Brown photographed by Dennis Leupold
Honoring the Past, Embracing the Future
or some strange reason, when I think about growth and development, I always go back to this comical exchange between Annie and Helen from the movie “Bridesmaids.”
Helen: “I think if you’re growing, then you’re changing.”
Annie: “But, I mean, we’re changing from who we are, which we always stay as.”
This just feels very fitting for this issue.
As we prepare for the milestone 60th anniversary of the ACM Awards®, the history of this organization and longevity of Country Music can’t be overlooked. We’re gearing up to celebrate six decades of giving the stage to artists who have built a genre we love and cherish. These moments have not just shaped the genre but also pushed the Country community forward.
From the Academy’s inception in Southern California back in 1964 to its relocation to Nashville just a few years ago, things for us here have certainly changed. Some might even argue that the genre looks and sounds a lot different, and that may be true. But I think I agree with Annie here. Country Music is changing, but that doesn’t mean it’s lost its way. The strong storytelling, the relatable lyrics, the steel guitars, and the drawl of voices, it’s all still there.
Kane Brown, who graces the cover of this issue, acknowledges that, as an artist, it’s boring to do the same old stuff. He’s learned to keep things fresh and reinvent himself. Read more about his musical journey on P. 28. In this issue, we also hear from Board Member Annie Ortmeier, who has challenged herself to stay ahead and anticipate change in her career. Read more about her on P. 18.
So, as we look ahead, let’s remember where this genre came from but not let that hinder where it’s yet to go. The future of Country Music is bright.
E ditor
Libby Gardner
A ssistA nt E ditor
Brittany Uhniat
C ontributors
Lydia Farthing, Caitlin Hall
d E sign
Karabin Creative
Photos
ACM, Benny Blanco, Courtesy of Annie Ortmeier, Courtesy of Riley Green, Courtesy of Warner Chappell Nashville, Ryan Garcia, Robby Klein, Dennis Leupold, Shaun Llewellyn, Miranda
McDonald, Cameron Packee, Miranda McDonald
ACADEMY STAFF:
Damon Whiteside
E
Ben Carter
Christina Bartko
h
Haley Montgomery
s
Steve Mekler
d
Matt Brum-Taylor
d
Jennifer Davis
d ir
tor/P
L i C ity & M E di A r ELAtions
Jesse Knutson
d ir EC tor/ACM L ifting L iv E s
Taylor Wolf
s E nior M A n Ag E r/C o MM uni CAtions A nd str At Egi C
Lexi Cothran
s E nior M A n Ag E r/C ont E nt A nd E ditori
Libby Gardner
M A n Ag E r/Progr AMM ing & C o MM
Kortney Toney
M A n Ag E r/C r EAtiv E & C ont E nt Produ C tion
Brittany Uhniat
s E nior C oordin Ator/ fin A n CE A nd A CCounting
Jean Anne Zwick
C oordin Ator/Ev E nts
Alexis Bingham
C oordin Ator/ s o C i AL M E di A
Katie Casserly
A ssistA nt/ACM L ifting L iv E s Brooke Boyd
A ssistA nt/M A rk E ting
Heather Howard
A ssistA nt/ i ndustry r ELAtions & AwA rds Delaney Loughran
E x EC utiv E A ssistA nt to th E CEo Karson Leighton
Cheers, Libby Gardner ACM Tempo Editor
i nt E rns : Lizzie Chladek - Creative & Content
Hannah Crenshaw - Programming & Community
Engagement
Kennedy Fisher - Social
Caitlin Hall - Editorial
Abby Jester – Artist & Industry Relations
Victoria Mata – Public Relations
Delaney Peterson - Partnerships
Claire Schilling - Events
Gina Sisco – ACM Lifting Lives
Gianna Thomas – Creative & Content Production
Dear Academy Members,
Welcome to 2025! It’s an exciting year for the Academy of Country Music® .
In this issue, we welcome our new Board Members and look forward to continuing our work to be a constant representation of this industry and our Membership. Here at the ACM®, we are vigorously preparing to celebrate one of the biggest events in the Academy’s history, our milestone 60-year anniversary of the ACM Awards. We can’t wait to share this moment with our Members and fans at our now three-year home at Ford Center at The Star in Frisco, Texas.
While there’s so much to look forward to, it’s important to reflect on the hardships that our Los Angeles community has recently faced. Southern California was our home for many decades, so we know firsthand the impact of this immeasurable disaster will have ripples for months and years to come. We want to continue to ensure no one has to navigate this alone. With the help of ACM Lifting Lives® and our donation drive, we hope to be able to provide needed support. Our hearts go out to all those affected, and we will continue to help rebuild our California community.
We also pay tribute to Ben Vaughn, a longtime industry executive and ACM Board Member and Chair. He was a champion of the Country Music genre and a constant advocate for songwriters. His memory will live on forever through the great music and songwriters he fostered.
As the anniversary show quickly approaches, the Academy is working hard with our partners including the Dallas Cowboys, Dick Clark Productions, and Prime Video to put together an unforgettable night for the industry, artists, and fans all over the world. We hope you can join us in celebrating as we show you what 60 years of the ACM is all about.
Cheers to a prosperous year for you all.
With appreciation,
Damon Whiteside Chief Executive Officer
Celebrating 60 Years of the ACM Awards ®
Tickets are on sale now for the 60th ACM Awards at SeatGeek.com. Join us at Ford Center at The Star in Frisco, Texas on May 8 for a celebration of music you won't want to miss. Keep your eyes open for upcoming announcements, including performers, presenters, and additional ACM week events.
BE A PART OF THE 60TH ACM AWARDS LEGACY:
Voting for the 60th ACM Awards is underway! Make sure to mark your calendars with the dates listed below to keep up to date with the ACM voting deadlines for 2025.
Here’s the full voting timeline:
Main Awards
FIRST ROUND VOTING
February 10, 2025–February 18, 2025
SECOND ROUND VOTING
March 10, 2025–March 17, 2025
FINAL ROUND VOTING
March 31, 2025–April 7, 2025
Radio Awards
FIRST ROUND VOTING
February 10, 2025–February 24, 2025
FINAL ROUND VOTING
March 10, 2025–March 24, 2025
All submission/voting windows close at 8 p.m. EST/ 7 p.m. CST/ 5 p.m. PST
Visit acmcountry.com/voting-criteria for more information.
TOP ROW L-R: Allie Bartone, Red Light Management; Lilly Brown, BMI ; Zoe Cummins, Songwriter; Tanner Davenport, White Boy MGMT & Black Opry; Hope Garrison, Triple Tigers Records
BOTTOM ROW L-R: Krista Hayes-Pruitt, BBR Music Group/BMG; Samantha Kane, Opry Entertainment Group; Matt Najdowski, Farris, Self & Moore, LLC; Ashley Negrillo, Maverick Management Nashville; Jess Tomlins, Neon Coast
Meet the New ACM LEVel Up Cohort
The Academy announced its newest class selected for the LEVel Up: Lift Every Voice 2025 cohort. The curriculum was created to empower participants to play a pivotal role in expanding the horizons of the Country Music industry into new audiences that transcend demographics and geography. During this two-year program, which is funded entirely by the Academy, participants spend their first year learning from thought leaders across the industry, while also collaborating as a cohort to develop a proposed plan to expand Country Music’s reach to a new and underrepresented audience.
LEVel UP 2025 is comprised of 10 young professionals with careers rooted in multiple facets of the industry — from performing rights organizations to management companies, record labels and more. Spanning to all corners of the Country Music industry, they join
an impressive list of more than 30 unique organizations represented by program members since LEVel Up was established in 2022. This cohort includes:
• Allie Bartone, Red Light Management
• Lilly Brown, BMI
• Zoe Cummins, Songwriter
• Tanner Davenport, White Boy MGMT & Black Opry
• Hope Garrison, Triple Tigers Records
• Krista Hayes-Pruitt, BBR Music Group/BMG
• Samantha Kane, Opry Entertainment Group
• Matt Najdowski, Farris, Self & Moore, LLC
• Ashley Negrillo, Maverick Management Nashville
• Jess Tomlins, Neon Coast
2024–2025
Academy of Country Music Board of Directors
The ACM is thrilled to welcome the 2025 Board of Directors for its milestone 60th year. Previously announced officer roles for the Academy for the 2024–2025 term are Chair Randy Bernard , Vice Chair Cris Lacy, Vice President Jeff Krones, Treasurer Carmen Romano, Sergeant-at-Arms Gayle Holcomb, and Parliamentarian Duane Clark
“As we enter into a milestone year with the 60th ACM Awards on the horizon on May 8, 2025, this will be a year of reflection on the impact the Academy has made on our industry, and a year to look forward on what the next 60 years will look like for the Academy and Country Music. With the guidance of these leaders in our industry and on our Board, I have no doubt that the ACM will have one of the most exciting, impactful, and successful years to date, and with this dedicated group of
individuals, the sky is the limit,” said Damon Whiteside, CEO of the Academy of Country Music.
This year, 11 of the 13 qualifying professional categories were elected by the Academy’s membership. In addition to those elected, director-at-large positions have been appointed by the Chair, Vice Chair, and Vice President. Directors are elected from each category based on the number of members in that category. Each director serves a staggered two-year term.
Newly elected members of the Board of Directors include Adam Weiser, Becky Gardenhire, BJ Hill, Cameo Carlson, Chandra LaPlume, Cyndi Forman, Deana Ivey, George Couri, Jon Loba, Kristie Sloan, Lee Thomas Miller, Marcel Pariseau, Margaret Hart, Martha Earls, Meredith Jones, Scot Calonge, Scott Scovill, Tim Roberts, and Ward Guenther.
Newly appointed directors at large members of the Board of Directors include Aaron Spalding, Andy Moats, Benson Curb, Candice Watkins, Chris Lisle, Cindy Mabe, Curt Motley, Emily Falvey, Howie Edelman, Jeremy Holley, Matt Cottingham, Rod Phillips, Sally Seitz, Shawn McSpadden, Storme Warren, and Tim Foisset.
LEFT TO RIGHT:
Randy Bernard; Cris Lacy; Jeff Krones; Carmen Romano; Gayle Holcomb; Duane Clark
Academy of Country Music Board of Directors 2024–2025
OFFICERS
Chair of the Board, Randy Bernard, RWB Management
Vice Chair, Cris Lacy, Warner Music Nashville
Vice President, Jeff Krones, Creative Artists Agency
Treasurer, Carmen Romano, FBMM
Sergeant at Arms, Gayle Holcomb, WME
Parliamentarian, Duane Clark, FBMM
AFFILIATED
Scot Calonge, Richards & Southern
Ward Guenther, Whiskey Jam
Deana Ivey, Nashville Convention & Visitors Corp
Scott Scovill, Moo TV
ARTIST/MUSICIAN/ PRODUCER/ENGINEER
Gena Johnson
TJ Osborne
Carly Pearce
Derek Wells
DIGITAL MARKETING/ DISTRIBUTION
Cameo Carlson, mtheory
Margaret Hart, YouTube
MANAGER
George Couri, Triple 8 Management
Enzo DeVincenzo, 377 Management
Martha Earls, Neon Coast
Kerri Edwards, KP Entertainment
MEDIA/PUBLIC RELATIONS
Marcel Pariseau, True Public Relations
Kristie Sloan, The Green Room PR
MUSIC PUBLISHER/PRO
Cyndi Forman, UMPG
Shannan Hatch, SESAC
BJ Hill, Warner Chappell Music
RADIO
Mike Moore, Cumulus Media
Tim Roberts, Audacy
RECORD COMPANY
Jon Loba, BMG
Katie McCartney, Monument Records
Annie Ortmeier, Triple Tigers Records
Jennifer Way, Sony Music Nashville
SONGWRITER
Lee Thomas Miller
TALENT AGENT
Becky Gardenhire, William Morris Endeavor
Meredith Jones, Creative Artists Agency
TALENT BUYER/PROMOTER
Adam Weiser, AEG Presents
VENUE
Jason Kane, Houston Livestock Show & Rodeo
Kevin Ream, Cheatham Street Warehouse
Troy Vollhoffer, Premier Global Production
VISUAL CONTENT
Chandra LaPlume, Sandbox Productions
DIRECTORS AT LARGE
Jake Basden, Sandbox Entertainment Group
BRELAND
Ryan Beuschel, The Neal Agency
Johnny Chiang, SiriusXM
Buffy Cooper, Morris Higham Management
Matt Cottingham, Lewis Brisbois
Benson Curb, Curb | Word Entertainment
Howie Edelman, Durango Artist Management
Emily Falvey
Tim Foisset, Spotify
Rusty Gaston, Sony Music Publishing Nashville
Jeremy Holley, FlyteVu Agency
Beth Laird, Creative Nation
Chris Lisle, CLLD LLC
Cindy Mabe, UMG Nashville
Shawn McSpadden, Range Media Partners
Daniel Miller, Fusion Music
Andy Moats, Pinnacle Bank
Mike Molinar, Big Machine Music
Patrick Moore, Opry Entertainment Group
Curt Motley, UTA
Chris Parr, Maverick Management
Rod Phillips, iHeartMedia
Ryan Redington, Amazon Music
Mike Rittberg, Big Machine Label Group
Shannon Sanders, BMI
Sally Seitz, Apple Music
Aaron Spalding, Live Nation Entertainment
Randi Tolbert, Q Prime
Storme Warren, TuneIn Radio’s “The Big 615”
Candice Watkins, Big Loud
Erika Wollam Nichols, The Bluebird Cafe
PAST CHAIRS
Chuck Aly, Country Aircheck
Lori Badgett, City National Bank
Duane Clark, FBMM
Ebie McFarland, Essential Broadcast Media
Ben Vaughn, Warner Chappell Music
Ed Warm, Joe’s Live
EX OFFICIO PAST CHAIRS
Paul Barnabee, FBMM
Charlie Cook
Rod Essig, Creative Artists Agency
Mark Hartley
Darin Murphy, Creative Artists Agency
Ken Tucker, Wheelhouse Records
Butch Waugh, Studio2bee
ACM Lifting Lives Board of Directors for 2024–2025
In January, ACM Lifting Lives® announced the newly elected Board of Directors for the 2024–2025 term.
Officer roles for the 2024–2025 term are Chair Shawn McSpadden, Vice Chair Fletcher Foster, Vice President John Hickman, Treasurer Paul Barnabee, and Secretary Taylor Wolf.
The ACM Lifting Lives Board of Directors is comprised of leaders in non-profit and corporate affairs who are referred to as public directors, and other leaders who also serve as ACM Board members, referred to as representative directors.
This year, there were six public director positions elected, one representative director position elected,
and six public directors at large appointed to the ACM Lifting Lives Board of Directors. Additionally, one director was appointed to an Emeritus Board Seat.
Newly elected public directors include Sandi Borchetta, Tiffany Brush, Kathleen Flaherty, Michelle Tigard Kammerer, Rondal Richardson, and Sally Williams.
The newly elected representative director is Ebie McFarland.
Newly appointed public directors at large include Scott Adkins, Jackie Campbell, Jeffrey Hasson, Chad Kudelka, Elaina Smith, and Zach Sutton.
The newly appointed emeritus director is Rod Essig.
CLOCKWISE FROM TOP LEFT: Shawn McSpadden; Fletcher Foster; John Hickman; Taylor Wolf; Paul Barnabee.
ACM Lifting Lives Board of Directors
2024–2025
OFFICERS
Chair, Shawn McSpadden, Range Media Partners
Vice Chair, Fletcher Foster, F2 Entertainment Group
Vice President, John Hickman, Dallas Cowboys
Treasurer, Paul Barnabee, FBMM
Secretary, Taylor Wolf, ACM Lifting Lives
PUBLIC DIRECTORS
Scott Adkins, Adkins Publicity
Sandi Borchetta, Big Machine Label Group/Music Has Value
Tiffany Brush, Topgolf
Jackie Campbell, Results Global
Kathleen Flaherty, Morgan Wallen Foundation
Fletcher Foster, F2 Entertainment
Jeffrey Hasson, United Talent Agency
Julie Gordon
John Hickman, Dallas Cowboys
Greg Hill, Hill Entertainment Group
Michelle Kammerer, Amazon Music
Chad Kudelka, Creative Artists Agency
Tom Lord, Red Light Management
Diane Pearson, City National Bank
Rondal Richardson, Community Foundation of Middle Tennessee
Adi Sharma, The Neal Agency
Elaina Smith, Backstage Country
Zach Sutton, Red Light Management
Sally Williams, Live Nation Entertainment
REPRESENTATIVE DIRECTORS
Randy Bernard, Major Bob Music
Duane Clark, FBMM
Chandra LaPlume, Sandbox Productions
Ebie McFarland, Essential Broadcast Media
Shawn McSpadden, Range Media Partners
Darin Murphy, Creative Artists Agency
Annie Ortmeier, Triple Tigers Records
Storme Warren, TuneIn Radio’s “The Big 615”
PAST CHAIRS
Lori Badgett, City National Bank
Paul Barnabee, FBMM
Bruce Bowman, PlaySpots
Debbie Carroll, Onsite
Mark Hartley
Gayle Holcomb, William Morris Agency
Lorie Lytle, Fridrich & Clark Realty
Daniel Miller, Fusion Music
Tree Paine, Premium PR
Troy Vollhoffer, Premier Global Production
Ed Warm, Joe’s Live
EMERITUS DIRECTORS
Rod Essig, Creative Artists Agency
Gayle Holcomb, William Morris Endeavor
Grant RecipientsCycle Announced ACM Lifting Lives
ACM Lifting Lives®, the philanthropic partner of the ACM, announced the 2024–2025 grant cycle beneficiaries, which include 10 memory care-focused organizations funded by Scott and Sandi Borchetta’s generous donation through Music Has Value, including Abe’s Garden Community, Care Dimensions, Higher Octave Healing, Iris Collective, Key Chorale Inc., Magnolia Memory Care, MultiCare Health Foundation, Music for Seniors, Musicians On Call, and West Fall Center for the Arts. An additional 10 recipient organizations include Amped Kids Foundation, Children’s Eye Foundation of AAPOS, Country Music Foundation, Love Learning Music, Multiple Sclerosis Achievement Center, Northern Westchester Hospital Association, Perfect Harmony Health, Rock to Recovery, The Angel Band Project, and The Texas Supremacy of Music & Arts Conservatory.
Launched in August 2024, this funding cycle and allocation of grants continues ACM Lifting Lives’ long and dedicated history of supporting diverse and dynamically impactful organizations providing music therapy programs, shining a national spotlight on their critical work and harnessing the healing and rejuvenating power of music. The 2024–2025 recipient organizations awarded in this grant cycle work with disadvantaged children, individuals with special needs,
individuals with memory loss, school programs, those fighting illnesses, and more in California, Texas, New York, Washington, Tennessee, and across the United States.
“I’m reminded daily that music is a powerful force — not only for enjoyment, but also for reaching hearts and minds in a way that other things can’t. ACM Lifting Lives is honored to announce the newest grant recipients, who are harnessing music’s power for therapeutic means,” said Taylor Wolf, senior manager of ACM Lifting Lives. “These worthy organizations continue to make an impact on so many people nationwide through their essential work, and thanks to the incredible support from Music Has Value, we’re thrilled to expand our support to memory care programs, specifically.”
“We are honored to be able to continue the mission of Music Has Value by working with ACM Lifting Lives and their Grant Recipients. Our shared vision and mission align greatly, and we look forward to spreading the healing power of music together,” said Scott Borchetta, chairman of Big Machine Label Group, and Sandi Borchetta, EVP creative, Big Machine Label Group.
ACM Lifting Lives and Music Has Value selected 10 programs for funding that support the enhancement of the lives of individuals with memory loss by using music therapy and music as a means of healing. These grants will sustain or expand ongoing programs as well as support the launch of three new music therapy programs for memory care patients and their caregivers.
Programs funded through this grant cycle include:
ABE’S GARDEN COMMUNITY
(Nashville, Tennessee) exists to enhance the quality of life for seniors and those who are affected by Alzheimer’s disease and other dementias. A new ACM Lifting Lives Music Therapy program for seniors living with Alzheimer’s and other dementias will be implemented with funding from this grant.
CARE DIMENSIONS
(Danvers, Massachusetts) has a mission to enrich the quality of life for those affected by life-limiting illness, death, and loss by providing exceptional care, support, education, and consultation.
HIGHER OCTAVE HEALING
(Tempe, Arizona) empowers people with diverse needs and abilities to improve their quality of life through music therapy and their Memory Café.
IRIS COLLECTIVE (Germantown, Tennessee) has a mission to facilitate meaningful connections with communities in greater Memphis through collaborative performances that produce creative and exceptional music experiences. They offer weekly music classes for older adults living with Alzheimer’s and dementia, their caregivers, and their loved ones.
KEY CHORALE INC. (Sarasota, Florida) is dedicated to transforming lives through innovative programming, artistic excellence, educational outreach, and service to the community. This grant will help implement two choirs in senior memory care facilities.
MAGNOLIA MEMORY CARE
(Fort Mill, South Carolina) has a mission to partner with caregivers and loved ones living with Alzheimer’s and other types of dementia by providing a holistic care model delivering vital resources, support, and services to improve quality of life.
MULTICARE HEALTH
FOUNDATION (Tacoma, Washington) focuses on their mission to partner for healing and a healthy future. With help from this grant, they will introduce music therapy into the care of people living with dementia in hospital settings to reduce delirium, prevent falls, and improve cognitive and emotional well-being during their hospital stay.
MUSIC FOR SENIORS (Nashville, Tennessee) connects area musicians with older adults through live and interactive music programs designed to engage, entertain, and educate seniors — promoting health and well-being, reducing isolation, and enriching the lives of all participants.
MUSICIANS ON CALL (Nashville, Tennessee) brings live and recorded music to the bedsides of patients and their families and caregivers in healthcare environments across the country.
WEST
FALL CENTER FOR THE ARTS (West Fall, New York) developed Musical Memories Café for caregivers and their loved ones living with Alzheimer’s, dementia, and isolation.
Ten additional organizations have been selected by ACM Lifting Lives for grant funding toward their music therapists or music therapy programs. These grants will allow three organizations to introduce new programs and will support ongoing therapeutic music programs for the other seven.
AMPED KIDS FOUNDATION
(Sautee Nacoochee, Georgia) has a mission to positively impact the lives of foster, adopted, and at-risk youth providing a pathway to healing through music programs and therapeutics.
CHILDREN’S EYE FOUNDATION OF AAPOS (Nashville, Tennessee) has a mission to end preventable vision loss in children and improve the lives of visually impaired children worldwide.
COUNTRY MUSIC FOUNDATION (Nashville, Tennessee) offers Songwriting 101 programs to help young people in Middle Tennessee move into a happy, healthy, and productive adulthood.
LOVE LEARNING MUSIC (Nashville, Tennessee) focuses on their mission to use music and fine arts to educate, equip, and empower the whole person, regardless of age, ability, or socioeconomic status. Funding from ACM Lifting Lives will help introduce group music therapy sessions to youth in two programs with the aim of improving the social, emotional, and physical development of the children involved. For information on grant guidelines and applications, or to support ACM Lifting Lives, visit ACMLiftingLives.org.
MULTIPLE
SCLEROSIS ACHIEVEMENT CENTER
(Lawrence, Kansas) exists to enhance the quality of life for people with progressed multiple sclerosis.
NORTHERN WESTCHESTER HOSPITAL ASSOCIATION
(Mount Kisco, New York) focuses on their mission to provide the highest-quality diagnostic and treatment services in state-of-the-art facilities while assuring their community access to a coordinated continuum of health care.
PERFECT HARMONY HEALTH
(Roswell, Georgia) has a mission to create accessibility to life through the healing power of music. Funds will cover the cost of their Singing with Parkinson’s Choir.
ROCK TO RECOVERY
(Laguna Beach, California) has a mission to help people heal and transform their lives through the powerful experience of writing, playing, and performing music as a group. This grant from ACM Lifting Lives will enable music therapy sessions for more than 100 adults living in Los Angeles County with a diagnosed substance use disorder.
THE ANGEL BAND PROJECT (St. Louis, Missouri) provides traumainformed music therapy and advocacy for those impacted by sexual and intimate partner violence.
THE TEXAS SUPREMACY OF MUSIC & ARTS CONSERVATORY (Dallas, Texas) focuses on nurturing a love for urban performing arts among middle and high school students, particularly those from underserved communities. ACM Lifting Lives’ funding will support their new “Harmony for Healing” program for disadvantaged youth. ●
For information on grant guidelines and applications, or to support ACM Lifting Lives, visit ACMLiftingLives.org.
If you are in the Country Music community and facing an unexpected medical or financial emergency, ACM Lifting Lives is here to help.
Please reach out to liftinglives@acmcountry.com to see if you qualify for a grant from THE DIANE HOLCOMB EMERGENCY RELIEF FUND.
Inside the Boardroom
Triple Tigers Records
Co-President Annie Ortmeier isn’t afraid to embrace change. The digital marketing guru reflects on her career journey, the rich history and longevity of Country Music, and her belief that the best is yet to come
BY LIBBY GARDNER
TEMPO: I know a lot about you and your career. I also read your “My Music Row Story,” but I would love to hear from you about your start in Country Music and where that passion came from.
ANNIE: My passion for Country Music came from growing up in rural America in a very Country lifestyle. I joke that my first car was a pickup truck, and that is not a cliche. I grew up on an acreage farm with animals running wild, all those things. I have three older brothers, and they were very much the influence of my music early on, like heavy metal and hair bands of the ‘80s. I remember hearing a Garth Brooks record and going, “Huh, this makes a lot more sense for how we live.” I was like 8 or 9 years old, and then started to make my own music choices, and really dove into that—Martina McBride, Faith Hill, Trisha Yearwood, Patty Loveless, the Dixie Chicks. I was just enthralled, especially with the women.
I think one of the first CDs I bought when that became the format after cassettes was Clint Black’s Killing Time and all those Garth Brooks records of the ‘90s too. As we know and talk
about now, ‘90s Country Music has a special place in not just Country Music, but all music. So, I was caught up in that fire that was burning at the time, and it really did inform my passion about music ... Then over time, as I grew up and started to figure things out for myself, I tried to ask, “Is this something you can do for a job?” And my first foray into that was looking at liner notes of all these cassettes I had initially and then the CD covers and saying, “Oh, this is in Nashville.” And wondering, “What does that mean, where is this taking place, and what are these names under the songs? Are these songwriters?” Throughout that understanding, there were a lot of people and a giant machine behind just what I was hearing on the radio or what I was listening to on cassettes and CDs. So that drove my passion, and I figured out a way to get to Nashville.
TEMPO: It‘s interesting because I had a similar experience in that, growing up, I knew that I loved music, but thought I had to be an artist to work in it. And I was like, “Oh, there are so many other opportunities that I can do to still do what
Clockwise from top left:
Annie Ortmeier, Rachel Whitney (Previous ACM Board Member)
Laura Hostelley (Triple Tigers VP), Annie Ortmeier, George Couri (ACM Board Member), Kevin Herring (Triple Tigers Co-President) at 2024 ACM Awards
Travis Daily (Cumulus), Charlie Cook (ACM Board Member), Annie Ortmeier at 2024 ACM Awards
I love.” So, I totally get that. Where did your career begin? I believe it was at Country Music Television (CMT), right?
ANNIE: Yeah, it‘s hard to explain this to people who grew up with the internet, but I didn’t. If you try to say, “How did you figure out how to get to Nashville or figure out anything in the music industry? — one of the most identifiable brands to me, outside of artists’ names, was CMT. So, I knew that it was a brand associated with Country Music in Nashville, and I applied for an internship with them when I was still in college. I got the internship basically after I had graduated. [I] maybe fudged a little bit on my application and said it was for school credit ... I got lucky with an internship at CMT in a brand-new department called CMT.com. What’s fun about this interview is that January 10, is my 20-year anniversary of moving to Nashville and I started my internship at CMT on the 11th. So, here we are, 20 years later.
I went into this new department. At the time, [there] were eight people. I was the ninth person, and I got hired immediately after my internship into this newly created role called coordinator of e-commerce. I point to that being how the industry changed, and [I] just was in that right place, [at the] right time. Over the next three years while I was there, we went from a team of nine to a team
of 30. I think I was the only person that was under the age of 30 when I was hired. The next six interns after me continued to fill out these roles of young, vibrant people who understood a lot about digital, mobile, streaming, all these different things. It really became an awesome place to meet so many people, learn, and grow as the industry was starting to embrace downloads at that time in digital media.
TEMPO: So, was digital media always of interest to you? Or do you think that first opportunity really ignited that interest for you?
ANNIE: Yeah, I think so. My degree was in communication, public relations, with an emphasis in marketing and Spanish. So, I knew I wanted to work somehow in music, but what did that look like? I didn’t know. So, I was like, “I’m just going to get in somewhere and learn.” What I figured out as I got in there was this was very applicable to things I had learned in school, advertising and marketing. But could you have had any kind of digital marketing coursework when I was taking college classes from 2000 to 2004? Not really. So, a lot of it was just in the moment, on-the-fly training ... I think that as I’ve evolved in my career, it’s helped me set a precedent of not being afraid of change. I’m not afraid of things I don’t know. I will figure it out ... That role and the way that it started at CMT set a big trajectory for me for the rest of my career.
TEMPO: In reading about you and your career growth and just hearing from you, you‘ve always seemed ahead of the curve. You knew what was going to happen next, where Country Music was going, what it needed, and how you could help with that. Do you think that is a natural, innate thing in you or was that learned over time?
ANNIE: That’s a great question. That’s hard to say. I mean, looking back now on a 20-year career in Nashville, I don’t know that I could have ever said I knew exactly where Country Music was going, but I think based on my experience and probably my
age coming up in the industry over the last decade, I could see trends in media, trends in consumption, or changes that were happening on a larger scale, whether it be through pop culture, technology, media, and to know that it was eventually going to happen to Nashville and Country Music. So, I always point to streaming as one of those evolutions where I thought about the struggle from the CD to the download, what that looked like, and how it decimated the industry. Sure, that was hard, and I was living through the bottoming out of that when I first got to Nashville. Every time you’d talk to anybody, it was like, “The sky is falling!” ... I think anyone that was living in that digital space wasn‘t as pessimistic. The world was our oyster. The sky was the limit. When I was 22 or 23 in 2005, I had an MP3 player. I was only listening to downloads and then someone gave me a subscription to Rhapsody, the origination of it was Napster … So, kind of a funny story is that my boss in New York, while I was in Nashville for Christmas, sent us all Zune players, which were able to stream music … Whether it’s an innate thing or not, I haven’t been afraid of change and to try something new.
TEMPO: I feel like even for me in this digital age, it’s sometimes a bit overwhelming. There are so many options, so many new apps and streaming services. So, as a digital marketer yourself, is there ever a point where you feel overwhelmed with all the change?
ANNIE: Oh, yeah. I would say I feel overwhelmed by all of the change. I think over time and with experience, you start to be able to tell what’s going to stick around and what maybe isn’t ... This may be hard to remember, but after the launch of Twitter and Facebook, all these other digital platforms that were meant to be social networks popped up too ... I don’t get as overwhelmed anymore. Even as people want to talk about AI, I will remind people when they talk about it in a sort of hysterical way, we’ve had AI in our lives every day and have for years. How do you think your Google searches work so well? Why do you think your phone knows what to do? That’s all artificial intelligence that has learned your behavior. It’s very much the same.
TEMPO: I want to transition to talk about your experience with ACM. How did you first get involved with the Board?
ANNIE: I’ve obviously always known and supported the ACM and been a voting member for a long time. Then, I
actually received a call one day from someone from the ACM Board, which was Cris Lacy, and she said, “Hey, I just wanted to let you know that you’ve made it to the final round of voting for an at-large member in the record label category.” And I was totally shocked. I was like “What?” I didn’t know anybody had nominated me ... I got voted into the category, and they called me a couple days later and said, “Congrats, you’re a Board member.” I was completely blown away, shocked, and really excited. I was at Universal Music at the time, so Cindy Mabe was already on the Board. It was right at that time as the ACM was transitioning out of its contract with CBS and they were going into their first experience with a streaming service, and that ended up being Amazon. So, probably a good fit for me, too, living and understanding the digital space and streaming space to be joining at that time ... I’ve really enjoyed my time on the Board and learned a lot.
TEMPO: Is there anything that’s kept you on the Board?
ANNIE: I think the commitment to the ACM is a commitment to the health and longevity of Country Music. The investment in trade organizations by the industry and the artists is saying that you’re putting an agenda aside that might be personal to you, your artists, your companies, or whatever. I believe in the health and well-being and longevity of Country Music as a whole. I am also a CMA board member as well. I just finished my first year on the board. I do feel incredibly fortunate and honored to be involved in both organizations and, hopefully, helping steward the future of a genre that I love so much.
TEMPO: I know it’s hard to predict, but do you have any idea of where the genre is headed or where you like to see it go?
ANNIE: I think, trying not to pontificate too much, the genre has never been more open, and what that has done has brought a lot more eyeballs, a lot more ears, a lot more money, a lot more people, into the fold. I think the things that have always set Country Music apart — the artistry, the songwriting, the musicianship, the storytelling — are still here and still consistent. Other creatives, all kinds, are drawn to that. I think as other genres around us have lost some of that, that will continue to pull other artists in. It will continue to remain authentic to people as they’re listening to it and watching it. ●
From left to right: Annie Ortmeier, Jen PetersonMorley (ACM Board Member), Candice Watkins (ACM Board Member), Katie McCartney (ACM Board Member)
Album Releases
Mackenzie Carpenter
Hey Country Queen
March 7
John Morgan Carolina Blue
April 25
Parmalee
EP Releases
Craig Morgan American Soundtrack
February 28
Angel White Ghost of the West: The Album
March 7
Fell In Love With A Cowgirl
April 4
SingleReleases
Kelleigh Bannen featuring Charles Kelley
“Nothin’ On” OUT NOW
Angel White
“Running in Place” OUT NOW
Ryan Hurd
“Die For It” OUT NOW
Mackenzie Carpenter featuring Midland
“I Wish You Would” OUT NOW
Chase McDaniel
“Burned Down Heaven” February 14
Braedon Barnhill
“Front Porch Lights” February 28
Tour Dates
Jason Aldean and Brooks & Dunn
Full Throttle Headline Tour
May 23–October 04
Tyler Braden
Direct Support for Warren Zeiders’ The Relapse Tour
March 27–May 17
Brent Cobb 2025 Tour
NOW–June 7
Preston Cooper
Direct Support for Riley Green’s Damn Country Music Tour
June 12–August 25
Jackson Dean On The Back of My Dreams Tour
March 13–May 9
Mae Estes
Direct Support on Luke Bryan’s Country Song Came On Tour
July 10–August 24
Rascal Flatts
Life Is A Highway Tour
NOW–April 5
Brantley Gilbert Tattoos Tour
NOW–July 10
Riley Green
Damn Country Music Tour
March 27–August 23
Alan Jackson
Last Call: One More For The Road Tour
NOW–May 17
Maddie & Tae Love & Light
Headline Tour
April 10–May 15
Dylan Marlowe and Connor Smith
Did We Just Become Best Friends? Tour
April 2–April 12
Vincent Mason Direct Support for Gavin Adcock’s Actin’ Up Again Tour
NOW–Apr 13
Midland Get Lucky Tour
February 20–June 28
Tour Dates
Parmalee Fell In Love with a Cowgirl Tour NOW–March 22
Carly Pearce the hummingbird world tour NOW–May 16
Thomas Rhett Better In Boots Tour
June 5–September 26
Chris Stapleton All American Road Show Tour NOW–October 11
Josh Turner
The Greatest Hits Headline Tour October 24–May 3
Keith Urban High and Alive Headline Tour NOW–August 28
Tucker Wetmore Direct Support for Thomas Rhett’s Better In Boots Tour
June 5–September 26
Lainey Wilson Whirlwind World Tour with special guests ERNEST and Drake Milligan
March 4—November 8
If you are an ACM Member and would like your artists’ upcoming releases and tours featured in the next issue of ACM Tempo , please email brittany@acmcountry.com.
KANE BROWN TAKESthe
highroad I
BY LIBBY GARDNER
“
was always that insecure guy that just stood behind the mic and hoped you liked me,” Kane Brown remarked on a chilly December morning.
Now, as Brown approaches his 10-year anniversary in the Country Music scene, that feeling of being the “insecure guy” is long gone. Brown has not only honed his confidence on stage, but also his voice.
A previous conversation with Brown a few years ago led to a discussion about writing and releasing music he wanted to release versus what the industry or fans wanted. Thankfully today, Brown says that’s no longer a struggle for him, as he continually challenges himself to branch out.
Brown isn’t taking a backseat in his career. He’s redefining the boundaries and reshaping the blueprint of what Country Music can be.
highroad
I think you just grow and change as an artist, and I don’t ever want anything to sound exactly the same.
“I think you just grow and change as an artist, and I don’t ever want anything to sound exactly the same, so I always try and go for different sounds,” said Brown about his fourth studio album, The High Road , released this past January.
In his words, “This one [album] has your Country songs that can go to radio, and then you have your mix, like the one I have with Mello [Marshmello] and then I have one with Khalid, and then, ‘Body Talk’ with my wife. But the majority of them are all Country songs for Country radio.”
road
This album boasts quite a few notable collaborations, something Brown never shies away from. But what is even more interesting is that every artist on The High Road , is a previous collaborator of his. He described it as “almost like a reunion.”
“Marshmello reached out to me, and then ‘Rescue’ was the last song that I wrote for the album,” Brown explained. “We had to get it turned in, maybe four days before the album release was done. I was just listening to it, and I just had a show in LA, a stadium show at BMO [Stadium in Los Angeles]. Khalid was talking about Country Music going crazy right now, and he was talking about getting into it. I wrote that song afterwards, and I was like, ‘Hey, man, you know, would you want to be on a Country Album?’ He listened to the song, loved it, wrote his verse, and hopped on.”
And as for the songwriting of this album, Brown embraced not only a new space, but a new way of writing. “Honestly, just getting songs and trying to outwrite things that I had,” said Brown. “Jaxson Free and Gabe Foust were a huge part of it. I got a new studio that I’ve
never had for the other album. We got to write songs and then had time to go back in and try and rewrite and try not to use lyrics that everybody else has, or that I have before, and if we did, try to use them in different ways. We just got to edit a lot more than normal, and redo things more than normal to just get everything as right as I thought that I could in that moment.”
And he’s already thinking about the future. “The next album, I’ve already moved on music wise, and I want to release all anthems for that album, instead of it being storytelling and personal. I just want to make big show songs.”
Starting out as the guy afraid of being behind the microphone, it’s clear Brown’s focus is the stage. As he gears up for his upcoming The High Road Tour, which kicks off this March, he gives us a sneak peek into what we can expect.
“I will say there’s something that was specifically built for me, which I think is really cool to be able to say that nobody else has ever had or will have. This tour is going to be fun. I love being on the road. I love touring. I used to hate it, and I’ve grown into it being my favorite part of the music business.”
Just because Brown has gained confidence, doesn’t mean he doesn’t struggle at times. He recalls some advice from two great friends and successful artists in this industry.
“First off, the new guys are always going to come in. I remember Cole Swindell told me that. Then Jason [Aldean] was talking about when he felt like his career was just steady, he had, ‘You Make It Easy,’ come out and it took his career back to where he wanted it.”
Brown is aware that change is inevitable, artists come and go, and as much as songs are for the fans, it’s just as much, if not more, for the artists who create them.
“Now, it’s just being me and not caring about what other people say and releasing what kind of music that I want to release, because I got to sing it.”
And releasing what he wants to release doesn’t just mean staying true to his Country roots. He’s continually pushed the boundaries of Country Music, inviting artists in other genres to collaborate with him and vice versa. As he puts it, “I have a big enough heart for music everywhere and all types of genres.” ●
This tour is going to be fun. I love being on the road. I love touring. I used to hate it, and I’ve grown into it being my favorite part of the music business.
highroad
MIND IF HE DOES DON’T
RILEY GREEN is embracing the whirlwind of his career, reflecting on his roots, and looking forward to the road ahead
BY LIBBY GARDNER
TEMPO: Just to kick things off, I want to go back to the beginning and specifically hear what fueled your passion for Country Music. Was there a specific moment or a person in your life that really opened you up to that world?
RILEY: Yeah, I listened to a lot of different types of music as a kid, but my granddaddy, Buford, was a big Country Music fan. He loved Roy Acuff, Merle Haggard, and George Jones. And as an 11-year-old kid I was sitting around singing “Wreck on the Highway” or “Wabash Cannonball.” So, I got a lot of influence from really early traditional Country Music, and that was just how we bonded. I certainly didn’t think anything was going to come from playing and singing a little bit, but that’s where it started for me.
TEMPO: Since then, you’ve had some incredible successes. You won ACM New Male Artist of the Year in 2020, put out three albums, and have a No. 1 charting song. How does it feel to have accomplished all of that in such a short amount of time?
RILEY: Well, it was such a blur — from signing a record deal in 2018 to having No. 1 records or going on major tours with some big artists and winning the ACM in 2020. When we weren’t playing shows, I got to step back and see how fortunate I’ve been to have this kind of success. It certainly hasn’t slowed down any and it’s probably, more than anything, really motivating as a songwriter, especially because it means that people are buying into what I’m writing and relating to things that
I write about, how I grew up, and the values that I learned with my family. I’m glad that it’s something that people want to listen to.
TEMPO: Your most recent album, which came out last October, you wrote or co-wrote 11 songs on it, which I think says a lot about you and, obviously, that you value songwriting. Can you walk me through your songwriting process for this album?
RILEY: Songwriting for me is the one thing that’s never felt like work. I think I would still write songs if I wasn’t touring and playing music. I’ve always enjoyed that. This last album was really helpful for me to know that I was doing an entire album. A lot of times when we put music out in the past, it was a three-song EP or a single, and you don’t really get to look at it as an entire project. Whereas with this one, we really did it that way. I had some songs I wrote that I was excited about, but once I looked at the eight or 10 songs we cut, I said, “Man, I really need this kind of song,” or “This album’s missing this kind of song.” It was the first time ever that I was kind of directionally writing. It allowed me to go outside of my comfort level a little bit. I think what I’m most proud of on this record is it has a lot of different types of songs on it.
TEMPO: Do you have a favorite song from the album?
RILEY: That’s tough, you know, ’cause there’s some that were successful already. I really like the title track. “Don’t Mind If I Do.” Ella’s [Langley] on
that and she did an awesome job. “Jesus Saves” is probably the most meaningful song on there to me, just because it’s got a really good message.
TEMPO: I feel like a lot of your songs are very personal and emotional. Is it hard to write from a personal place and be that vulnerable?
RILEY: No, maybe that’s the only place I feel comfortable being vulnerable, is when I’m writing songs. But I think my goal is to try to make somebody feel some type of emotion. That’s certainly what I love about Country Music. When I listen to those old, sad George Jones songs, I want to try to make somebody feel something and get a reaction and see it in the crowd every night. That’s kind of the goal.
TEMPO: Would you say you’re more inspired by the emotions or inspired by the things that are happening around you?
RILEY: I’d say it’s a combination. I think that every song I’ve written has been somewhat true, something that really happened to me that sparked inspiration and thought. I think that’s always how I’m going to write. Those songs are seemingly the most successful ones and the ones that I’m emotionally tied to.
TEMPO: I know you also put big emphasis on collaborating. You’ve worked a lot with Luke Combs and Ella Langley. How important is that for you to bond with other artists and share in the art form?
RILEY: Well, every collaboration I’ve done has been something that’s pretty
organic. It wasn’t like somebody’s corporate office called somebody’s management company and said, “Hey, would you?” I mean, Ella was on tour with me. I’ve been a fan of Ella for a long time, and I thought it’d be great if we had a song we could do together onstage every night. It just worked out that the song became a big hit. Luke Combs, I was on a stadium tour with him, and “Different ’Round Here” was going to be my next single. I sent it to him and asked if he would want to be a part of it. It’s the honest way that it’s always happened, and I think it works out the best way.
TEMPO: When you’re looking for somebody to collaborate with, are you looking for somebody that can be another half and bring something else to the table or is it based on the bond you two have?
RILEY: I think it’s different every time. When I was looking at going on tour with some other artists, and I was kind of starting out, you want to go with somebody that’s got similar styles and music because you think you’re going to go over well with those fans. In some ways, you want to try to branch out a little bit because maybe they have a different fan base, and you can try to get some new fans out of it. For me, I like to work with people that I enjoy and I enjoy being around. I grew up the same way he [Luke Combs] did and maybe had some of the same influences. Ella, being from Alabama as well, I’m sure that was a huge part of it, all while we kind of have had the success we’ve had together.
TEMPO: Aside from your performing and songwriting, you’re an avid hunter, and you share a lot of those updates on social media. I know, obviously, music is a big part of your life, but is having those other things essential to keeping you grounded in the chaos of your career?
RILEY: I don’t think I realized how important it was until recently. I’ve always enjoyed hunting and the outdoors, and one of my favorite places to be is on my farm in Alabama, riding around on a tractor or something. It’s become necessary for me to disconnect from a crazy lifestyle that’s touring and being on the road a couple hundred days a year. All my inspiration came from that small town in Alabama
where I grew up. So, I think now more than ever, it’s important for me to get there and sit in a tree in the middle of nowhere in the woods by myself. It’s a really good way to step back and look at what life’s kind of all about, because there’s not a lot of reality; and being on the road on tour — it’s a crazy thing.
TEMPO: So, when you are unplugging, do you feel like you’re truly unplugging or do you still feel like sometimes you’re like, “Oh, that would be a good idea for a song” or “That’s a good lyric.” Do you feel like you can truly unplug when you’re out there?
RILEY: Well, I never stop doing that. There’s a little store in Pleasant Valley, Alabama, where I grew up, called Green Store, and all the old men go out there and play dominoes and cut up. I think I’ve written probably 10 songs from things I’ve heard out there — just sayings and one-liners. So, I’m constantly listening and trying to find inspiration for new songs. But it’s pretty hard to be concerned about the touring lifestyle when you’re in the woods and a big buck walks out or something. So, it’s a pretty good way to get away.
TEMPO: You also opened your bar last fall in Nashville. How did that come about and how has that been?
RILEY: It’s been great. It was much like everything else. It was a really organic thing. It was me and my buddy, Steve Ford, that owns Loser’s Bar, and he’s partnered with me on The Duck Blind. We were sitting around talking about a cool idea to have a bar called The Duck Blind. From that, it turned into something that was a little more of a realistic idea. We’re talking about where we would hang up pictures of duck hunting trips and neon signs of ducks. And it happened quickly. It was just something that seemed enjoyable for both of us, though I don’t think I needed another venture. I’m pretty busy, but this has been something that has been really easy, and it’s been a lot of fun too.
It being in Midtown and not down on Broadway is important to me too, because in that building is where I met 90% of the people that I know in the music industry, other artists, other songwriters. I got my start like a lot of people playing downstairs at Whiskey Jam. I get to see these new artists come in here and play their songs and hopefully get the same kind of story.
TEMPO: That’s sweet. It’s a full circle moment for you. Do you find yourself going down there often?
RILEY: I mean, I’m sitting here right now.
TEMPO: So, it’s like your second home, practically.
RILEY: It’s a good place to do Zoom interviews on the phone.
TEMPO: You have a lot of things coming up this year. You’re going on tour and doing some rodeos and festivals. Is there something you’re most looking forward to about 2025?
RILEY: The timing of my album coming out last year in October was really great because we were kind of done with my tour ... I haven’t really had a chance to tour with this new music. I’m excited about being able to play some of these songs that have already become hits and seeing that crowd reaction and getting to play some new songs for fans. It’s always something that’s enjoyable, especially when you play over 100 shows a year, you’re playing the same songs all the time, so it’s nice to be able to try out these new things. ●
Between his music career, hobbies, and entrepreneurial endeavors, ACM Awards nominee Dylan Scott shares how his perseverance and authenticity have turned his dreams into a reality
BY LIBBY GARDNER
TILL HE DIES COUNTRY
TEMPO: You moved to Nashville when you were a teen. You’ve been in the scene for a bit, and have done it successfully. Throughout those years, what kept you going?
DYLAN: Just the drive and the dream. I wanna make sure I can do it to my full potential. My dad was in the business back in his 20s, so he’s seen this side of the industry. I just remember him telling me, “Son, it’s not an overnight success. For most people, it takes time.” So, that’s always been in the back of my mind. Good things don’t happen overnight and you gotta work for it ... I’m also the type that goes, “Things work out exactly how they’re supposed to work out.”
TEMPO: There are a ton of people who do it and don’t make it or give up. It’s admirable that you kept going. Is there something that you feel like, aside from the drive, sets you apart from the rest?
DYLAN: When I write music, record music, play my shows, anything I do, I don’t wanna be a “copy and paste” of something else or somebody else … I told myself I was gonna stay true to who I am whether I’m posting on social media or the music that I release, and just hope people like me and my music for what it is.
TEMPO: You’ve seen success this year on Country radio and have two singles climbing the charts right now. How does it feel to have those accomplishments under your belt?
DYLAN: I remember after our first No. 1, which was “My Girl,” the worry after that was, “OK, I can’t be a one-hit-wonder. We gotta keep it going.” So, there was stress for a while with that. Then we had “Nobody,” and then we had “New Truck,” and then “Can’t Have Mine.” As of last year, we had four No. 1s under our belts. It felt good. If anything happens to where music goes away, I can always say I had four No. 1s on Country radio.
We just want to keep creating better music all the time, make our show better, make our writing better. We can always be growing.
TEMPO: Your latest single, “Country Till I Die,” is out now. How did that song come to be?
DYLAN: I saw the title “Country Till I Die” and thought, “Man, this title is very interesting.” My wheels were turning, and I was like, “Oh, I could name a tour ‘Country Till I Die.’ I just remember listening to it and getting super excited. They crushed this song, and I’ve had it in my back pocket for about two years.
TEMPO: It’s definitely catchy, and I think it embodies who you are as an artist, so it makes sense for you to cut it.
DYLAN: Yeah, absolutely. I mean, growing up in Louisiana on fishing, riding four-wheelers, and hanging out with my buddies, there’s a lot of haters out there, a lot of people quick on social media to say, “Oh, you ain’t Country because of this and that.” I like it ’cause it’s a little intimidating to them. I’m Country till I die.
TEMPO: That’s an interesting perspective. Do you feel like you get a lot of those kinds of messages or comments from people?
DYLAN: 100%. Everybody does. It doesn’t matter what you do. There’s gonna be somebody or multiple people out there like that. Everybody’s opinionated. In the beginning when I was younger, I used to let that stuff really get to me. I think the older you get, you start having kids, get in your 30s ... I’m at a point now where I don’t care what’s said about me.
TEMPO: I want to talk a little bit more about your music. I know you didn’t write “Country Till I Die” but you do some songwriting. Are you songwriting right now? What is your music process looking like these days?
DYLAN: Yeah, I’ve written, obviously, quite a bit. I love it. I didn’t move to Nashville to be a songwriter. I moved to Nashville to be an artist. My passion is being onstage, performing, connecting with the crowd, but over the years of being here, I’ve grown to love songwriting. I used to write a lot. It’s getting harder now that we have three kids, and I’m touring so much. When I’m
home, I really like to devote my time to my kids — baseball, gymnastics, and all the stuff. But I do still find time to get in the room or get guys out on the road with me. I’ll do a lot of writing this year on the road. When we have a bunch of downtime, that’s when I probably get my best stuff because I have nothing else distracting me.
TEMPO: I know you recently wrapped your “I Owe You One” headlining tour. What was your favorite moment from that?
DYLAN: I wouldn’t say there’s a specific favorite moment, probably because I love playing shows, and obviously, not every night is what you want it to be. Sometimes I have to sit back and go, “Hey, man, it was still a great night ...” There have been shows where the energy of the crowd, the way they’re singing the music back, it’s like, “This is why I do what I do.” My passion is being on that stage and connecting with the crowd, so any night I can do that is a blessing.
TEMPO: That must be a surreal feeling. DYLAN: When I play Madison Square Garden and you ask that again, I’ll tell you Madison Square Garden.
TEMPO: That’s an iconic venue, so I’d feel the same. I know you’re heading back out on tour in the spring, so that’s a quick turnaround. How are you preparing for that?
DYLAN: Yeah, it’s a very critical tour. We’re moving up in venue sizes, holding more people. Playing some small arenas and amphitheaters. You know it’s a moment in my career where I have to prove we can do this. I’m not going to lie, there is a lot of stress behind that … I want to be an overachiever on this thing, so it is good to have some time off to clear my mind. But, with two or three weeks of not doing anything, I get kind of stir crazy. So, a break is good, but I’m ready to get back at it and tour.
TEMPO: I know aside from Country Music you stay busy with your entrepreneurial endeavors. Talk to me about the trash company and coffee shop you started and what sparked your interest in those.
DYLAN: Yeah, it was very organic. It was during COVID. A buddy of mine was laid off. We just started talking about garbage, and there was a need for it in Northeast Louisiana where we’re both from. We never looked back, and it all worked out very well for us. We have around 10,000 residents there now and over 550 commercial dumpsters out at businesses. It’s turned into a pretty awesome operation and opportunity. The people we’ve met along the way have been incredible. It kind of takes my mind away from music just long enough to want to get right back at the music, so that’s been good for me.
The coffee shop … my little brother, who is my lead guitar player on the road, he and his wife are owners of the
coffee shop with me. I wanted my little brother to have more ownership than just telling people, “I play guitar for my brother ...” I enjoy walking into the coffee shop and seeing people in there on their computers or with their friends or just taking a break from work. That’s just cool to me. I don’t know where I get it from or why I got into it, but I’m glad it did ’cause it’s just a lot of fun.
TEMPO: It sounds like you like to help create and foster a sense of community. The same thing happens with music. I feel like artists want people to listen to their music and connect with it, and that’s what it sounds like you love.
DYLAN: 100%. Absolutely. On top of that, I had several people when I got married back in the day tell me that it was time to get a real job, and I was like, “What do you mean? Music is a real job.” So, I guess I’ve got a real job now.
TEMPO: Do you feel like being more experienced on the business side of things has helped your Country Music career?
DYLAN: Yeah, I think so. I think it’s given me more confidence and a different way to look at things because music is a business, and when I started doing this, it was just a dream. ●
Remembering Ben Vaughn
BY CAITLIN HALL
Ben Vaughn, P reside nt and CEO of Warner Chappell Music and longtime ACM Board Member, passed away on January 30, 2025. He was 49.
Vaughn was born in the small town of Sullivan, Kentucky, where he started his career in music working at a local radio station, WMSK, and later enrolled at Belmont University in Nashville. He began working in publishing, with an internship at Big Tractor Music, Warner Chappell Music’s partner. After that company’s longtime leader left, Vaughn, 21 at the time, was put in charge and had six months to prove himself.
Six months turned into six years. He left Big Tractor and moved to EMI, where he ran their creative team for seven years. He then was named the youngest executive to lead a publishing company in Nashville at just 34.
After, he found his way back to where his career began, at Warner Chappell. There he led the company, overseeing A&R, finance, administration, and more. While he was a leader in business, Vaughn was also a fierce advocate for songwriters and rights protection. Altogether, his songwriters have brought home 19 awards, from ACM Awards to Grammys. He also boasts eight inductions into the Nashville Songwriters Hall of Fame.
Additionally, he was an integral part of the Academy, serving as the Chair of the ACM Board and a member of the ACM Lifting Lives Board.
UPON HIS PASSING, THE NASHVILLE COMMUNITY HEAVILY FELT THE LOSS AND SHARED THEIR THOUGHTS AND CONDOLENCES.
“Our hearts are heavy in learning about the passing of longtime ACM Board Member and former ACM Board Chair, and good friend to all of us, Ben Vaughn. Ben was a champion of the Country Music genre and strong advocate for songwriters and good songs, rising to president and CEO of Warner Chappell Music Nashville. He served as Board Chair of the Academy in 2018 and was the first music publisher to serve as chairman in the Academy’s history, in addition to serving on the ACM Lifting Lives board. On behalf of the ACM Board, ACM Lifting Lives Board, and the ACM Staff, we send our condolences to Ben’s family, friends, coworkers, and all of those who crossed his path and were lifted up by his passion. His memory will live on forever through the great music he made happen.”—ACM CEO, Damon Whiteside
“Heartbreaking. We all lost a good friend today.”
—Dan Smyers of Dan + Shay
“One of the best humans in Nashville and one of the few true champions of songs and songwriters. Will be so missed. Rip.”
—Alana Springsteen
“Praying for his kids. What a beloved part of our Nashville community.”—Carly Pearce
“My thoughts and prayers are with his family in this time of need. Ben was one of the real ones in Nashville! One of the first guys I met when moving to town! He was a good man and had a true love for his people and country music! I write this with a heavy heart, but I know he’s with the Good Lord now. Thank you, Ben, for believing in me and my music and for the man you were! May you find peace in eternal life with our Heavenly Father.” —Warren Zeiders
Larysa A. Jackson
1984–2024
Larysa A. Jackson “Larysa Jaye,” a beloved artist and an ACM OnRamp member , died on December 8, 2024. She was 40. Her powerful voice and musical journey were rooted in her father’s church choir in Kansas City. She moved to Music City, where she continued sharing her voice at church and in the Nashville music scene. From Country to soul, she became the only Black woman with an artist residency in Lower Broadway at Justin Timberlake’s Twelve Thirty Club. Jackson performed with many artists and racked up accolades including multiple Nashville Independent Spirit Award nominations. She also served as musical director for Nashville’s Shakespeare Festival.
Among her many achievements, Jackson was a devoted mother of four children and a beacon of light in constant determination to pursue her dreams.
Mike Martinovich
1943–2024
Mike Martinovich, a veteran music executive and a former Vice President at large for the Academy’s Board of Directors , passed away on November 18, 2024. He was 81.
Born in St. Louis, Missouri, he attended the University of Missouri with a focus in political science. He started as a sales representative for Sony Music in 1969. Martinovich moved to many branches around the country and ended up in New York City, where he spent 10 years as the VP of merchandising and then VP of marketing of CBS Records when he made his move to Nashville.
He was instrumental in promoting stars like Bruce Springsteen, Michael Jackson, and Pink Floyd as well as Country Music legends including Dolly Parton, Willie Nelson, and George Jones. Later in 1994, he joined Garth Brooks’ team.
Martinovich joined three others who formed The Consortium, which helped offer consultancy to Broken Bow Records, notably signing Jason Aldean.
Martinovich, among his many accolades and accomplishments, was a loving father of two — both of whom followed him to pursue careers in the music industry.
Melba Montgomery
1938–2025
Melba Montgomery, one of the great “golden age” singers of Country Music , passed away on January 15, 2025. She was 87. Montgomery was raised by a farmer fiddler and guitarist and grew up playing banjo, fiddle, and guitar with her brothers Carl and Earl, who both became songwriters. Montgomery moved to Nashville at age 19 where she entered and won a talent contest by WSM Radio, home of the Grand Ole Opry. Roy Acuff was amazed by her talent and invited her to join his touring troupe. She notably became duet partners with George Jones and made their hit song, “We Must Have Been Out of Our Minds,” after she signed with United Artist Records. That duet has since been recorded by more the two dozen artists.
Her songwriting led her to work with Conway Twitty, Hank Williams Jr., and more. For the next 20 years, she helped write for iconic artists, including Reba, Emmylou Harris, and George Straight.
Montgomery went on to release four more albums, but upon the death of her husband, Jack Solomon, she decided to retire in 2015. As a songwriter, she had more than 100 of her songs recorded.
BY CAITLIN HALL
Martha Sharp
1937–2024
Martha Sharp, a successful songwriter and record label executive, died on December 11, 2024. She was 87.
Born in 1937, Sharp was raised in Charlotte, North Carolina, and moved to Staunton, Virginia, to study at Mary Baldwin University. She then relocated to Nashville in 1963 to become a songwriter, where she signed with Painted Desert Music and then later Combine Music.
Sharp started her career writing notable hits for Sandy Posey, including “Born a Woman” and “Single Girl,” with many others recorded by the likes of Waylon Jennings and The Lennon Sisters. She then moved into A&R work, first signing with Elektra Records and then Warner, where she was named VP of the label. She signed Randy Travis and Faith Hill and worked with iconic artists including Travis Tritt and Crystal Gayle.
In 1995, after retiring, Sharp moved back to Virginia to pursue painting.
John Titta
1948–2024
John Titta, a beloved music executive who served as VP and chief creative officer at the American Society of Composers, Authors, and Publishers (ASCAP), died on October 21, 2024, after a two-year battle with cancer. He was 69.
Titta was a lifelong resident of Staten Island, where he earned a degree in music from Wagner College. He began his career as an artist, songwriter, and music teacher. He then worked as VP of A&R at Warner Chappell Music, where he signed artists including Bon Jovi, Trey Songz, Kid Rock, and Fat Joe. He wrote hits like “Cry Me a River” by Justin Timberlake and “Lean Back” by Terror Squad.
In 2006, Titta started an independent company, Music Publishing and Recordings, and then moved his work in 2013 to ASCAP where he worked the rest of his life advocating for songwriter rights from every genre.
Buck White
1930–2025
Buck White, one-third of the ACM Album of the Year-winning Country music group The Whites and Grand Ole Opry member , died on January 13, 2025. He was 94.
The Whites, composed of Buck and his two sisters, Sharon White-Skaggs and Cheryl White, began performing as a group in the mid-1960s and entered the Nashville music scene in 1971.
They delivered their first Top 10, “You Put the Blue in Me,” and success followed with “Hangin’ Around” and “Give Me Back That Old Familiar Feeling.” They went on to win the Grammy for Album of the Year for the soundtrack album O Brother, Where Art Thou?
White’s innate ability to blend sounds of bluegrass, gospel, folk, and Country set him and his sisters apart from the rest and inspired millions. The Whites are considered the “new first family of Country Music.”
Kane and Khalid Team Up 54th ACM Awards
MGM Grand Garden Arena | April 7, 2019
Kane Brown and Khalid take the ACM Awards stage together for the first time to perform their remix to Khalid’s hit, “Saturday Nights.” Now, six years later, they join forces again on “Rescue,” a track from Brown’s latest album The High Road
