tool to maintain industry whiteness and maleness. Industry conversations focus on women without ever addressing that it’s white women they’re talking about and without considering that a Black female country artist has never charted above No. 22 (Linda Martell in 1969). It took the capitalistic advantage of a global icon and the purchasing power of the BeyHive to get a song by a Black woman to the top of the hybrid Hot Country Songs chart for 10 weeks, but that wasn’t enough to get her song above No. 29 on the Airplay chart.
We need to believe the industry not just by what it says in public, but in how it behaves while at work. And when leading program directors claim in an interview with Variety that they were excited to play “TEXAS HOLD ‘EM” and “eager to welcome a Black female star” after passing on the many Black women before Beyoncé (including Rissi Palmer, Mickey Guyton, Madeline Edwards, Tiera, Brittney Spencer and Tanner Adell to name a few), it’s time to ignore their lip-service and watch their actions with critical eyes.
Radio airplay in 2024 revealed the same old machines at work in the country industry, a century-old segregated recording, radio and chart system that looks back to past practices, conventions and data to make decisions about the future.
This historic data trains the systems in the industry, becoming the tool through which decisions are made on signing, distributing, and promoting music. This data influences the recommendations generated by digital service providers, whose algorithms train on the results of this segregated system. Ever wonder why your favorite DSP recommends songs by white men? Ever wonder why songs by Black women are only recommended alongside each other and not with the music of white country artists? All of these recommendations can be traced to the continued segregation of the industry by racialized marketing categories and the continued boxing of artists on playlists that follow these conventions. The past dwells in this old machine, and the 2024 data studied here reveals no signs of change.
And when we consider the systemic nature of these actions, we realize quickly that country radio is reinforcing — not eliminating — clusters of sameness.
Article by Jada Watson for The Nashville Briefing
Jada Watson is an Associate Professor at the University of Ottawa. She is the lead researcher of SongData, a research initiative that for seven years tracked representation of women, artists of color, and LGBTQIA+ artists in the country music industry. She has published reports in collaboration with Women of Music Action Network, CMT’s EqualPlay initiative and Women in Music Canada. Check out www.SongData.ca/RadioData for more on this work.
Virgin Music Group, Marketing Director - Country
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Keller Turner Andrews & Ghanem, PLLC / Founding Partner
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Sweet Talk PR
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The Morning Hangover
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The Washington Post, Deputy Director of Social Media
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SoundExchange, SVP Communications & Executive Office
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WME, Digital Talent Agent
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How can an independent artist break through to the mainstream?
It’s an age-old question in the music industry, one that has only grown more complicated in this streaming and social media-dominated era, which often still feels like the Wild West. There’s no magic combination of talent, charisma and marketing that guarantees success, but one quality can help indie artists rise above the fray: an ironclad work ethic.
That has certainly proven true for Drew Baldridge and Alexandra Kay. The two quickly rising stars leveraged digital tools, unconventional touring practices and good old-fashioned sweat equity to grow their fan bases, and both eventually landed deals with BBR Music Group/BMG Nashville. While their individual journeys look different, their commitment to doing whatever it takes to get their music heard makes them kindred spirits in this challenging country landscape.
Baldridge, who is part of this year’s CRS New Faces class, first found major chart success with “She’s Somebody’s Daughter,” a tune he originally released in 2019. The “Reimagined” version, released in 2022, topped the Country Aircheck/Mediabase Chart last year. His current single, “Tough People,” was the number one most-added song on impact date in November. The song also landed Baldridge a spot as an iHeartMedia On the Verge artist in January. Baldridge’s growing list of accolades is unusual for a recently independent artist, so much so that even industry veterans are impressed by his trajectory.
“Drew’s story definitely stands out to me,” Adrian Michaels, VP of Innovation, Radio and Streaming at Stoney Creek Records, tells The Nashville Briefing . “And I’ve been on the block for 30 years, so I’ve heard a lot of stories.”
Kay is a force to be reckoned with, dominating the digital landscape with over 4.2 million TikTok followers. Her independent catalog has received over 350 million streams and her debut independent album, All I’ve Ever Known, charted in the Top 10 spots across multiple Billboard charts, including the Emerging Artist Chart and the Country Album Chart. She’s graced American Idol, The Voice and Netflix’s Westside. Kay’s rise has been fueled by her viral reinvention of ‘90s country classic songs, which received millions of views and helped translate her momentum into real-world success. She has sold over 80,000 tickets as an independent headlining artist and secured major tour slots with industry giants like Jelly Roll and Tim McGraw. Kay is also one of the top-selling artists on TikTok Shop for music.
“Alexandra Kay is proving that hard work, tenacious drive and raw talent can win in this industry,” Ali Harnell, President and Chief Strategy Officer for Live Nation Women, tells The Nashville Briefing . “She’s inspiring a new generation to take control of their own stories and chase their dreams without limits.”
Neither artist found success overnight. Baldridge has been at it for nearly 15 years, while Kay signed her first record deal in 2012. Both credit a deep belief in their artistry and a desire to connect with others through music as primary motivators for continuing to grind it out as indie artists for as long as they did.
For Baldridge, following that passion meant hiring his own radio team to work singles, essentially forming what he calls his “own little label,” Lyric Ridge Records. He also performed hundreds of DIY shows during the pandemic as part of his Baldridge and Bonfires Tour, leaning on the unconventional approach to touring to make it through a period of great uncertainty for artists and industry alike. That level of dedication attracted Left | Right Management (home of Jelly Roll), who signed Baldridge in October of last year.
“Drew is willing to go attack anything,” Left | Right manager Alex Goodman shares. “There’s not a mountain too high. His motivation and drive were key indicators, for me, that his career was something to really invest the time and the effort into.”
“As soon as I had dinner with him, I was like, ‘This is the kind of guy I want to be in business with,’” Left | Right Management President John Meneilly adds. “I liked his moral compass, his drive… Then he sent me ‘Tough People,’ and I was like, ‘I really want to manage him.’ That record is, obviously, a special record.”
Meneilly was right. At press time, “Tough People” sits at No. 20 on both Mediabase and Billboard with no signs of slowing down any time soon. Baldridge attributes the success of that song both to the tireless efforts of his radio team and to the song’s poignant, timely message, as “Tough People” references hardships faced by those affected by natural disasters, cancer, single parenthood and more.
“When we wrote ‘Tough People,’ I was going through this hardship of not having a record label, being alone, with no manager, no booking agent and coming close to giving up,” Baldridge recalls. “We wrote this song as a message not to give up. You know, ‘Hard work pays off. Good beats evil. Tough times make tough people.’ And that became my little label’s motto.”
Resilience and honesty are key to Baldridge’s work, and the same can be said for Kay, who also places a heavy emphasis on authenticity. This commitment to being herself extends beyond her songwriting and guides her social media strategy, which prioritizes real-life interactions with fans and an honest, unvarnished portrayal of Kay’s life.
“Something that really sticks out to me when I’m seeing artists that I feel are going to go the distance is the connection with the fans,” Kay explains. “You can have a big song that pops off on TikTok, but if you do not have a genuine connection to the people that are listening to this music, it won’t last.” That connection she describes seems to have paid off.
Her manager Beth Keith says Kay’s razor-sharp understanding of her musical identity and her audience sets her apart from other artists. She also cites Kay’s DIY spirit as integral to deciding to work together. Just before meeting Keith, Kay had completed her 2021 Dive Bar Dreamer Tour, which she booked and promoted on her own, driving to 28 cities herself with her guitarist along for the ride.
“That was honestly one of the more compelling parts about when we met, was that she was already doing the work,” Keith says. “It’s so easy to find artists that are rather complacent, or are terrified. The fact that she was like, ‘No, you know what? I’m going to do this. I’m going to take it into my own hands, and it’s going to be my own tour.’ That was an outstanding feat.”
“Alexandra’s gone from packing small clubs to selling out 2,000-cap rooms on her own terms — no shortcuts, no gimmicks, just a diehard fanbase that shows up,” Harnell adds.
Kay also goes to great lengths to connect with fans in meaningful ways. In the past, she’s given back to her fans through efforts like free meet and greets after each show, wishing fans happy birthday on social media, giving away free concert tickets and mailing fans burned CDs of new music. She takes the time to reply to wedding invitations from fans, autographing and mailing back “save the date” cards for ceremonies she is unable to attend. She even signed 20,000 physical copies of All I’ve Ever Known
“All of this was money out of my pocket when I was broke as hell,” Kay says. “But it meant more to me that I could have an actual connection with these people.”
Fostering that connection created a deep sense of loyalty among Kay’s fans, one that is especially evident at her live performances — as Wheelhouse Records VP of Promotion Ken Tucker puts it, sometimes the crowd is louder than the show itself.
“She literally could have just held the microphone out the whole time and let the fans do the show,” Tucker emphasizes. “You see that with a Taylor Swift-level artist and a few others, but for — and I’m using air quotes here — for a ‘newer artist,’ I was blown away.”
Kay and Baldridge may have taken alternate routes to arrive at where they are today, but both artists won over the teams at BBR Music Group/BMG Nashville with their unwavering commitments to investing whatever it takes into their careers, be that time, energy or money. As a result, Kay will join the roster of imprint Wheelhouse Records, while
Baldridge partnered with the Stoney Creek Records imprint to work “Tough People” at radio.
Left | Right Management’s J. King sees Baldridge’s success as a cosign not just on his work ethic but on who the “Tough People” artist is as a person. Like Kay, Baldridge’s connection to his fans transcends music into something much more personal, which King believes sets him apart more than any chart position could convey.
“Artist development and hard work can feel like a lost art in this industry,” King reflects. “But Drew has never lost sight of why he does this. It might have taken longer for him to reach that No. 1, but his focus has always been on the people, not just the charts. You can hear that in his songwriting — whether it’s ‘She’s Somebody’s Daughter’ or ‘Tough People,’ he writes real songs about real life. That’s why I believe Drew will go down as one of the greats.”
During our conversation with Kay, Keith sums up the mentality that drives their work with a sage question. When building the foundation of a new artist’s career, “Do you want success right now, or do you want it forever?”
It’s abundantly clear that both Baldridge and Kay are in it for the long haul, and both artists are poised for big things in 2025. Kay will kick off her Cupid’s a Cowgirl Tour on February 23 following a run of dates with Jelly Roll in late 2024. And Baldridge will hit the road with Bailey Zimmerman later this year after wrapping dates with Cody Johnson.
For now though, Baldridge is thrilled to be part of New Faces 2025, even if the “new” descriptor doesn’t quite fit this far into his career.
“I might be the oldest ‘new face’ in the category, but I am just humbled and blessed to be there,” he says. “I gave my everything to country radio for years, and guess what? They have my back. All my friends at country radio voted for me, and I’m just very thankful for them. Country radio has changed my life in such a positive way.”
Article by Brittney McKenna for The Nashville Briefing
NOODLES
• 1 BOX RIGATONI NOODLES
TOPPING
• 2 TBSP OIL
• 3 CUPS VINEGAR
• 2 TBSP DRY MUSTARD
• 2 TBSP PARSLEY FLAKES
• 1 TSP SEASONING SALT
• 1 TSP GARLIC SALT
• 1 TSP SALT
• 1 TSP PEPPER
• 1 ½ CUPS SUGAR
• 1 SLICED RED ONION
• 1 PEELED CUCUMBER, SLICED
DIRECTIONS
1. Cook the noodles as directed on box
2. Mix all the toppings together
3. Combine the topping and noodles!
“One of my favorite Midwestern recipes I grew up on is my mom’s Pickled Noodles. I live a lot of my life these days on the road, so it’s very grounding to pull up a chair around a table full of my favorite people and pass the plate with this one.” - Hailey Whitters
Colby Rasavong is the Executive Chef of Bad Idea, an East Nashville restaurant serving Lao-French cuisine. It was named one of the Best Restaurants in America byThe New York Times in 2024 and recently nominated for the James Beard Foundation’s Best New Restaurant Award in 2025. Bringing a wealth of knowledge from acclaimed restaurants across the country, Rasavong’s background and Lao heritage lends to creative dinners and late-night food service for the concept, offering the intricacy of a tasting menu experience in a down-to-earth atmosphere.
FOR THE COCONUT CREPE
• 250G COCONUT MILK
• 650G WATER
• 500G ALL PURPOSE FLOUR
• 2EA WHOLE EGGS
• 20G SALT
• 20G BUTTER, MELTED
FOR THE SCALLOP MOUSSELINE
• 500G SCALLOPS, CLEANED
• 350G HEAVY CREAM
• 40G EGG, WHITES
• 8G SALT
• 45G SCALLION WHITES, SLICED THINLY
• 15G SHIRO DASHI
• 1G ACTIVA RM
FOR THE NAM PRIK BLANQUETTE
• 18G BUTTER
• 10G THAI CHILI, MINCED
• 10G GARLIC, MINCED
• 30G ALL PURPOSE FLOUR
• 200G WATER
• 300G HEAVY CREAM
• 10G LIME, JUICE
• 15G FISH SAUCE
• 5G MSG
• 5G SIMPLESSE 100 OR WHEY PROTEIN SUBSTITUTE
• 1G XANTHAN GUM
FOR THE TUILE BATTER
• 250G WATER
• 30G ALL PURPOSE FLOUR
• 100G GRAPESEED, OIL
• 4G SALT
1. Blend all ingredients together and allow to hydrate overnight.
2. The following day, warm your desired nonstick pan to a medium heat and coat with a nonstick spray.
3. Place a thin layer of batter in your pan making sure to evenly coat your base.
4. Allow the crepes to fully cook before removing them and placing them onto a resting tray.
5. Allow to fully cool before moving on to assembly.
Note: This recipe will make about a quart of batter and will hold for up to four days. If the batter is too thick the following day, the consistency can be adjusted with warm tap water. In the restaurant, we cook our batter in 8-inch rectangular nonstick pans for consistent sizing and shaping, but a round 8-inch nonstick pan will work just fine.
1. In a cold robot coupe, whip eggs until they just begin to froth.
2. Add in scallops, activa and shiro dashi and puree smooth.
3. Scrape down the sides before continuing to the next step.
4. Slowly emulsify in the cold cream, making sure to pause and scrape down the side to ensure an even emulsification.
5. Gently fold in the salt and scallion whites.
6. Place the finished mousseline in a piping bag before moving on the assembly.
Note: This recipe will make about a quart of mousseline and will hold up to 3-4 days.
1. In a pot, melt the butter over medium-high heat.
2. Add in the chili and garlic and cook until fragrant.
3. Add in flour and cook to a blonde roux or until the raw flour taste has been removed.
4. Slowly whisk in water and heavy cream and allow to boil until all the raw flavor has been removed.
5. Strain the mixture and blend in all the remaining ingredients.
6. Double check seasoning before storing.
Note: This recipe will make just short of a quart and will hold up to 7 days.
1. Puree all ingredients together.
2. In a nonstick pan, place enough batter to cover the bottom of the pan and place over a medium-high heat.
3. Allow the mixture to bubble and for all the water to evaporate. What you should be left with is a crispy tuile sitting in a pool of oil.
4. Remove the tuile from the oil and strain over a few napkins to absorb any extra grease.
Note: This recipe will make just under a pint. In the restaurant, we cook our tuiles in 5-inch nonstick pans and this recipe will produce about 10-12 tuiles. Your first few tuiles will also be the hardest to remove unless you have a very seasoned nonstick pan. I would prepare extra of this batter in that case.
1. To assemble, place your cooked crepe on a flat working surface and pipe about 100g of mousseline on one end. Using a palate knife, grab the filled end of your crepe and begin to roll it until the mousse is fully wrapped. *It is okay if there are a few holes and open ends on your crepe.
2. Once all your crepes are wrapped, place them inside of a steaming vessel of about 80-85C and steam for 12-15 minutes. At the restaurant, we achieve the perfect texture using a combination steam oven with precise temperature control, but this can also be achieved at home by using a traditional Cantonese bamboo steamer placed over a pot of warm water at a gentle simmer.
3. While the crepes are steaming, warm up your sauce and check your final seasoning. This sauce is Nam Prik, which in Laos translates to “Water & Bite,” which means the final product should bite in the sense of spice and acid. You should feel the tinglyness of the chili on the front of your tongue, but it should not overwhelm you. In conjunction, you should feel the strength of the acid, in this case lime juice, near your jawline but again lime should not be the only thing you taste.
4. Once all your components are ready, place your cooked crepe on your plate and cover it with your desired amount of sauce. Grate a touch of lime zest and a few leaves of your desired herbs before covering with your tuile.
Martin’s Bar-B-Que Joint, founded by Pitmaster Pat Martin, is a classic Nashville restaurant specializing in pitcooked barbecue and homemade Southern sides. Named one of the top 25 Nashville restaurants by The New York Times in 2024, Martin’s has nine locations sprinkled across the Southeast including Middle Tennessee, Louisville (KY), Birmingham (AL), and Charleston (SC). In Martin’s cookbook, ‘Life of Fire: Mastering the Arts of Pit-Cooked Barbecue, The Grill, and The Smokehouse’, he takes readers on a journey across the old ways and traditional practices of authentic American pit barbecue, in addition to sharing family recipes such as his “Maw Maw Martin’s Pecan Pie.” Now you can make it home. Although it’s more fun to go in person!
• 4 TABLESPOONS (1/2 STICK) SALTED BUTTER
• 1 CUP SUGAR
• 1 CUP LIGHT CORN SYRUP
• 3 EXTRA-LARGE EGGS, BEATEN
• 1 TEASPOON PURE VANILLA EXTRACT
• 1 ½ CUPS COARSELY CHOPPED PECANS
• ALL-PURPOSE FLOUR, FOR DUSTING
• PIE CRUST
1. Position a rack in the center of the oven and preheat the oven to 300°F.
2. In a saucepan, warm the butter over medium-high heat until just melted. Remove from the heat and mix in the sugar until thoroughly combined. Let cool slightly.
3. In a medium bowl, whisk together the corn syrup, eggs and vanilla to combine. Slowly add the melted butter/sugar mixture, whisking constantly. Add the pecans and stir to combine.
4. Make the pie dough, roll it out and line a standard 9-inch pie pan as directed. Pour the mixture into the pie shell.
5. Bake until the center of the pie reaches 200°F on an instant-read thermometer and a skewer inserted into the center of the pie comes out clean, 50 to 55 minutes.
6. Let cool completely (about 3 hours) before slicing and serving.
Serves 8-10
21.
IT’S A ______________ MORNING IN NASHVILLE AS YOU WAKE UP IN YOUR ______________ SUITE AT THE OMNI, READY TO TACKLE COUNTRY RADIO SEMINAR 2025. YOU THROW ON YOUR BEST ______________ AND GRAB A ______________ CUP OF COFFEE TO FUEL YOUR DAY.
YOUR FIRST STOP? PICKING UP YOUR COPY OF THE NASHVILLE BRIEFING’S ______________ PRINT ISSUE! YOU FLIP THROUGH THE PAGES AND IMMEDIATELY SPOT A ______________ ARTICLE FEATURING ______________ TALKING ABOUT THEIR UPCOMING ______________ . INSPIRED, YOU JOT DOWN ______________ IN YOUR NOTEBOOK, VOWING TO SHARE THEM AT YOUR NEXT ______________ . NEXT, YOU MAKE YOUR WAY TO THE ______________ PANEL DISCUSSION ON “THE FUTURE OF ______________ .” YOU SQUEEZE INTO A SEAT NEXT TO ______________ , WHO’S BUSY EATING ______________ . DURING THE PANEL, SOMEONE MENTIONS THE IMPORTANCE OF ______________ , AND YOU NOD ALONG LIKE THE ______________ PROFESSIONAL YOU ARE. AT LUNCH, YOU MEET WITH A ______________ GROUP OF RADIO PROGRAMMERS TO DISCUSS THE ______________ SUCCESS OF YOUR ARTIST’S LATEST SINGLE, “ ______________ .” ONE PROGRAMMER RAVES, “THIS SONG IS LIKE ______________ FOR THE EARS!” ANOTHER ADDS, “IT’S GOT THE ______________ VIBE WE’VE BEEN LOOKING FOR!” BY THE AFTERNOON, YOU’RE HUSTLING TO MAKE YOUR PITCH AT THE ______________ COCKTAIL MIXER. WITH A
DRINK IN HAND, YOU CHAT UP
VISION FOR THE NEXT BIG THING IN
, SHARING YOUR
BEFORE THE NIGHT ENDS, YOU’RE FRONT ROW AT THE ______________ SHOWCASE, CHEERING
YOU FIND ALL 10 DIFFERENCES?
by
ALEXANDRA KAY
DREW BALDRIDGE
ZAK KUHN
NASHVILLE BRIEFING
CRS
PRINT ISSUE
RADIO
CODY ALAN
TAYLOR LINDSEY
ERIN KINSEY
KIP MOORE
TAYLER HOLDER
LANCO
ISABELLA ROSALEN
GUITAR MUSICIAN
OMNI
HAILEY WHITTERS
BARLINES
3 9
FILL IN THE PUZZLE SO THAT EVERY ROW ACROSS, EVERY COLUMN DOWN AND EVERY BOX CONTAINS THE NUMBERS 1 TO 9
SCAN FOR ANSWERS!
Record Label (Dist ADA/WMG) Publishing Management Film/TV
Thank you radio & all of our partners for an amazing 3 years!!
#1 iTunes All Genre #1 iTunes Country
8 Million+ Music Video Views
"Sunday in the South" w/ Luke Bryan & Jason Aldean “Sunday in the South” #25 Music Row Est. 2022
2025 GRAMMY® Nominee Best Bluegrass Album "Live from the Ryman"
Two #1 Bluegrass Singles #1 Billboard Bluegrass Album
2024 Music Row Indie Artist of the Year
“Blacktop Don’t” #13 Music Row
“Heart Breaks You” #30 Music Row
“Tele-Man” #28 Music Row
Ira Dean, Ronnie Dunn
800k+ Music Video Views
Writer of #1 Song
"Am I The Only One" by Aaron Lewis
When Kip Moore isn’t touring the world, he’s busy traveling it, and he gave us the scoop on some of his best travel destinations and tips. His new album SolitaryTracksdrops February 28th and when you finish traveling like Kip, you can catch him on the road this year in the U.S. with Billy Currington plus stops in the U.K./EU and Canada. Alright, I think we plugged everything that we needed to. Let’s get to traveling!
What’s the best vacation you can go on for $2,000 and how do you pull it off?
If you’re looking for hiking and rivers to swim in, I’d say Sedona, Arizona. Go in the off-season around late September or early October, when it’s a little more affordable. You can find cheap VRBO’s close to town but still in the neighborhood canyons where the stars pop like graffiti at night. Cook all your own food because the restaurants get a little pricey. This time of year allows you to hike for longer periods without the intense desert heat. Nighttime gets cool, so bring a jacket and pack simple to where you only bring a carry on. That’ll save you $100 from the jump. Rent the cheapest compact car possible. You’ll be parking at the trail heads so there’s no need for an off-road SUV.
You have a backpack and a motorcycle. Where are you going and what are you packing?
I’m going to Central America. Preferably Costa Rica. The motorcycle needs a surf rack on the side (essential for my trips). I’m packing two pairs of socks (which I rarely wear), two t-shirts (although one would suffice), one pair of swim trunks, a couple pairs of underwear (which I only sleep in after a shower), a pair of Vans, surf wax, a couple different types of surfboard fins, a toothbrush and paste. That’s it. And about $500 cash in fives and $10 bills for a two-week stay. Cash tips after meals and coffee are appreciated.
If someone has never been surfing, where and how can they start?
If you’ve never surfed, I’d say go to a gentle wave without a reef. Somewhere like Palm Beach in Costa Rica where you’ll find other beginners, warm water, sand bottoms and easy, fat waves. There are plenty of surf coaches in the area. Hire one for a day and then just go get wet and figure it out. Watching others that surf well helps.
What should someone know if they want to travel with Kip Moore?
That’s a tough one. I’ve yet to meet someone willing to move as primitively as I do. If you’re used to the finer things, you’re definitely not welcome on my journey. You have to be able to move freely and dirty at times. If you love a plan, I’m definitely not a good travel partner!
What’s one location everyone should visit?
Iceland. It’s the most powerful travel experience I’ve had yet. It’s a very safe place, so there’s no need to worry about being alone. The drives and sights are spellbinding. I highly recommend Iceland.
What’s your best travel story?
My best travel story is one I’ll take to my grave but I’ll say this… if you ingratiate yourself with the local communities, that’s when the magic happens. My second favorite travel story was a night that led me into a kitchen in Mexico with a group of people I’d just met, having a family dinner where no one spoke English. There were lots of laughs.
KEY SONGS PLAYED ON:
• Morgan Wallen - “Last Night”
• Post Malone - “I Had Some Help (feat. Morgan Wallen)”
• Old Dominion - “One Man Band”
• Ella Langley - “you look like you love me (feat. Riley Green)”
• Megan Moroney - “Tennessee Orange”
KEY SONGS PLAYED ON:
• Luke Combs - “Fast Car,” “Beer Never Broke My Heart,” “Ain’t No Love In Oklahoma”
• Cody Johnson - “‘Til You Can’t”
• Morgan Wallen - “One Thing At A Time”
• Parker McCollum - “Pretty Heart”
HOW DO YOU HANDLE SITUATIONS WHERE YOUR MUSICAL INSTINCTS DIFFER FROM WHAT THE PRODUCER OR ARTIST IS REQUESTING?
I treat it as an opportunity to learn something new. My instincts have been proven wrong enough times that I know not to be precious about those kinds of things. There’s no right or wrong music, just different — then you can be free to try anything!
BEST STUDIO TIP? Check in with your surroundings and weigh that in with your pure musical instincts. Playing for the song, the session and the artist is as important to being a session player as playing from your heart.
HOW DO YOU KNOW WHEN YOU HAVE THE PERFECT PART FOR A SONG? Oftentimes I know the part is perfect because I stop noticing it. There’s a right way for sounds and parts to weave in with the musical fabric without drawing attention to itself while still augmenting what’s happening. You want to miss it when it’s muted.
ARE THERE ANY SPECIFIC TRENDS YOU’RE NOTICING IN COUNTRY MUSIC PRODUCTION THIS YEAR? Some people aren’t tuning their guitars very well before they record them. It’s 2025! It’s not raw, it’s wrong. Two thumbs up for everyone else who uses their tuners.
ONE RIFF, ARRANGEMENT, PART, OR MUSICAL MOMENT THAT YOU ARE PARTICULARLY PROUD OF IN A SONG AND WHY? The drum part on “Born With A Beer In My Hand” by Morgan Wallen. Ended up being an angular, sort of deconstructed part that built and maintained tension the whole time and I’m super happy I was able to get away with it.
BEST STUDIO TIP? Don’t think that timing, tone and execution matter less in the digital age. If anything, they matter even more. Speaking to the particulars of my instrument: If you execute well enough and your tones are great, it’s very likely your tones won’t get replaced by samples and you won’t get edited.
IS THERE A CURRENT SONIC TREND IN COUNTRY MUSIC THAT YOU’VE NOTICED LATELY? On my instrument, it seems like folks want to hear more high end and mid-range information again. Ringy snare drums and the like. Also seems like the more open, resonant kick drum fad is mostly over, and for that I’m grateful.
ARE THERE ANY SPECIFIC TRENDS YOU’RE NOTICING IN COUNTRY MUSIC PRODUCTION THIS YEAR? There’s a big move towards capturing stuff on the floor and trying to avoid processing and editing in post. For example, the most recent Riley Green record wasn’t even tracked with a click for the most part. I can’t say I saw that coming, but I’m SO happy this kind of thing is happening more often.
KEY SONGS PLAYED ON:
• Shemekia Copeland - “Blame It On Eve”
• Kim Richey - “A Way Around”
• Elle King - “High Road”
• Rachel Platten - “Set Me Free”
• Dierks Bentley - “High Note (feat. Billy Strings)”
KEY SONGS PLAYED ON:
• Luke Combs - “Ain’t No Love In Oklahoma,” “Fast Car”
• Lainey Wilson - “Heart Like A Truck”
• Lady A - “Need You Now”
KEY SONGS PLAYED ON:
• Luke Combs - “Beer Never Broke My Heart”
• Cole Swindell - “She Had Me At Heads Carolina”
• Nate Smith - “Whiskey On You,” “World On Fire”
• Jelly Roll - “Save Me”
WHAT’S ONE DETAIL IN A SONG THAT MOST LISTENERS PROBABLY WOULDN’T NOTICE BUT MAKES A HUGE IMPACT MUSICALLY? Keeping the rhythm section natural and not overly locked to the grid.
HOW DO YOU HANDLE SITUATIONS WHERE YOUR MUSICAL INSTINCTS DIFFER FROM WHAT THE PRODUCER OR ARTIST IS REQUESTING? Great question, and I feel like I’m still improving upon this. My job is to help the producer achieve their goal, and when my instincts don’t align out of the gate, I have to reset and figure out how to get there. It’s way too easy to let your ego sneak in. Ideally, I take the producer’s idea and try to make it sound like I came up with it, if that makes sense. Hopefully they hired me because of some sort of character that I bring to the table. I attempt to get their ideas across, maintain that character and try not to suck.
BEST STUDIO TIP? Be on time and be a good hang.
HOW DO YOU KNOW WHEN YOU HAVE THE PERFECT PART FOR A SONG? I’m kind of a perfectionist, so I don’t let myself off the hook that easily. I never think I’ve come up with the perfect part, but you can feel it in the room when things gel.
BEST STUDIO TIP? Always be reading the room. Match the energy and personalities. Know when to be in the background or when to step out, but always show that you care about what they need from you.
ONE RIFF, ARRANGEMENT, PART, OR MUSICAL MOMENT THAT YOU ARE PARTICULARLY PROUD OF IN A SONG? I love the slide solo on Lainey Wilson’s “Heart Like A Truck.” It steals from the George Harrison style of slide guitar. Completely melodic, doubled and harmonized slide. I feel like it was the perfect thing to elevate the track when it comes in.
WHAT MAKES A GREAT INTRO HOOK? You need something in the intro that lets everybody recognize that it’s THIS song. Something singable, very memorable. And the tone of it is oftentimes as important as the melodic content. It has to drop you immediately into the vibe of the song.
WHAT’S ONE DETAIL IN A SONG THAT MOST LISTENERS PROBABLY WOULDN’T NOTICE BUT MAKES A HUGE IMPACT MUSICALLY? How often guitar parts are doubled without sounding “doubled.” The intro Hook to Luke Combs’ “Ain’t No Love In Oklahoma” is doubled to get it to sound powerful, but it doesn’t have that chorus-y doubled sound.
BEST STUDIO TIP? Have a good time, all the time!
WHAT MAKES A GREAT INTRO HOOK? You just gotta be able to envision an arena full of people going nuts over it, or a car full of college kids reaching for the dial to turn it up. I always try to come up with stuff that the writers or artist could have feasibly written themselves during the songwriting process, or it might be something that works tonally or melodically as a sort of extension/continuation of a theme that might have existed in a previous hit song of theirs. There is a lot of nuance to this.
IS THERE A CURRENT SONIC TREND IN COUNTRY MUSIC THAT YOU’VE NOTICED LATELY? Yes. Really terrible 2000s alt/butt rock has fully reinvented itself unironically as a subgenre of country music. The sessions where they want “the Puddle Of Mudd/Nickelback/Hinder thing” are the ones I try to avoid at all costs.
IF YOU COULD GIVE ONE PIECE OF ADVICE TO ASPIRING SESSION MUSICIANS, WHAT WOULD IT BE? Just let things happen naturally and you’ll find your place; don’t try too hard with the networking or the musical side of things.
Welcome to The Nashville Briefing’s fifth annual 30 Under 30 list! And yes, that one person that probably should have been on it this year was unfortunately left out. I hear you! It’s impossible to please everyone. Because everyone always asks, here’s how the list was assembled: My team looked over hundreds of submissions and reached out to a large pool of industry leaders. After many sleepless nights aggressively debating who would make the final cut, this list was assembled.
Here’s the good news. Every single person on this list is impacting the culture here in Music City and in the global music business. This is the FUTURE! And it’s looking bright. Get to know everyone here so that you don’t run into them at a party and embarrass yourself for not knowing who they are!
- Zak Kuhn (Founder, The Nashville Briefing)
@annakgroom
WASSERMAN MUSIC | MANAGER, BRAND PARTNERSHIPS | AGE: 27
Anna Kathryn Groom is Manager, Brand Partnerships for Wasserman Music. Upon graduating from Texas Christian University, Groom moved back home to Nashville, working as the Brand Partnerships Assistant at Paradigm Talent Agency (now Wasserman Music) and the Social Media Manager at Nashville’s Circle TV. In her current role, she cultivates meaningful, organic brand partnerships for Wasserman Music’s country, Americana, and adult contemporary artists. Recent partnerships she has helped bring to life include Noah Kahan x American Express, Black Pumas x Chanel, Mickey Guyton x Anthropologie and Blake Shelton x Lands’ End along with deals for emerging artists. Groom is also co-chair of the Young Professionals Council at Safe Haven Family Shelter, a non-profit servicing homeless families in Nashville.
FAVE BOOK OF 2024: Remarkably Bright Creatures by Shelby Van Pelt
PROUDEST ACCOMPLISHMENT OF 2024: I have a special place in my heart for the deals we’re able to deliver for our emerging acts like Abraham Alexander with Huckberry, Nat Myers with George Dickel and Joy Oladokun with Martin. These partnerships have a lasting impact for artists who are on the road, putting out music independently, supporting their families, etc. It’s always a privilege to be able to bring opportunities that help further amplify our artists’ voices.
UNDERSCORE WORKS | HEAD OF DIGITAL | AGE: 29
Athena Puharic is the Head of Digital at underscore works, specializing in digital strategy and content creation across a roster that includes Warren Zeiders, Priscilla Block and Dalton Dover. With a passion for trends and fan engagement, she drives campaigns that capture attention across digital platforms. Outside of work, Puharic is an avid Love Island fan, an enthusiastic participant in the TikTok brain rot movement and always ready to share the latest photo of her dog, Rico.
PLANS FOR 2025: Make a viral video of Warren Zeiders doing heatless curls (I’m manifesting). @athenadagoddess
@audreyraegibbs
THE TENNESSEAN | MUSIC JOURNALIST | AGE: 25
Audrey Gibbs is a music journalist at The Tennessean. She writes about new releases in the Nashville music industry, reviews albums and interviews artists on and off the red carpet. Gibbs graduated from Sewanee University in 2022 with a degree in English and minors in Shakespeare studies and politics and from Columbia Journalism School, where she received her Master of Science in journalism, in 2023. At Columbia, she studied arts criticism, wrote her thesis on women’s health and learned the art of investigative podcasting. You can check out her audio work on season three of the “Shoe Leather” podcast or “Pretend.” Gibbs has also written for The Current GA in Savannah, GA, Ms. Magazine and American Songwriter.
DREAM MENTOR: Amanda Petrusich, music journalist at The New Yorker
PROUDEST ACCOMPLISHMENT OF 2024: Reporting on my first Bonnaroo and interviewing artists including Jenny Lewis, Lucinda Williams, Cyndi Lauper, Meghan Trainor and Suki Waterhouse.
@ben.williams.music
TAPE ROOM MUSIC/WARNER CHAPPELL | SONGWRITER | AGE: 26 PUBLISHERS: CAROLINE HODSON, ASHLEY GORLEY, BLAIN RHODES, BENJI AMAEFULE
Songwriter Ben Williams has been nominated for CMA and ACM Song of the Year, People’s Choice Country Awards Song of the Year, MusicRow’s Breakout Songwriter of the Year, AIMP’s Rising Songwriter of the Year and twice for NSAI’s Ten Songs I’ve Wish I’ve Written. Recent cuts include “Turnin’ Dirt” (Riley Green) and “We’re Gonna Make It” (LANCO) plus Avery Anna’s Platinum “Narcissist.” He also co-wrote Megan Moroney’s 3x Platinum No. 1 hit “Tennessee Orange” and Platinum single “I’m Not Pretty” along with several songs from her debut album, Lucky, and followup, Am I Okay? Williams’ songs have also been recorded by Drew Baldridge, Kidd G, CB30, Trea Landon, Kayley Green, Logan Crosby and more.
PLANS FOR 2025: Write. Write. Go to Embers. Write again.
WME | AGENT | AGE: 29
@fennominal
Following graduation from Kansas State University in 2017, Caleb Fenn worked his way up at WME‘s Nashville office. He was an assistant for five years, supporting agents including partners Aaron Tannenbaum, Henry Glascock and Barry Jeffrey and gaining firsthand experience from his mentors, rolling out tours like the 2023 Luke Combs World Tour. Fenn was promoted to agent in 2023, overseeing Texas and Louisiana for the entire country roster and booking clients in legendary venues like Floore’s Country Store, Gruene Hall and Texas Club. Fenn is currently involved on client teams with Casey Donahew, Mike Ryan, John Hollier, Mac Hankins and the Moonlighters, Cole Phillips and Jackson Wendell.
FAVE SPOT IN NASHVILLE FOR A BIZ MEETING: W Hotel, Barista Parlor for coffee or Proof for cocktails. Just depends on the time of day.
@calebjaems
BIG LOUD RECORDS | DIRECTOR OF CREATIVE, VIDEO | AGE: 29
Caleb Donato is a video and creative director with experience in all aspects of video production, editing and animation specialized for the music industry. A Southern California native, he moved to Nashville as a tour photographer and videographer before transitioning to Big Loud Records in 2018, where he now helps lead and execute video strategy and direction for the full artist roster.
PROUDEST ACCOMPLISHMENT OF 2024: Releasing 200+ videos for Big Loud artists in 2024. Big shoutout to our small but mighty creative team!
FAVE BOOK OF 2024: Quiet Leadership by Carlo Ancelotti
CAA | AGENT | AGE: 27
@camjensen3
Cam Jensen is a music touring agent at Creative Artists Agency. Originally from Greenville, South Carolina, Jensen is a graduate of The Citadel, The Military College of South Carolina, where he played collegiate baseball before relocating to Nashville in 2021. Jensen joined CAA in 2022 as an assistant to Emily Van Allsburg and advanced through the ranks under the mentorship of Jeff Krones and Bennett Beckner. In his current role, he oversees the Southeast territory for touring acts on CAA’s country roster and represents a growing roster of emerging artists including Hannah McFarland, Blake Whiten and Dylan Cotrone.
FAVORITE ALBUM OF 2024: Mid-Twenties Crisis by Dylan Marlowe
@caroline_hodson
TAPE ROOM MUSIC | DIRECTOR, A&R | AGE: 26
Caroline Hodson moved from Portland, Maine to Nashville in 2017. The Belmont University graduate spent her final semester interning remotely for Tape Room Music in 2020 and has since risen to her current position, collaborating with the team to cultivate a motivating and fulfilling environment for the company’s 13 writers. As A&R Director, Hodson manages calendars and pitches songs across Tape Room’s roster, which includes Taylor Phillips, Ben Johnson, and Hunter Phelps plus company leader and hitmaker Ashley Gorley. She also facilitated the signing of fellow 30 Under 30 honoree Ben Williams. In 2024, Tape Room represented 11 of the Top 20 country airplay songs, and its writers have penned hits for Post Malone, Lainey Wilson, Jelly Roll, Morgan Wallen and more.
PLANS FOR 2025: Celebrate more wins for our writers, including Ashley Gorley joining the newest class of the Songwriters Hall of Fame.
ARTIST & SONGWRITER | AGE: 27
ARTIST & SONGWRITER | AGE: 22
@chandlerwaltersmusic
MGMT: GREENHOUSE MANAGEMENT (KILEY DONOHOE)
PUBLISHING: CADILLAC MUSIC
Writer and producer Chandler Walters picked up a guitar at age nine, and the Marietta, GA native was singing and playing lead guitar in a trio by high school. He dove into pedal steel guitar before moving to Nashville, touring as a solo act and playing for other artists. He caught ERNEST’s eye on TikTok, joining his band and later signing a publishing deal with ERNEST and Big Loud Publishing in a co-venture. Walters recently earned his first country and all-genre No. 1 single with the Post Malone/Morgan Wallen collaboration “I Had Some Help” and has six cuts on Post Malone’s F-1 Trillion, seven cuts on ERNEST’s NASHVILLE, TENNESSEE, three cuts on Bailey Zimmerman’s Religiously and more. Last fall, Walters joined Post Malone’s touring band for the F-1 Trillion Tour, and he continues to work on his own original music.
PLANS FOR 2025: Go on the road with Post Malone, put out my own record and write some more country music!
@iamchasematthew
MGMT: KEN MADSON, LOYD POTTS - IGNITION
AGENT: ALEC VIDMAR - UTA | LABEL: WARNER MUSIC NASHVILLE PUBLISHING: WARNER CHAPPELL/IGNITION
PR: SWEET TALK PUBLICITY
Chase Matthew has been making music since he was a kid. He has over one billion global career streams and has been named “One to Watch” by HITS; Opry NextStage Class of 2024; and MusicRow’s Next Big Thing Class of 2024 and was nominated at the 2024 People’s Choice Country Awards. In 2024, his Gold debut single “Love You Again” cracked the Top 5 and he headlined his Come Get Your Memory Tour along with touring with Jason Aldean and Luke Bryan. He’ll release his third album, CHASE, on February 21, with current single “Darlin” climbing the charts. On the day of his album release, he’ll headline his first show at the Ryman Auditorium and has plans to join Keith Urban’s High And Alive World Tour this year.
FAVE PLACE IN NASHVILLE FOR A BIZ MEETING: My favorite place for a meeting is the new Ignition office, which opened at the beginning of the year over in Berry Hill. I spent a lot of time building out a studio and meeting rooms to make artists feel at home to create. I’m still working on a few things, but it’s an awesome creative space.
@dylanmcgraw_
FUSION MUSIC | MANAGER (LILY ROSE / SCHMITTY) | AGE: 25
Dylan McGraw is an artist manager based in Nashville with a strong foundation in marketing and touring. A 2021 graduate of Belmont University, McGraw started his career at Fusion Music in 2018 as an office coordinator. After graduation, he moved into a day-to-day management role, working closely with Riley Green and Lily Rose. He currently runs point for Lily Rose while also taking on emerging artist Schmitty and continuing to contribute creatively to Riley Green and other Fusion Music clients. With a deep commitment to artist development and a keen understanding of the industry, McGraw plays a key role in shaping the careers of the artists he works with under the guidance of key mentors Daniel Miller and Zach Sutton.
FAVE BOOK OF 2024: Unreasonable Hospitality by Will Guidara
FAVE NASHVILLE SPOT FOR A BIZ MEETING: Fenwick’s 300
@ellalangleymusic
ARTIST | AGE 25
LABEL: COLUMBIA RECORDS/SAWGOD
MGMT: PAINTED ROCK MANAGEMENT
AGENCY: THE NEAL AGENCY
PUBLISHER: SONY MUSIC PUBLISHING NASHVILLE
Ella Langley has emerged as a phenomenon with millions of streams and a rapidly growing fan base. Her debut album, hungover, has been praised by The New York Times, Rolling Stone and more, and her hit song “you look like you love me,” featuring Riley Green, went to No. 1 on country radio and earned Langley her first CMA Award in 2024. She’s toured with Cody Johnson, Koe Wetzel, Dierks Bentley, Luke Bryan and many more, and is on the road again this year for her sold out still hungover tour, serving as direct support on Riley Green’s DamnCountryMusic Tour, and opening for Morgan Wallen for 8 stadium dates along his I’mTheProblemTour.
DREAM MENTOR: Miranda Lambert
@federicomorris
RANGE MEDIA PARTNERS | ARTIST MANAGER & DIRECTOR OF A&R | AGE: 27
As an artist manager and the Director of A&R at Range Media Partners, Federico Morris has developed the careers of artists including Dylan Gossett, Them & I, Edward Skeletrix, Sophie Gray and Presley Regier. Since Morris began to work with Gossett in July 2023, Gossett’s single “Coal” has been certified Platinum and he’s sold over 70,000 tickets. Recent signings Them & I and Edward Skeletrix have seen songs and albums land on Billboard’s TikTok chart and Spotify’s U.S. debut albums charts, respectively.
PROUDEST ACCOMPLISHMENT OF 2024: Seeing Dylan Gossett play to over 3,300 fans in Sydney, Australia only ten months after playing his first headline show.
MAKE WAKE ARTISTS | ARTIST MANAGER | AGE: 24
HB Riordan manages two of country music’s most promising bands, The Castellows and The Wilder Blue. She joined Make Wake Artists in 2022 after interning with the company, working with artists like Luke Combs, Hailey Whitters, Brent Cobb and Drew Parker. In one year, she was promoted to day-to-day manager for The Castellows, helping launch their career with a headlining tour, debut EP, SiriusXM’s 2024 “Highway Find,” a CMT nomination, an Opry debut and an arena tour. She also took on The Wilder Blue, guiding them through a sold-out stadium tour with Luke Combs and their Opry debut. Now promoted to artist manager for The Castellows alongside Chris Kappy, Riordan is also leading efforts to release The Wilder Blue’s fourth album, Still in the Runnin’
PROUDEST ACCOMPLISHMENT OF 2024: Getting to watch both my bands make their Opry debuts within six months of each other.
NEON COAST | DIGITAL DIRECTOR | AGE: 28
Born and raised in Nashville, Whitefield got her start in marketing during her college years at Belmont University, working to bridge the gap between social media influencers and music talent. After graduating from Belmont in 2019, she gained four years of experience working with artists and social media trends while building out the creative department at a local music marketing agency in Nashville. Whitefield joined the Neon Coast team as Director of Digital to oversee digital strategy for the company’s roster including Kane Brown, Restless Road, Dylan Schneider and Nightly.
PROUDEST ACCOMPLISHMENT OF 2024: Getting to watch Kane sell out so many stadiums and arenas for his In The Air Tour and being able to help showcase them online to his fans.
STARSTRUCK ENTERTAINMENT | CREATIVE & DIGITAL DIRECTOR | AGE: 28
Jamie Wendt is making an impressive mark in the music and entertainment industry. Her career progression at Starstruck — from intern to Creative and Digital Director — highlights both her talent and dedication to her team and the artists she works with, including Blake Shelton, Carly Pearce, Emily Ann Roberts, Maggie Rose, Ty Myers and Pryor Baird. Her expertise in artist development, content creation and digital strategies plus her ability to blend creative vision with technical expertise is essential in an era where social media and digital presence are integral to an artist’s success. Her work has been featured in major media outlets like PEOPLE, Forbes, and TODAY
FAVE ALBUM OF 2024: Short n’ Sweet by Sabrina Carpenter and Deeper Well by Kacey Musgraves
JUMP.GLOBAL | SR. DIRECTOR, MARKETING + PARTNERSHIPS | AGE: 28
JJ Farrell has spent his career at the crossroads of cultivating community, marketing, and strategic partnerships across the music industry. Currently, he’s the Senior Director of Marketing + Partnerships at jump.global – a music business marketing agency and year-round community working with executives and music companies on thought leadership strategy, conference pitching, community involvement, international relations, academic connections, and more. He oversees the entire roster of agency clients and partners in addition to helping scale the company’s events including the jump.global annual summit – the end-of-year retreat for music business humans to grow personally + professionally. Before joining jump.global, the California native was the Membership, Marketing and Partnerships Manager at the Music Business Association.
PLANS FOR 2025: Traveling to Argentina, taking classes to eventually become a financial advisor, going to the Indy 500 and more.
DREAM MENTOR: David Foster
WARNER MUSIC NASHVILLE | MULTIMEDIA DESIGNER
AGE: 24
After graduating from the University of Southern California in 2021, Kate Bowling moved to Nashville and began her career at Warner Music Nashville. Since then, she’s collaborated with artists including Kenny Chesney, Blake Shelton, Cody Johnson, Bailey Zimmerman, Zac Brown Band, Avery Anna, The Castellows, Gabby Barrett, Ian Munsick, Chase Matthew, Braxton Keith and more. From album artwork and packaging to posters, billboards, and beyond, Bowling’s designs bring each artist’s vision to life. One standout project was designing a race car for Bailey Zimmerman’s album Religiously, which she was able to watch win a NASCAR race. Outside of work, Bowling loves going to shows, hunting for vintage clothes, and spending time with friends, family and her cat, Lasso.
PROUDEST ACCOMPLISHMENT OF 2024: Working on the art direction, cover art, and package design for Avery Anna’s debut album, Breakup Over Breakfast.
FAVE ALBUM OF 2024: Brat by Charli XCX
OH CREATIVE | PUBLICIST | AGE: 28
Kristi Bradshaw found her passion for the music industry as a teenager, first street teaming for poppunk bands through Fearless Records. A University of Arkansas graduate, Bradshaw interned at the Academy of Country Music in Los Angeles after college, ultimately landing in Nashville at Warner Music Nashville. She spent nearly six years in the PR department, working with artists like Dan + Shay, Avery Anna, Chase Matthew and more. Bradshaw joined OH Creative as a publicist in March 2024, where she now runs point on clients like St. Jude Children’s Research Hospital, Tanner Adell, Tracy Lawrence, Dylan Scott and more.
FAVE BOOK OF 2024: House of Flame and Shadow by Sarah J. Maas
@kenzieschrambach
THE CORE ENTERTAINMENT | ARTIST MANAGER | AGE: 26
Mackenzie Schrambach is an artist manager at The Core Entertainment, where she is dedicated to fostering the success of emerging and established talent in the music industry. She joined the company in 2020 as Digital Director, overseeing digital strategies, social media management and visual branding for artists like Bailey Zimmerman, Nate Smith and the rest of The Core’s roster. In 2022, Schrambach was promoted to day-to-day manager for Josh Ross, further honing her expertise in artist development and marketing strategy. Alongside helping build Ross’ career, Schrambach is developing Just Jayne, a highly anticipated new girl group.
PLANS FOR 2025: Just Jayne is kicking off the year with a wave of new music that everyone is excited about. Meanwhile, Josh Ross is gearing up to hit the road on the Jelly Roll tour and has plenty of new music on the way this year!
@madmachen
MESSINA TOURING GROUP | PARTNERSHIPS AND BRANDING MANAGER | AGE: 29
Madison Machen is a Partnerships and Branding Manager at Messina Touring Group with over eight years of experience in the music industry. She spearheads partnership strategy for major pop and country tours, including Blake Shelton, Ed Sheeran, George Strait, Kenny Chesney, The Lumineers and more. Machen specializes in innovative tour marketing, managing key relationships with brands, digital partners and content creators to boost live event visibility. Passionate about connecting fans with artists, she designs partnership campaigns that integrate music, technology, and social media. A University of Arkansas graduate, Machen began her career in artist management, merchandise, and live events, later bringing her expertise to partnership development for MTG’s clients.
PLANS FOR 2025: Celebrating exciting firsts across MTG’s roster. Really looking forward to the upcoming Kenny Chesney Sphere residency.
ARTIST | AGE: 23
MGMT: BRANDON EBEL; DAY-TO-DAY: CATY BIER
PUBLICISTS: BIG FEAT PR
Max McNown is a Nashville-based singer-songwriter who taught himself how to play guitar and went from busking around Southern California to getting scouted by a major TV talent show (which he turned down). McNown just released his sophomore album, Night Diving, produced by Jamie Kenney. His debut album, Wandering, released in 2024, explored breakups, new love, and the pain of watching his brother struggle with cancer. His viral hit “A Lot More Free” just went Gold and landed him a No. 1 spot on Billboard’s Emerging Artist chart. It also earned him the spotlight as Billboard’s November 2024 Country Artist of the Month. McNown recently made his Grand Ole Opry debut and was named one of CMT’s Next Up Now featured artists.
DREAM MENTOR: Tim Tebow @maxmcnown
@megancasey1
RISER HOUSE ENTERTAINMENT | LABEL MANAGER | AGE: 29
Megan began her journey at Riser House Records in 2017 as an intern during her final semester of college. She has risen from Marketing Manager to Head of Marketing/Product Manager and now serves as Label Manager. In her current role, Schultz oversees all label operations and release strategies for the roster. Throughout her tenure, she has played an integral role in developing and launching successful artists such as Mitchell Tenpenny, Dillon Carmichael, Meghan Patrick, LANCO and Stephen Day. As part of the team, she’s witnessed the company’s growth firsthand — from starting as a company of four to now being part of a full-service record label with a passionate and talented staff of 16.
PROUDEST ACCOMPLISHMENT OF 2024: Signing Stephen Day!
FAVE ALBUM OF 2024: Wicked: The Soundtrack
@thatdewd222
SONY MUSIC NASHVILLE | DIRECTOR, A&R | AGE: 28
After graduating from Belmont University with a degree in Entrepreneurship, Nathan Thomas began his career on the streaming team at Big Machine Label Group. In 2022, the Lemont, IL native joined Sony Music Nashville’s A&R team where he quickly rose to his current position as Director, A&R. In this role, Thomas discovers, signs and develops new talent and creative label partnerships. He also helped launch SMN’s non-country imprint, Free Flight Records.
PROUDEST ACCOMPLISHMENT IN 2024: The launch of Free Flight Records.
@paul_avram1
GUITARIST & INSTRUMENTALIST | AGE: 27
Arizona native Paul Avram started his career in music playing in the corporate/event band industry around the greater New England area while attending Berklee College of Music in Boston. After moving to Nashville in 2022, he started touring with artists like Temecula Road, Roman Alexander, Triston Marez and others while doing various types of session and gig work around the Nashville area. He was asked to join Drew Baldridge’s band as his guitar player in the beginning of 2024 and has since been on the road performing in arenas with Baldridge, supporting Cody Johnson. Avram will continue to be on the road with Baldridge throught this year, supporting Bailey Zimmerman and several other artists.
PROUDEST ACCOMPLISHMENT OF 2024: Playing the Grand Ol’ Opry for the first time.
DREAM MENTOR: Dann Huff or Derek Wells
ARTIST | AGE: 27
@thereynaroberts
MANAGERS: HALLE MCFADDEN, CHRISTINA DISCON, GEOFF OGUNLESI
Recently seen performing with Beyonce during the NFL 2024 Christmas Day Halftime Show, Reyna Roberts is a vocalist, songwriter and pianist who spans all genres and entertainment verticals. She released her debut album, Bad Girl Bible Vol 1, in 2023 and was featured on Beyoncé’s two-time Grammy award-winning album COWBOY CARTER in 2024. She is featured in the Grammy Museum’s Power of Women in Country Music Exhibit, was selected as an Amazon Music Breakthrough Artist and CMT’s Next Women of Country. Roberts has opened for Reba McEntire and Jamey Johnson and performed with Luke Combs for CMT Giants: Charley Pride.
PROUDEST MOMENT OF 2024: Definitely performing with Beyoncé at the NFL 2024 Christmas Day Halftime Show. I watch it often on Netflix to study how to be an entertainer that’s undeniable like B. I also have to include making history as the first female country artist to perform at Rolling Loud in Miami!
PLANS FOR 2025: Creating an album that I’m proud of and having my first No. 1 is what I’m planning and working for.
CELEBRITY WARDROBE STYLIST | AGE: 25
Stefani Colvin has loved fashion for as long as she can remember, starting a YouTube channel and fashion Instagram page at 12 to post her outfits. As soon as she could drive, she started to thrift and seek out one of a kind vintage pieces, moving to Nashville after graduating in 2018. In 2020, her vintage business took off full time when she started posting on TikTok, amassing an audience of 200,000 across Instagram, Tik Tok, YouTube and Depop. After an internship under a celebrity wardrobe stylist, Colvin was able to jump into the scene and within two years of styling has worked with The Black Keys, Ella Langley, Maren Morris, Towa Bird, Gabriella Rose, Delacey, Tanner Adell, Bishop Briggs, Ben Rector, Hailey Whitters and Riley Green along with multiple independent artists.
PROUDEST ACCOMPLISHMENT: Custom CMA awards carpet and TheTonightShow looks for Ella Langley. @stefanicolvin
@stephaniehsiau
PHOTOGRAPHER & CONTENT SPECIALIST | AGE: 22
Stephanie Siau is a photographer and content specialist primarily working with artists and brands. She moved to Nashville in 2022 from Sacramento, CA via Colorado, where she contributed to publications and the AEG Rocky Mountain in-house photographer team, creating for venues like The Gothic Theatre. Siau spent her first six months in Nashville interning at Demolition Music Publishing as their content creator and social media managing rising artists. In 2023, she joined Alexandra Kay and her independent team as they headlined shows stateside and abroad. Today, she works with a roster of artists and personal brands, creating content and photographing their stories authentically.
PROUDEST ACCOMPLISHMENT OF 2024: Creating for Alexandra Kay, specifically her intro video on Jelly Roll’s Beautifully Broken arena tour! To be part of an idea being brought to life, then to be able to witness the world watch your piece about an artist’s true character and heart behind her love of music as she independently opens up for Jelly is a memory I will never forget!
ARTIST
LABEL: BAD COW/LOVE RENAISSANCE (LVRN)
MGMT: WIDE EYED ENTERTAINMENT
AGENCY: WME | PUBLISHING: UMPG
PR: OH CREATIVE/WACKERMANN & PARTNERS
Tanner Adell is paving her own lane in country music with lyricism that keeps its roots in country while infusing a blend of pop vocals and hip-hop beats. Her 2023 debut mixtape, BuckleBunny , earned praise from TheNewYorkTimes , NPR , Billboardand more, and in 2024, Adell joined Beyoncé’s COWBOYCARTERalbum, leading to her Billboard Hot 100 debut. She performed alongside Beyoncé in the NFL 2024 Christmas Day Halftime Show, performed on TheJenniferHudsonShow , Macy’s4thofJulySpectacularand the BET Awards as the first female country artist to perform on the show. She’s covered magazines like LADYGUNN , NashvilleLifestylesand NOTIONand has played at major festivals including C2C, Stagecoach, Faster Horses and Hangout Festival. She also sold out her first-ever headlining TheBuckleBunnyTourto wrap up 2024.
PLANS FOR 2025: A debut album!
SOHO HOUSE NASHVILLE | MEMBERSHIP MANAGER | AGE: 28
Zack Grady’s journey began three years ago at Soho House Nashville, where he started as the Under 27 Membership Manager. In that role, he focused on engaging and recruiting young creatives in the Nashville community, curating events like dinner parties, his signature “U27 Showcase” for emerging artists, game nights and more. Alongside his team, he also worked on community outreach, building partnerships, and managing day-to-day operations. His role has evolved to manage membership for all ages, which has expanded his reach and deepened his connection with the entire Soho House community.
DREAM MENTOR: Pharrell Williams
FAVE BOOK OF 2024: The Guide to Becoming Alive by Richard Christiansen
DISRUPTORS is a monthly series from TheNashvilleBriefing that highlights rising executives in the biz who are changing the game. In case you missed them, here are our most recent honorees. Learn about these people now!
Brittney Boston began her journey in L.A. as a songwriter and discovered her true calling lay in merging creative artistry with business acumen. Boston is a former A&R and marketing executive at UMG and founder of Supreme Republic Entertainment. During her six-year management of digital creator Dax, she orchestrated his transformation from digital content creator to music artist and her strategic marketing expertise continues to drive breakthrough moments for developing artists like Montana Tucker, Q Park, Zach Campbell and Byron Juane. Currently expanding her footprint in Nashville, Boston is participating in the third cohort of mTheory and CMT Equal Access program while her non-profit organization I AM Musicology is dedicated to empowering multicultural young professionals and artists. Boston currently leads marketing initiatives for a music tech startup and has production expertise that includes work with awards shows including the Grammys, Emmys and Golden Globes. Looking ahead, she is developing several original film and television productions slated for 2025.
PROUDEST ACCOMPLISHMENT: A&Ring a song for Dianne Warren called “Love Me Like That” which was featured on the ‘Creed II’ soundtrack in 2018.
Chris Paterno is the CEO and founder of HEARD. HEARD uses machine-learning and advanced analytics to automate record label marketing workflows, delivering powerful strategies, digital ad campaigns and reports up to 20x faster and 2.4x more effective than manual efforts.
PROUDEST ACCOMPLISHMENT: I’m particularly proud of the team I’ve built. Together, the HEARD White Glove Service team has launched 100,000 ads in three years, managing millions of ad dollars to support some of the biggest names and moments in music.
Hannan Mumtaz graduated from The University of Virginia with a bachelor’s degree in Commerce and a minor in South Asian studies. She later took this experience to C3 Presents, where she helped put on the very first Lollapalooza festival in India. Today, she helps manage Quarters Of Change (Atlantic), Katelyn Tarver (Nettwerk) and PTS (Epitaph) along with promising newcomers like Aldrch & Cosette (Sparta/ WMG). She was instrumental in throwing the recent sold out “NYC FOR LA” concert at Music Hall of Williamsburg, which helped raise money for those affected by the Los Angeles fires. She was previously an A2IM Featured Executive and has been highlighted in publications like The Digilogue and more.
PROUDEST ACCOMPLISHMENT: Quarters of Change opening for the Jonas Brothers at MVP Arena years after I first saw them in a 250-cap room!
Hannah McElroy began her career at iHeartRadio before transitioning to local music marketing with Venture Music, where she worked on artist projects like Johnnyswim, Joe Nichols, Alaska (5000), and Arlie. There, she connected with Left|Right Management, which led her into the world of artist management. Today, McElroy works with a variety of artists across the Left|Right roster and recently began working closely with Alex Goodman, Jay King and John Meneilly as a day-to-day manager for country artist Drew Baldridge. Additionally, McElroy has taken on managing rising artist Brye and is excited to help guide her career in the ever-evolving music landscape.
PROUDEST ACCOMPLISHMENT: It’s been super rewarding to be a part of artists’ most pivotal moments — whether celebrating their first No. 1 song or witnessing their first arena tour. For Drew Baldridge, that meant not just one, but two major milestones, as he embarked on his first-ever arena tours alongside Cody Johnson and Bailey Zimmerman!
Kaetlin Fehl’s journey in the entertainment industry began with her passion for music and storytelling. As a high schooler, she launched an online music magazine dedicated to capturing the raw energy of touring punk rock bands through her photography before roles at APA, Vector Management and Go West Creative. In 2021, Fehl joined FlyteVu’s production team as an account coordinator before rising to Head of Content Production in 2024. Fehl has been instrumental in delivering brand campaigns like Dierks Bentley x Row94, The Castellows x Farnam, Demario Davis x Ashley DSG, Lainey Wilson & Emerging Artist x Tractor Supply, Thomas Rhett Akins x YouTube Fritos and many others. When she’s not overseeing production magic, Fehl can be found globe-trotting with friends and family, soaking up every adventure.
PROUDEST ACCOMPLISHMENT: One of the moments I’m incredibly proud of early in my career was being published in AP Magazine. It was such an exciting achievement that validated my passion and hard work at a young age. Right now, we’re in the final stages of producing a big budget TV spot that will air globally this year on linear, out-of-home platforms and even in Times Square! The project has been a monumental undertaking, but the creative is exceptionally strong and I couldn’t be prouder of what we’ve accomplished. Once it’s out in the world, I know it will stand as the project I’m most proud of in my career.
Jenna Powell is a Corporate Communications Executive at leading entertainment and sports agency Creative Artists Agency. Powell is based in Nashville, where she serves as a company spokesperson, developing and executing external and internal comprehensive communications strategies that further solidify CAA’s leadership position in the areas of Music & Comedy Touring, Theatre, Digital Media, and Media & Entertainment Partnerships. Powell began her career at CAA in 2018 as assistant to Chief Communications Officer Michael Mand, and was promoted to Executive in the agency’s Communications division in 2023. Powell graduated from Pepperdine University with a degree in Public Relations.
PROUDEST ACCOMPLISHMENT: It really is so fun to work at a company that dreams big and then actually makes those dreams come true. As someone who is way more used to being behind the curtains, any time I get to help shine some light on our incredible clients and colleagues is a win for me. Whether it’s a profile/power list highlighting our incredible agents or landing an up-and-coming artists’ first-ever feature in a magazine, I see every day as a chance to tell a story about people working hard and achieving unbelievable things. Can’t think of a better gig!
