ACM Tempo | Fall 2023

TEMPO ACM

FALL 2023

ACM Icon Award recipient

TIM McGRAW and more celebrated at 16th ACM Honors

ACM HONORS RETURNS TO FOX a Q&A’S WITH ASHLEY COOKE AND NICOLLE GALYON

a ACM LIFTING LIVES HONORS WORLD MENTAL HEALTH DAY

MILE AFTER MILE We know it’s important for you to meet all your commitments, but it’s also crucial you arrive safe and well-rested. Prevost is your tour partner, performing right alongside you, night after night to give YOU the ultimate ride.

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Contents 4

Editor’s Note

6

CEO Note

8

ACM News

12

Let’s Lift Lives

14

The Buzz

16

Happenings

56

In Memory

58

ACM Moment

Cover Story 20 | RED CARPET READY Honorees, performers, and presenters all showed up in style at the Ryman

20 | 16TH ACM HONORS An in-depth recap of the “Country Music industry’s favorite night”

Tim McGraw

receives the ACM Icon Award and many more are celebrated at ACM Honors

48

PAGE 20

36 | INDUSTRY HONOREES The 58th Industry and Studio Recording Awards winners celebrated at ACM Honors

52

48 | Q&A’S Get to know artist-on-the-rise Ashley Cooke and learn how artistsongwriter Nicolle Galyon keeps creating hits for herself and others

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ON THE COVER: Tim McGraw photographed by Robby Klein

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TEMPO ACM

E D ITO R ’ S N OTE

E ditor

Libby Gardner A ssistant E ditor

Sharing the Spotlight

C

ountry Music is more than its artists. We witness that sentiment again and again each year as performers, producers, songwriters, industry

C ontributors

Alison Bonaguro, Tricia Despres, Lydia Farthing, Craig Shelburne D esign

Randi Karabin, Karabin Creative P rinting

Graphic Visions Commercial Printing P hotos

ACM, Mick Bodie, Getty, Katie Kauss, Robby Klein, Carter O’Neal, Claire Schaper, John Shearer ACADEMY STAFF CEO

professionals, and all of the behind-the-scenes

Damon Whiteside

individuals at the annual ACM Honors™ gather

Lyndsay Cruz

E xecutive D irector/ACM L ifting L ives

together in Music City to celebrate the songs that

Vice P resident/Finance & O perations

unite us all.

Vice P resident/Strategic Partnerships

But it’s also more than just the music. Without

speaking for our genre’s artists, it’s fair to say that our community and its artists wouldn’t be as strong, successful, and united without the many unsung heroes who keep the lights on in Country Music. It just wouldn’t and couldn’t exist without them.

Tim McGraw, who’s gracing this issue’s cover, said it best as he accepted the ACM Icon Award this past August. “This is not an individual award. Everybody that’s crossed my path … is part of this award and made me who I am.”

That’s exactly what this world needs more of — gifted individuals who don’t always need the limelight. Their power, impact, and influence shine bright enough.

So, as we recap this year’s ACM Honors (P. 20) and all the talent that this genre has to offer, let’s remember those behind the artists, like our Studio Recording and Industry Awards winners (P. 36.).

Also, in this issue, we hear from Nicolle Galyon, a name the average Country Music consumer may not necessarily recognize, but one that this industry leans on for hits. Explore her songwriting prowess and exploration as a solo artist on P. 52.

Additionally, hear from Ashley Cooke who’s the epitome of the Country Music hustle, cranking out songs and rising in ranks. Check it out on P. 48.

There’s a lot that goes on to make this industry function, let alone function so well. To all those, including fans, who make this genre the force of nature that it is, we see you.

Brittany Uhniat

Alexa Fasheh Jen Heaton

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

Rory Levine

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

Tommy Moore

D irector/D esign & B rand C reative

Lori Kraft

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

Steve Mekler

D irector/C ommunications , M edia R elations & R adio

Melissa Moldovan

D irector/Finance & O perations :

Kris Reyes

D irector/Events :

Lanni (Gagnon) Niggli D irector/A rtist & I ndustry R elations , B oard A dministration & G overnance

Maddy Stessman

S enior M anager/C ontent & E ditorial

Libby Gardner

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

Jesse Knutson

S enior M anager/Awards & M embership

Haley Montgomery

S enior M anager/ACM L ifting L ives

Taylor Wolf

M anager/Events

Jennifer Davis

M anager/Strategic Partnerships

Rebecca Fisher

M anager/P rogramming & C ommunity E ngagement

Kortney Toney

C oordinator/Events

Libby Gardner ACM Tempo Editor

Alexis Bingham

C oordinator/C reative & C ontent

Brittany Uhniat

A ssistant/ACM L ifting L ives

Brooke Boyd

E xecutive A ssistant to the CEO

Kristan Pridgen

M anager/O ffice

Michael Stern I nterns

Karenna Cox – Artist & Industry Relations

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Custom Engraving Available

AMARILLO

OKLAHOMA CITY

LORECRANCH.COM

PAWHUSKA

405.565.3750

FRO M TH E CEO

Dear Valued ACM Members, I must start by acknowledging the many tragic events and wars that continue to plague our world today. Our hearts go out to all the victims and their families. For me, it is a reminder of how important and delicate humankind is and how blessed we are not only to live in this great country, but also to work in a compassionate, caring, and giving community like Country Music. The power of music connects us all, and I am grateful to work in an industry and genre that bring so much comfort and happiness to millions of people around the world.

There is no better example of the warmth of the Country Music community than ACM Honors. In this issue, you will see some of the night’s highlights, but there is no other show where artists and industry leaders come together to celebrate each other’s accomplishments, as well as the camaraderie we share as an industry. This year’s show was more magical than ever, and hopefully you caught it in person, on FOX or Hulu.

There will be additional broadcast airings next year, so please stay tuned for that news.

Other examples of our supportive music community include the ongoing philanthropic efforts of ACM Lifting Lives® that showcase the true power of music, and our ACM OnRamp and LEVel Up programs that are squarely focused on increasing opportunities in our industry for underrepresented groups and young leaders.

Thank you to all those who applied for or renewed their ACM Membership. Our Members are the heartbeat of our organization and our industry. We are so grateful for all you do to make this the greatest genre to be a part of.

Damon Whiteside Chief Executive Officer

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brothers osborne NEW ALBUM OUT NOW

N E WS

ACM HONORS MAKES TRIUMPHANT RETURN TO FOX The 16th Annual Academy of Country Music Honors returned to FOX on September 18 for the second year in a row. The all-star event, regarded as the “Country Music industry’s favorite night,” brought back Carly Pearce to host for the third year in a row and honored so many of Country Music’s greatest. The special drove FOX to its most watched Monday night in nearly four months.

Miss the premiere? Check out the ACM Honors recap on P. 20.

The Academy Celebrates Hank Williams’ 100th Birthday 8

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NEW EPISODES OF ACM DIGITAL CONTENT SERIES The Academy continues to release new episodes of digital content series “ACM Garage Talk” presented by Lucas Oil. The latest episode released earlier this month highlights Danielle Bradbery reminiscing on her childhood attending races and expressing her love of being on the road. Previous episodes featured Riley Green and Chase Matthew.

Additionally, earlier this month the Academy launched a brand-new content series “Land.com Presents: ACM Land & Lyrics.” The series explores the lives and land of Country artists and the impact nature has on their songwriting. The first episode featured Tyler Farr and toured his 200-acre property south of Franklin, Tennessee.

Catch up on previous episodes on the Academy’s YouTube channel and stay tuned for more episodes to be released in the coming months.

The Academy of Country Music® was proud to formally endorse the bipartisan Congressional Musicians' Caucus' Congressional Resolution honoring Hank Williams' 100th birthday on September 17. We are honored to continue celebrating his enormous legacy and contributions to Country Music and American culture.

N E WS

HONORING HISPANIC HERITAGE MONTH To celebrate Hispanic Heritage Month, the Academy partnered with Hispanic artists in the Country Music community to take over the Academy’s Instagram Stories and share insight into their roots and its impact on their music.

Featured artists included Sammy Arriaga, Kat Luna, Valerie Ponzio, Frank Ray, and Stokoff. In case you missed it, you can still check out the takeovers in the highlight reels on the ACM Awards Instagram.

ACM OnRamp Celebrates 50 Years of Hip Hop

T

he ACM OnRamp program honored the 50th anniversary of Hip Hop at a special celebration show, “Music City Hip Hop,” on September 6. The showcase, held at the historic Basement in Nashville, featured live performances by four members of OnRamp’s inaugural class: Roz Malone, Daisha McBride, Qualls, and Kendall Warner, aka “Ken-Say.” The event was hosted by Averianna The Personality and featured original music, as well as several tribute performances spanning decades of hip hop.

OnRamp is a partnership between ACM and the Black Music Action Coalition (BMAC) that is focused on improving inclusivity and equity within Music City and empowering the next generation of leaders in the early stages of their careers. Learn more at acmcountry.com/onramp.

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Back row from left to right: ACM Cohort’s Stephanie Davenport, Kendall “Ken-Say” Warner, Qualls, ACM’s Kortney Toney, Averianna the Personality, and ACM’s Tommy Moore; Front row from left to right: Daisha McBride and Roz Malone

59TH ACM AWARDS SUBMISSIONS & VOTING Thank you to everyone who applied for or renewed their ACM membership. We appreciate your continued support of the Academy.

Awards submissions and voting time lines for the 59th ACM Awards® will be announced in the coming weeks.

Visit acmcountry.com/membership for more information.

NEW ALBUM | OCTOBER 6 FEATURING 14 NEW SONGS

INCLUDING #1 HIT

“BEERS AND SUNSHINE” PLUS

“FIRES DON’T START THEMSELVES” A N D ”SAME BEER DIFFERENT PROBLEM”

LISTEN TO RELEASED SONGS NOW

LE T ’ S LI F T LIVE S

ACM Lifting Lives Celebrates World Mental Health Day

A

CM Lifting Lives partnered with Backline, a non-profit organization that presented “Handle With Care: A Tribute to Tom Petty.” The show took place on World Mental Health Day (October 10) at Brooklyn Bowl in Nashville and featured performances by Wynonna Judd, Brittney Spencer, Sierra Hull, Maggie Rose, and more in addition to four-time ACM Award winner Derek Wells leading the house band. Backline connects music industry professionals and their families with mental health and wellness resources. Their mission, which coincides with the mission of ACM Lifting Lives, is to build a safer and more supportive music community by providing access to quality mental health care providers who understand the industry.

Learn more at backline.care 12

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TH E BUZ Z

Single Releases

Album

Releases

Giovannie and the Hired Guns

Cody Johnson Leather

Tejano Punk Boyz Live

November 3

Out Now

Restless Road

Megan Moroney

Last Rodeo

Lucky Deluxe Vinyl

Out Now

November 13

Avery Anna and Dylan Marlowe

“After We Broke Up”

“I Will (When You Do)”

Out Now

Out Now

Karley Scott Collins “Heavy Metal”

November 3

Adam Doleac “Please Come Home For Christmas (Bells Will Be Ringing)”

October 27

October 27

Restless Road “You Don’t Have To Love Me”

Out Now

MaRynn Taylor “In My Head”

“Life With You”

Out Now

Morgan Wade “Halloween”

EP Releases

Out Now

Corey Kent

Ryan Larkins

’23

Meet Ryan Larkins

December 28

Out Now

Chris Lane

Tyler Thompson

From Where I’m Sippin’

The End of The Line

Out Now

October 27

Charlie Worsham Compadres

Out Now acmcountry.com

Dylan Marlowe “Boys Back Home (ft. Dylan Scott)”

Kelsey Hart November 3

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David J

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.

Tour Dates Colby Acuff

Direct support for Paul Cauthen’s This Road I’m On Tour

October–November Direct support for Luke Combs’ Growin’ Up and Gettin’ Old Tour

April–August 2024

Jason Aldean

Highway Desperado Tour

October

Avery Anna

Direct Support for Cole Swindell’s Twelve Tour

October 12–November 4

Chayce Beckham

Direct support for Luke Bryan’s Country On Tour

October

Tyler Booth

Direct support for Jake Owen’s Loose Cannon Tour

October Texas Headline Tour

November

Direct support for Ashley McBryde’s The Devil I Know Tour

January 2024

Elle King

Direct support for The Chicks’ World Tour

October

King Calaway

Direct support for Zac Brown Band’s From The Fire Tour

October–November 4

Ella Langley

Direct support for Jon Pardi’s Mr. Saturday Night World Tour

October–December Direct support for Riley Green’s Ain’t My Last Rodeo Tour

February–June 2024 Direct support for Morgan Wallen’s One Night At A Time Tour

August 2024

Dylan Marlowe

Direct support for HARDY’s the mockingbird & THE CROW Tour

Restless Road

Direct support for Russell Dickerson’s Big Wheels & Back Roads Tour

Mitchell Tenpenny

Direct support for Jason Aldean’s Highway Desperado Tour

October–November

October

Headline Tour

Direct support for Luke Combs’ Growin’ Up and Gettin’ Old Tour

January 2024

Dylan Scott

April–August 2024

This Town’s Been Too Good To Us Tour

In The Air Headline Tour

October–December

October–December 2

March–September 2024

Direct support for Jordan Davis’ Damn Good Time Tour

Kameron Marlowe

Nate Smith

April–September 2024

Kane Brown

Luke Combs

Growin’ Up and Gettin’ Old Tour

April–August 2024

I Can Lie Headline Tour

October–December

Craig Morgan

God, Family, Country Tour

Direct support for Cole Swindell’s Twelve Tour

October–November World On Fire Headline Tour

Adam Doleac

October

January–May 2024

Megan Moroney

October–November

The Lucky Headline Tour

Direct support for Morgan Wallen’s One Night At A Time Tour

Support for Carly Pearce’s Country Made Me Do It Tour

Wrong Side of a Sunrise Headline Tour

February–May 2024

Corey Kent

Direct support for Jason Aldean’s Highway Desperado Tour

October

October–December

April–August 2024

Ian Munsick

Alana Springsteen

The Buffalo Roams Tour

Tenille Townes

Direct support for Shania Twain’s Queen of Me Tour

November 7–14 Around the World Tour

Morgan Wade

October

Lainey Wilson

Direct support for HARDY’s the mockingbird & THE CROW Tour

October–December 9

Direct Support for Switchfoot’s the Beautiful Letdown Tour

Old Dominion

October–December 2023

August 31–December 9

Cole Swindell

Bailey Zimmerman

October 12–November 4

February–May 2024

No Bad Vibes Tour

October–March 2024

Jameson Rodgers

Twelve Tour

Religiously. The Tour.

Whiskey Train Tour

October acmcountry.com

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Styled with

HONORS

Honorees, performers, and presenters all hit the 16th ACM Honors red carpet in style. With the suits sharp and the sequins shining, everyone was dressed for success for press and, of course, the People photo studio. Shot on the iconic stairs of the historic Ryman Auditorium, the stained glassinspired studio portraits were shot by renowned photographer Katie Kauss.

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GLAMOUR GALORE

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ACM Honors

Celebrates the

Magic Behind

BY ALISON BONAGURO

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Country Music

“M

agic is why we’re all here — the magic of music,” Tim McGraw said as he accepted

the ACM Icon Award at the 16th ACM Honors this past August. “Music is the universal force that brought us all together tonight.”

For industry members and fans alike, that sentiment is nothing new. But each year, amidst world tours, full recording studios, and an everchanging musical genre, lovers of Country Music press pause to acknowledge their friends and the ethereal energy that make it all possible.

The beloved and industry-favorite ACM Honors celebrated stars, behind-the-scenes unsung heroes, and, of course, the powerful melodies that are the roots of Country Music at Nashville’s Ryman Auditorium with Carly Pearce hosting for the third year in a row. The “Mother Church” had what felt like the whole Nashville population packed into the pews to watch the magical night unfold.

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ACM Lift Every Voice Award BRELAND, the first-ever ACM Lift Every Voice Award recipient, and Keith Urban brought the night to life with an energetic performance of their 2021 collaboration “Throw It Back.” Then, Urban presented the inaugural award, which honors an artist who has elevated underrepresented voices throughout the genre, to BRELAND. “The first time I heard BRELAND’s music, I was immediately intrigued,” Urban said. “And when I read an interview with him, I became fascinated. The way he talked about songwriting and Country Music was just so fresh. He’s a superb songwriter, he can really sing, and he’s so inspiring. And he’s a really, really good guy. I love when the good guys win.”

BRELAND, clearly moved by the honor, acknowledged Country Music’s history saying, “I would be remiss in accepting an award like this, the first of its kind, without acknowledging the Black railroad workers who taught Jimmie Rogers to play the banjo; Rufus ‘Tee Tot’ Payne for teaching Hank Williams the blues; DeFord Bailey, who was the first Black artist to make it into the Grand Ole Opry; the great Charley Pride, Linda Martell, Darius Rucker, Mickey Guyton, Nelly, Kane Brown, The War and Treaty. The list goes on and on. The voices in the margins of Country Music have never wanted anything radical — all we have ever wanted is a chance.”

Clockwise from top left: BRELAND and Keith Urban; Lady A; Clint Black; BRELAND

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ACM Poet‘s Awards This year, the Academy chose three ACM Poet’s Award recipients — singer-songwriters whose long-standing impact on Country Music’s culture and written word do not go unnoticed — Clint Black, Mary Chapin Carpenter, and K.T. Oslin (posthumously).

Country supergroup Lady A honored Black with a stunning rendition of his 1993 duet with Wynonna Judd, “A Bad Goodbye.”

Black, seated alongside his wife and daughter, was visibly moved by the performance of the heavy-hitting ballad, a song that perfectly depicts Black’s prowess as a songwriter.

While accepting his award, Black noted that he penned songs because he was both encouraged and inspired to do so, especially by his wife, Lisa, and daughter, Lily. And Black wasn’t afraid to accept the title of “poet.”

“Francis Scott Key wrote the National Anthem and was never given this award,” Black joked. “Edgar Allen Poe, Keats, never got an ACM Poet’s Award. I just want to thank the ACM for putting them all in their places by omission and honoring me instead.”

But highlighting the essence of the award, Black brought it home.

“Lyrics are key in Country Music,” he said. “They go hand in hand with the music. But what makes the connection more lasting is the poetry.”

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Mary Chapin Carpenter, the next ACM Poet’s Award recipient of the evening was honored by her friend, Trisha Yearwood, who came up alongside Carpenter in the Nashville scene.

Before performing Carpenter’s 1989 album cut “This Shirt,” Yearwood reminisced on her friendship with Carpenter saying, “When I started in Nashville, there was a group of women who supported each other. And Mary Chapin Carpenter was one of those women. We just connected.”

Although Carpenter was unable to accept the award in person, she sent along a thoughtful video message.

“I’m so honored to receive the ACM Poet’s Award for songwriting,” Carpenter shared. “To know that my words and music have traveled around the world these many years is the greatest gift I can imagine.”

The final ACM Poet’s Award recipient, K.T. Oslin, who went from a former Broadway performer to a signed County artist at the age of 45, passed away in 2020. Robert K. Oermann, a veteran journalist and dear friend of Oslin’s, was present to accept the award on her behalf in the presence of her family.

“By any measure, K.T. was one of the most distinctive composers in history,” Oermann said. “I mean, who writes songs like that now? ... K.T. herself immortalized ‘80’s Ladies,’ ‘Do Ya?,’ ‘I’ll Always Come Back,’ the Grammy-winning ‘Hold Me,’ ‘Hey Bobby,’ ‘This Woman,’ ‘Come Next Monday,’ ‘Mary and Willi,’ and so many more. These are the works of a song poet.”

And when Brandy Clark came onstage to play Oslin’s quintessential hit song, “80’s Ladies,” she shared her thoughts on the impact Oslin made through her songs and her individuality, referring to Oslin as her “musical fairy godmother.”

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ACM International Award Thanks to his outstanding contributions to the growth of Country Music throughout the world, Kane Brown was named the ACM International Award honoree. Brown rose to prominence after covering Country songs on YouTube, so it was only fitting that Lee Brice was on hand to share a snippet of a seven-year-old YouTube video of Brown covering his “I Don’t Dance.” Then, Brice entertained the crowd with a rousing performance of Brown’s No. 1 hit “Like I Love Country Music.”

Randy and Mary Travis were on hand to present the award to Brown.

“There’s a silent respect between musicians, their grit, their determination, their faith, their family, their heart, their passion,” Mary shared. “Kane paved his own path, from rural Georgia to Nashville, Tennessee, and straight into the hearts of everyone worldwide. He did it his way, in eight short years. And he became a point of light for so many people from all walks of life.”

When accepting his award, Brown told the crowd that as a kid from a small town in Georgia, the honor meant the world to him. “Country Music let me into the family, and now I can travel the world and be different, which is what I always wanted to be growing up,” he said.

Clockwise from top left: Trisha Yearwood; Randy Travis and Kane Brown; Lee Brice; Brandy Clark

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ACM Spirit Award Veteran radio host Storme Warren presented the ACM Spirit Award to the legendary Charlie Daniels, who passed away in 2020, calling Daniels a friend, mentor, and “the reason I moved to Nashville 30 years ago.”

Daniels’ son Charlie Daniels, Jr. accepted on behalf of his father, who he said was currently booked in the most glorious venue anyone could imagine.

“To me, he will always be the ‘best there’s ever been,’” he said pulling a line from his father’s iconic song, “The Devil Went Down to Georgia.”

To further honor Daniels, Billy Ray Cyrus + FIREROSE along with Travis Denning performed Daniels’ rocking single from 1975, “Long Haired Country Boy.”

Clockwise from top left: Charlie Daniels Jr.; Tim McGraw; Brett Young; Nelly; Travis Denning and Billy Ray Cyrus + FIREROSE

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ACM Icon Awards Tim McGraw was one of two recipients of the ACM Icon Award, which goes to an artist or industry leader who has advanced the popularity of the genre. Brett Young paid tribute to McGraw performing his first No. 1 song, the 1994 ballad “Don’t Take the Girl.” Nelly then took the stage to perform his and McGraw’s hit “Over and Over,” which is one of the earliest crossover Country-Rap collaborations, starting the eventual trend.

McGraw, dressed in a sharp white suit, while admitting he still had dip in his mouth, said, “I’m gonna try to get through this, but I’m a weeper. I am half Italian and half Irish,” he explained of his emotional state, “so I’m either fighting or crying.”

“So much goes into bringing the music to life, and I truly cherish that I’m part of a community of creators. I look out there and see all these artists who’ve inspired me,” McGraw shared in his heartfelt and tearful acceptance. “Music can change a life. Or save a life. I know it’s saved mine.

And it’s tried to kill me. But Country Music speaks to our souls like no other music.”

After thanking his mom, sisters, children, and his team, McGraw turned the spotlight on his wife, Faith Hill.

“My world changed the day I met Faith,” McGraw said. “You’re my partner in life. You’re

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my partner musically. You have stood by me for all the ups and downs that life and a career in music can throw your way. You simply tell me how it is when I can’t see it myself. I would not be where I am today without you and your grace. I love you unconditionally.”

The second ACM Icon Award of the night went to veteran music executive, former UMG Nashville chairman/CEO Mike Dungan — someone who will forever be one of the Country Music industry’s best friends.

“I never thought of myself [as an icon],” said Dungan. “The truth is I would not be up here tonight if it wasn’t for literally hundreds of people who propped me up and made me look good every single day.” Then, he made a request of the crowd: Go home and listen to Trace Adkins’ “I’m Tryin’” from 2001, saying, “To me, that [song] embodies what everything Country Music is about.”

He also shared a story about a pivotal moment for Priscilla Block, the Country Music rising star.

When Dungan met her, he’d asked her if the duct tape on her shoes was a fashion statement.

“She said, ‘No. They’re falling apart. I was evicted from my apartment last week,’” he recalled.

“I got a feeling we’re gonna change that.”

To honor Dungan and all the Country Music trailblazers he’s welcomed and encouraged, Block performed her debut hit “Just About Over You” and Jordan Davis and Christian artist Anne Wilson took the stage together for Davis’ “Buy Dirt.”

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ACM Artist-Songwriter of the Year HARDY received the inaugural ACM Artist-Songwriter Award and was presented his trophy by the man who first saw something in him, Dennis Matkosky. He is not only HARDY’s publisher, but also a relative. Joking with the crowd Matkosky said, “I knew HARDY when he had a first name.”

He went on to sing the praises of his cousin.

“The first thing you see in HARDY is his kindness,” Matkosky said. “He was raised right. But he had a depth about his writing from the very beginning. He wrote a song about his dog dying called ‘Dog Years,’ but he wrote it from the dog’s perspective. By the middle of that last verse, I knew I had to sign him. That was 10 years and 13 No. 1s ago.

HARDY has elevated the art of songwriting, and I could not be prouder.”

Honoring HARDY, rising star Bailey Zimmerman played HARDY’s “Signed, Sober You” off his very first EP Where to Find Me in 2019.

“I signed my first publishing deal in 2014 and I signed my first record deal in 2018,” said HARDY when accepting his award. “Since then, there’s had to be a balance between my artist career and my songwriter career. I’m so thankful for both careers. It’s such an appropriate title for the award because I truly am an artist in the sense that I love singing songs. And I truly am a songwriter. This is a huge honor.”

Clockwise from top left: Anne Wilson and Jordan Davis; Mike Dungan; HARDY; Bailey Zimmerman; Priscilla Block

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ACM Songwriter of the Year The ACM Songwriter of the Year Award went to the most prolific hitmaker in Nashville, Ashley Gorley, who has accomplished something no other writer in any genre ever has, penning or co-penning 67 No. 1 hits.

“I want to thank God,” Gorley said, “because I believe writing songs is a privilege and that music is a gift from Him. I want to thank the artists who’ve allowed me to be in their world and be part of their journey.” Carly Pearce and Emily Shackleton honored Gorley with one of those 67 No. 1s, a song the three wrote together, “What He Didn’t Do.”

Clockwise from top left: Ashley Gorley; Chris Janson; Charlie Cook; Carly Pearce and Emily Shackelton

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ACM Service Awards When it came time to hand out the year’s ACM Service Awards, two Country stars were at the Ryman to do the honors. Chris Janson broke out his harmonica and amped up the crowd with a performance of “Good Vibes” honoring ACM Service Award recipient Charlie Cook. Cook, the VP of Country for Cumulus Media, is also the longest-serving ACM Board member in the Academy’s history.

“Man, Charlie Cook, one of my favorite people in this whole wide world,” Janson shared. “Without Country radio, I wouldn’t be standing right here. And you’re a large voice and a large part of Country radio, and you have been for a long time. Thank you for believing in me. And thank you for believing for so many of my friends in the room.”

Cook took the stage thanking the Academy and calling out his fellow ACM Service Award recipient Bill Mayne.

“I do want to acknowledge someone you’ll hear from later, Bill Mayne, who is also getting the ACM Service Award.

Bill is one of my greatest friends. We don’t see each other anymore because he’s not feeling well, but I talk to him regularly. And I know how thrilled he is about getting this award tonight, as thrilled as I am. I would ask you all, as an ACM Service Award honoree, do something this week that has someone say ‘Thank you.’ You will feel great.

They will feel great. And we will move the ball down the field a little bit.”

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Sara Evans took the stage to honor Bill Mayne for years of dedication and service to the Academy with a performance of “Born to Fly,” a song Mayne personally requested.

Mayne worked in the Country Music industry for 50 years before retiring in 2019.

ACM Chair Ken Tucker, a longtime friend of Mayne’s, presented the award before inviting his children onstage to accept it saying, “Bill Mayne is a leader, a teacher, an inspiration, and, to me, a friend. Bill’s encouragement is one of the reasons I moved to Nashville, and his support is how I eventually joined the ACM Board.”

His son, Chris, alongside his siblings, Sallie and Bryant, shared, “Our family grew up in and around Country Music, which was certainly unique. Our dad always made it a priority to give back. One of his favorite lines was, ‘I’m here to help as much and for as long as I can.’”

Clockwise from top left: Sara Evans; Troy Vollhoffer; Big Kenny; Dennis Quaid

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ACM Lifting Lives Award The ACM Lifting Lives Award went to Troy Vollhoffer for his continued devotion to the organization’s mission: Improving lives through the power of music. Vollhoffer, the Country Thunder Festival executive producer, also serves as the CEO of Premier Global Production, the Nashville-based staging and lighting company.

Dennis Quaid, a longtime friend of Vollhoffer’s performed “Fallen” off his new gospel album of the same name, and then invited another close friend of Vollhoffer’s, Big Kenny, onstage to present the award.

“What a talent and what an amazing individual.

But it goes so far beyond all of that,” Big Kenny said of Vollhoffer. “This guy is a friend to so many … This guy truly elevates everything and everyone around him.

That’s why it’s so appropriate that this award we are presenting to my friend Troy tonight, this award I’m honored to present him, is called ‘ACM Lifting Lives.’”

Vollhoffer humbly accepted, turning the spotlight on those who give so much to the organization each and every day.

“ACM Lifting Lives does real things for real people,” Vollhoffer said. “It is a real organization that helps people’s lives. During COVID, this organization did more for people in show business than any other organization.

We gave millions of dollars out. Not me, it’s the team. It’s all about the people that do the stuff, the heavy lifting. I just want to give them a tip of the hat because this is nice.

Thank you. But I’m not the one that’s deserving of this; it’s the rest of the team.”

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Clockwise from top left: Chris Stapleton; Marty Stuart; Haley Whitters; The War and Treaty

ACM Triple Crown Award The final award of the night, the ACM Triple Crown Award winner, is a rare one, as it celebrates an artist who has won in the Entertainer of the Year, New Artist, and Artist of the Year categories. So, it’s not an award that is merely given but hard-earned over time. Chris Stapleton achieved the crown status this past May when he won ACM Entertainer of the Year.

He is now only the ninth artist to receive the ACM Triple Crown Award.

In addition to his trophy, Stapleton was honored with a performance from The War and Treaty, combining their powerhouse vocals and a string section for his song “Cold.” And then, Marty Stuart joined the duo onstage to present the award to Stapleton.

“What I’ve always admired about Chris is his intention was to never make music for the purpose of being mainstream — it just so happened that way,” Stuart said. “His sound is so unique and so far ahead of the curve — so it’s no surprise he’s getting this award tonight.”

As Stapleton accepted his award, he was quick to joke that he wasn’t “going to be as good as Tim was at this” before acknowledging the many steps it took to get to where he is now.

“I didn’t know any better,” he said of getting his foot in the door of the industry. “I didn’t know if anything was gonna work out. I was just playing

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songs, seeing if something could happen. Still kinda feel like that sometimes … out here playing songs to see if something could happen.

I’ve got to thank my wife, Morgane, who’s not here with us tonight, but she’s hopefully watching somewhere, thinking about me. And all my kids at home who give up so much of their time, energy, and presence to let us do this thing ... It’s a wonderful and rare thing to get to do something that you love so much for a living.”

And, of course, Stapleton had to thank his fans.

“I’m so grateful to all the Country Music fans and all the fans — anybody that ever comes to a show or hears something and tells somebody about us,” he said. “That’s what made this happen.”

Thank You

TO OUR SPONSORS

Studio Recording and Industry Awards Earlier in the night, the reigning ACM New Female Artist of the Year Hailey Whitters was on stage to perform her latest hit, “Everything She Ain’t” and present the Studio Recording and Industry Awards of the 58th ACM Awards. Studio Recording Award winners Mark Hill (Bass), Aaron Sterling (Drummer), Tim Galloway (Acoustic Guitar), Derek Wells (Electric Guitar), Dave Cohen (Piano/Keyboards), Jenee Fleenor (Specialty Instrument), Justin Niebank (Audio Engineer), and Jay Joyce (Producer), along with Industry Award winners Seminole Hard Rock Hotel & Casino (Casino/Theater), Harveys Lake Tahoe (Casino/Arena), Country Thunder (Festival), Houston Livestock Show and Rodeo (Fair/Rodeo), Joe’s on Weed St. (Club), Grand Ole Opry House (Theater), Bank of New Hampshire Pavilion (Outdoor Venue), Moody Center (Arena), Troy Vollhoffer (Don Romeo Talent Buyer), and Ed Warm (Promoter).

ACM Honors returned to broadcast television on FOX for the second year in a row, bringing the Country Music magic into the homes of nearly 2 million fans across the country. ●

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ACM INDUSTRY AND STUDIO RECORDING AWARDS WINNERS RECOGNIZED AT

This past August, the 16th Annual ACM Honors celebrated the 58th ACM Industry and Studio Recording Awards Winners. The winners (voted on by membership) include:

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INDUSTRY AWARDS WINNERS Karie Hall and Cierra Ritchie

C A S I N O O F T H E Y E A R | T H E AT E R

CASINO OF THE YEAR | ARENA

Seminole Hard Rock Hotel & Casino Hollywood, Florida

Harveys Lake Tahoe Stateline, Nevada

Troy Vollhoffer

Pat Mann Phillips and Chris Boleman

F E S T I VA L O F T H E Y E A R

FA I R/RO D E O O F TH E Y E A R

Country Thunder Bristol, Tennessee

Houston Livestock Show And Rodeo Houston, Texas

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INDUSTRY AWARDS WINNERS

Ed Warm

Dan Rogers and Gina Keltner

CLUB OF THE YEAR

T H E AT E R O F T H E Y E A R

Joe’s on Weed St. Chicago, Illinois

Grand Ole Opry House Nashville, Tennessee

RJ and Bridget Harding

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OUTDOOR VENUE OF THE YEAR

ARENA OF THE YEAR

Bank of New Hampshire Pavilion Gilford, New Hampshire

Moody Center Austin, Texas

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D O N R O M E O TA L E N T B U Y E R O F T H E Y E A R

PROMOTER OF THE YEAR

Troy Vollhoffer

Ed Warm

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S T U D I O R E C O R D I N G AWA R D S W I N N E R S 40

B A S S P L AY E R O F T H E Y E A R

DRUMMER OF THE YEAR

Mark Hill

Aaron Sterling

A C O U S T I C G U I TA R P L AY E R O F T H E Y E A R

P I A N O/ K E Y B O A R D S P L AY E R O F T H E Y E A R

Tim Galloway

Dave Cohen

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S P E C I A LT Y I N S T R U M E N T ( S ) P L AY E R O F T H E Y E A R

E L E C T R I C G U I TA R P L AY E R O F T H E Y E A R

Jenee Fleenor

Derek Wells

PRODUCER OF THE YEAR

AUDIO ENGINEER OF THE YE AR

Jay Joyce

Justin Niebank acmcountry.com

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Ashley Cooke, a songwriter by nature, is fearlessly trailblazing through the Nashville music scene

Cooke Takes a

“shot in the dark”

BY LIBBY GARDNER

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TEMPO: How did you get your start in Country Music?

COOKE: My story’s kind of crazy. I have been in music and an

artist since I was 11 years old. I wrote my first song when I was like 10 and a half or 11 and started performing really young.

I was in a duo with my sister for a little while, and we toured around the country. When I was 18, I moved to Nashville to go to Belmont University, and I studied marketing and communications — nothing to do with music. But then my senior year, there’s this thing called the Showcase Series at Belmont that artists like Brad Paisley and Tyler Hubbard of Florida Georgia Line have won in the past … I applied for the showcase. I got in, made the top four, and then I won. The judge panel was full of really great industry people, and one of those people is my now agent, Carrie Murphy at WME. She was like, “Hey, I think you have a natural talent for this. You should give yourself a year to just try it out ...”

This was the end of 2019 into 2020, so right when COVID hit. I couldn’t play shows. I couldn’t go meet people at Red Door. I couldn’t go write songs at publishing companies … So, I went down to quarantine in South Florida where my parents lived at the time. I was like, “I guess I’ll just start posting stuff on social media because what else can I really do?” So, I started posting, and all of a sudden a following started to grow. I met my now manager and signed my first record deal.

TEMPO: Things have really picked up for you in these

last couple of years. Has there been a key moment that emphasized to you that you’re on the right path?

COOKE: I feel like there's been so many of them. Playing

Bridgestone with Luke Bryan — I opened up for him and that was a really, really cool moment. I just kicked off my very first headline tour, and I’m getting to see hundreds of people in sold-out rooms screaming every single word to the album that I just put out literally a couple weeks ago. My fan base is really growing, and they’re buying tickets, and they’re caring.

TEMPO: On the contrary, have there been moments where you’ve thought about giving up?

COOKE: That’s a great question. I mean, of course. I think

especially in the pandemic, when we’re all like, “Well, how do I do this? I have a marketing degree. I might as well just go and get a marketing job.” Those thoughts always crossed my mind. Even the last couple of years, I think it’s so cool that I have friends and family and people being like, “Wow, you’re a rocket ship.” Everything’s happening so fast, but when you’re in it, it can feel like a really big grind. It’s a lot of driving through the night and playing 70-minute sets and my voice being exhausted and wanting to go meet people and then driving through the night again to the next thing and surviving on a couple of hours of sleep.

I love it so much. It’s my absolute passion. But, of course, there are times that I’m like, “I can’t do this.” I think I’d be lying if any new artist said that they don’t think that way … And I think it’s easy to think about sprinting. But this entire career is meant to be a career. It’s meant to last. It’s meant to be a marathon, not a sprint. As cliche as that saying is, it’s so true.

TEMPO: So, how do you keep going? How do you stay motivated?

COOKE: I work out a lot, which definitely helps. Fitness is

a huge part of my life. But I think a lot of it too is mentally hanging on to the moments that make you want to keep going. It’s not always the Bridgestone moments or the “everybody singing along” moments. Sometimes, it’s just having five minutes in the green room with my band to kind of vibe check and get back to, “Hey, you know, we played the same room two years ago, and now it’s sold out.”

I think it’s always taking a mental snapshot of the moments that you realize, “Okay, we’re at the next step.”

TEMPO: I love that. That’s a great way to look at it.

You released your debut album shot in the dark over two months ago now. What was that process like writing it?

COOKE: It was really special. I can’t believe it’s been

two months, that’s so crazy. The core of what I do is acmcountry.com

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songwriting. I’ve always just been such a massive fan of songwriting. And I started writing for this album and ended up writing like 50 to 60 songs for this one project. We went in and cut a lot of them. I think we cut like up to 30 songs … I was trying to get to 12, but we got to 24 songs, and I was like, “I can’t sacrifice any more of these songs. I love them all so much.”

So, we put 24 songs on a debut album. I chose the title “shot in the dark” because I feel like based off my story so much of what I’ve done and where I’m at has been such a shot in the dark. The features on it are really cool. We got Colbie Caillat, Jackson Dean, Nate Smith, and Brett Young. It’s a really fun project. I feel like it really represents me and who I am and what I’ve been doing the last couple of years.

TEMPO: Wow, narrowing it down from 60 to 24 songs is insane. When you’re going through that process, what are you looking for in a song?

COOKE: I’m such a lyric person, which a lot of times

lends itself to ballads or songs that are going to make you cry. I love a good heartbreak song. But I love having tempo and something that I can run around the stage to. I don’t want to just have the songs that rip your heart out. I want to have something that I can build a set from — build a headline set from. There was a lot of, “Hey, that song makes me feel something deeply and have chills all over my body. And this song makes me want to dance and have a good time.” I wanted to have something for everybody.

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“It’s important for me as an artist to feel like I have something that I just sat down and created with my own time, my own brain — just me and a guitar.”

TEMPO: And is there a song on the album that you’re most proud of?

COOKE: Oh, that’s so hard. The first thing that comes to

mind is a song called “next to you.” It’s the only song on the album that I wrote totally by myself. There are other songs that maybe have cooler hooks or are better written songs, but for me, that’s a special one. I sat down at my kitchen counter, and I wrote that within 15 minutes. I never thought it would go on a project. And now a lot of people have said that’s their favorite song on the project. It’s important for me as an artist to feel like I have something that I just sat down and created with my own time, my own brain — just me and a guitar. I love that song because of that.

TEMPO: What’s been your favorite moment so far on your headlining tour?

COOKE: We played three sold-out shows back-to-back that

were really fun all up in the Northeast. But there was a show in Boston — it was a packed-out room and they were screaming the deep cuts. I had full body chills. It was just nuts. They were screaming every single word. I could have put the mic out in the crowd for every single song. They could have done the verses. Every show was really cool, but the Boston show, there was something special. ●

From

One Voice,

Many

BY LIBBY GARDNER

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NICOLLE GALYON explains songwriting, personal connection, and how amplifying her voice can resonate with a chorus of others

TEMPO: Your story is pretty unique. You came to Nashville to study at Belmont University, and that’s when you first started writing songs. Before that, was there ever any indication or dream of pursuing a songwriting and/or artist career?

GALYON: I grew up writing and seeking out every opportunity

to write, whether that was a teacher asking me to write a paragraph and I would write two pages or writing for our hometown newspaper or doing all the copy for the yearbook. I thought that was just normal. I thought every girl was finding every possible outlet to write throughout their childhood. It wasn’t until I got to Nashville and learned about the career of songwriting that I thought, “Oh wait, I see what I’ve been trying to do all these years.” I just didn’t even know that it was a possibility yet. And I think that’s why I was supposed to move to Nashville — to be a songwriter.

TEMPO: Was there a defining moment where it clicked in your head like, “This is what I’m supposed to be doing”?

GALYON: Honestly, I think it was just the first time that

I got the itch to try to write songs because I had a piano, a classical piano, background. I was readily available to just go and find a piano and start writing by myself, which was such a gift because I didn’t have to wait a year to get good enough at guitar to learn to write. And again, I could do it by myself. It’s scary to have to try to write with other people when you’ve never done it. And so, I wrote four songs in one weekend just messing around, and they were awful. But one of the four was a song that was about my dad building our house growing up. When I got brave enough to show those little work tapes to some friends, that was the song that people really liked.

I think telling my stories and writing what things I’ve been through might be how you become a songwriter. So, the process clicked for me at that point when other people heard that song and thought, “Oh, that reminds me of my life.” I love that feeling when somebody else sees themselves in it.

TEMPO: You’ve written numerous hits for other artists.

So, is your songwriting strategy different when you’re writing for others versus when you’re writing for yourself?

GALYON: Yes, I heard this thing in a book, and it really

resonated with me as a writer. It said something like, “A star gives the world what they want, but an artist gives themself what they want.” I think for me as a writer, giving other people what they want is the kind of writer that I’ve been through my career. It’s what those other artists need. And I think, for me, writing for myself is just giving myself what I want, telling a version of a story that only I can tell, and just doing it for me.

TEMPO: It was just last year that you released your debut album firstborn? How was that process, and how was the fan reaction?

GALYON: Oh, well, it’s still kind of terrifying to think that

anybody ever heard that because I really did it for me. And then I couldn’t help myself creatively — the visuals and the content and all the other creative derivatives that came off of it. And I just had the most fun doing it. The process of putting out my record gave me the most appreciation for every artist that I’ve ever worked with and the vulnerability that comes with putting out a project.

I think it’s actually made me a better creative counterpart to other artists because I understand the emotional roller coaster now that goes with putting yourself out there in that way. That was one of the biggest takeaways from it. It was overwhelming when I first put out firstborn because so many of the topics were pretty stout — they’re still heavy topics.

The messages that I got back were very vulnerable and some of them heavy. But it ultimately taught me that that’s how people want to connect through music, and it was really fulfilling. And I love that connection, especially with women that are my age and mothers. I felt like there weren’t a lot of records at the time of people writing from that point of view.

TEMPO: To go off that, you’ve always been so supportive of women in the industry, especially with your label and publishing company, Songs & Daughters. Why is supporting women in the industry so important to you?

GALYON: I think we give what we want to get. I’ve always

said that about people. If you want to know what they really want just watch what they give to other people. I’ve been really blessed and really supported in this industry, but when I thought back on my career, I couldn’t really point to a lot of females that really helped lift me up. No one was ever against me, but I didn’t feel like I had as many female mentors that I wish I could have had. That’s what leadership is. It’s just trying to create what you think needs to exist. And so, I was kind of giving it as a gift to others but also to myself as well. acmcountry.com

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“The process of putting out my record gave me the most appreciation for every artist that I‘ve ever worked with and the vulnerability that comes with putting out a project.”

of Nashville for two weekends, just Rodney [her husband] and me. We said, “What we write these two weekends will be the project.” It was really fun because it wasn’t over thought, and it was just really understated, and we had fun doing it. We really accepted that it is what it is — what we write will be ...

We only gave ourselves four days to record the whole thing ...

We kind of forgot through the process that no one else other than us was going to hear it because we had so much fun doing it.

TEMPO: That’s impressive, and I love that story.

Do you have a favorite song from it?

GALYON: Oh, man, I guess the highlight for me would

TEMPO: I know you recently moved from Nashville back to your home state, Kansas. Now that you're in Kansas, do you still feel connected to the Nashville community?

How has that decision shaped your career so far?

GALYON: Oh, my gosh. I do feel really connected. I feel like

now I get to come to Nashville and consume Nashville as opposed to it consuming me. There’s really no way to unplug from the music business. I think that’s just kind of a harsh reality of our industry. And so, I feel like I get to connect and then disconnect kind of appropriately. So much of my business with Songs & Daughters is done over Zoom anyway.

I was finding myself just sitting at my dining room table on Zoom all day doing business with people that were down the street. So, what’s the difference if you’re going to do everything on Zoom? And this just makes it feel more special when I am writing [in Nashville].

TEMPO: Your latest album second wife has some heavy hitters in it, but it also has some upbeat songs, and it somehow all flows really naturally. How was the songwriting process for this album? How did you decide what songs were going to make the cut?

GALYON: Well, the six songs that are on second wife are the

six songs we wrote for second wife. We went to our farm south

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probably be “rooms.” It feels like the most personal, and I hate saying that because it’s the one that Rodney’s not singing on. But I think I love the conversation that we were having before that led to us writing that song. And to me, that was the biggest gift of all — just us getting to rediscover each other in a way through those conversations. We just poured a bunch of wine and sat on the couch, and we’d say, “Okay, here we go. Let's write the song. Let’s talk.” But we had to go back through the 20 years of knowing each other and kind of go back to the beginning and ask, “What is our identity as a couple?” Because I think we’re both wildly independent, and it’s part of why we haven’t written together. It was cool to get to brand what our identity is together.

TEMPO: I’m just curious if you prefer the songwriting side of

things or are you going to keep up the artistry of it all?

GALYON: Oh, I prefer the songwriting side and, honestly,

this record to me feels more of an extension of being a songwriter and storyteller than it does an artist. I don’t really plan to perform any of these songs. I just want to create. I think that’s something that I learned with putting out firstborn — I love creating, and I want to keep creating, but I probably am not going to do it within the box of Music Row or what is expected of artists to do to promote their creativity. I just want to put it out there in the world, and I think I probably will make more because I’m having fun doing it. ●

I N M E M O RY

Jerry Bradley

Tony Bennett

Jimmy Buffett

1940–2023

1926–2023

1946–2023

Music executive Jerry Bradley,

Tony Bennett, the traditional

Jimmy Buffett, the enduring

the son of legendary Owen

pop artist and jazz vocalist whose

entertainer who kept audiences

Bradley, died July 17, 2023. He was

voice epitomized the American

singing along to “Margaritaville” and

83. A Nashville, Tennessee, native,

songbook, died on July 21, 2023. He

“It’s Five O’Clock Somewhere,” died

Bradley served two years in the U.S.

was 96.

September 1, 2023. He was 76.

Army, and soon after began working

While the world knew him as

Buffett and duet partner Alan

with his father and watching artists

Tony Bennett, a name given to him

Jackson spent eight weeks at No. 1 at

such as Brenda Lee, Loretta Lynn, and

by Bob Hope, he was born Anthony

Country radio with “It’s Five O’Clock

Webb Pierce record in the legendary

Dominick Benedetto on August 3,

Somewhere,” ultimately collecting

“Bradley’s Barn” studio.

1926, in the Astoria neighborhood of

2003 ACM trophies for Single and Vocal

Bradley began working with Chet

Queens, New York. His recordings

Event of the Year. The feel-good anthem

Atkins and would eventually go on

— most of them made for Columbia

also landed on the ACM ballot for Song

to serve as the head of RCA Records

Records, which signed him in 1950

of the Year and Video of the Year.

in Nashville from 1973 to 1982. In

— were characterized by ebullience,

Although he’d done some

this position, Bradley worked with a

immense warmth, vocal clarity, and

recording in Nashville, he relocated

long list of Country greats including

emotional openness. Bennett hit

to Key West, Florida, in 1972, and his

Alabama, Ronnie Milsap, Dolly

the scene as a suave crooner and

original songwriting reflected his

Parton, and Charley Pride. He also

quickly established himself as one

tropical lifestyle. Buffett charted six

played a pivotal role in the career of

of radio’s most popular hit-makers.

Country singles in the 1970s, with

Elvis Presley, who released a series of

He was a showman, with an intimate

“Margaritaville” rising to No. 13 in 1977.

Country Music songs such as “Moody

nightclub sensibility. He went on to

After moving to the MCA pop

Blue” and “Way Down.” Following his

make duet recordings with everyone

roster in the 1980s, he dented the

work on the label side, Bradley was

from Stevie Wonder to Lady Gaga.

Country charts with songs like “If the

named the head of the Opryland Music

Bennett also had a soft spot

Phone Doesn’t Ring, It’s Me.” A 1985

Group, where he would stay until his

for Country Music. In the 1950s,

compilation titled Songs You Know

retirement in 2003.

he covered Hank William’s “Cold,

by Heart sold more than 7 million

In 1980, Bradley received an ACM

Cold Heart,” which went on to No. 1,

copies. However, “It’s Five O’Clock

Award nomination for Album of the

performed at the Grand Ole Opry in

Somewhere” cemented his stature in

Year, serving as a producer on Charley

1956, and later would collaborate with

the Country community. He recorded

Pride’s album There’s a Little Bit of

Country superstars including Faith

singles with guests Clint Black, Kenny

Hank in Me. Bradley was later inducted

Hill, Tim McGraw, Willie Nelson, and

Chesney, Alan Jackson, Toby Keith, and

into the Country Music Hall of Fame

Carrie Underwood. His professional

George Strait (the ACM-nominated

in 2019. —TRICIA DESPRES

career spanned eight decades, and

“Hey Good Lookin’,” 2004), Martina

he garnered a No. 1 album at age 85.

McBride (“Trip Around the Sun,”

—BRITTANY UHNIAT

2004), and Zac Brown Band (“Knee Deep,” a triple-platinum No. 1 hit in 2011). Buffett’s 2020 album, Life on the Flip Side, debuted at No. 1 on Billboard’s Country chart. — CRAIG SHELBURNE

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Chuck Flood

Mike Henderson

Robbie Robertson

1945–2023

1954–2023

1943–2023

Chuck Flood, a renowned business

Mike Henderson, co-founder

Robbie Robertson, a Canadian

manager who played a pivotal role in

of the SteelDrivers, Country

musician and songwriter, and

launching and supporting countless

songwriter, and multi-

leader of the influential rock

artists’ careers, died on July 21, 2023.

instrumentalist, died September

group The Band, died August 9,

He was 78.

22, 2023. He was 70 years old.

2023. He was 80.

Born in Waco, Texas, Flood moved

Henderson hailed from

Born Jaime Royal Robertson

to Nashville after attending Baylor

Independence, Missouri, and it was

on July 5, 1943, he was one of the

University. His career, which stretched

there that he honed his skill and

last two surviving members of The

four decades, included stops at Capitol

eventual mastery of guitar, fiddle,

Band, an influential rock band that

and Warner Bros. Records working

mandolin, Dobro, and harmonica.

mixed folk, gospel, and jazz with

in the A&R and national promotional

Upon moving to Nashville,

rhythm and blues and helped forge a

departments. In 1986, he founded

he joined blues-rock group the

distinct American-roots rock sound.

Chuck Flood & Associates and later

Kingsnakes. The band would go on

Robertson played lead guitar and

joined forces with Frank Bumstead,

to be signed to Curb Records and

wrote some of The Band’s best-known

Mary Ann McCready, and John

Henderson signed a publishing deal

songs, including “The Weight,” “Up

McCarthy forming today’s FBMM.

with EMI. He had cuts by artists

on Cripple Creek,” and “The Night

Over the years, FBMM has elevated

including Trisha Yearwood, Patty

They Drove Old Dixie Down.” But it

the careers of numerous A-list artists

Loveless, The Chicks, Randy Travis,

was Robertson’s appearance in “The

including Kelly Clarkson, Miranda

and Marty Stuart, and he played on

Last Waltz,” a 1978 documentary

Lambert, Blake Shelton, Taylor Swift,

records for artists including Emmylou

about the group’s farewell concert

and Keith Urban. —LIBBY GARDNER

Harris, Waylon Jennings, Tim

that was directed by Martin Scorsese,

McGraw, Bob Seger, Blake Shelton,

that made him a star. It is widely

and Sting.

regarded as one of the greatest

Ultimately it was his work with

concert films ever made.

Chris Stapleton that would put

Robertson went on to produce

Henderson on the map. Grammy-

scores and curate songs for Scorsese’s

winning song “Broken Halos,” a

movies including “Raging Bull,” “The

Stapleton-Henderson co-write, was

Departed,” “The Wolf of Wall Street,”

Stapleton’s first No. 1 on the Country

and “The Irishman.” Shortly before

airplay chart. Henderson also was

he died, Robertson finished his 14th

nominated for three Grammys with

film music project with Scorsese

The SteelDrivers from 2009 to 2011.

called “Killers of the Flower Moon.”

—BRITTANY UHNIAT

—BRITTANY UHNIAT

acmcountry.com

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ACM M O M E NT

The Poet Performs 32nd Annual Academy of Country Music Awards Universal Amphitheatre | April 23, 1997 ACM Poet’s Award recipient Clint Black performs a medley of his hits including “Put Yourself in My Shoes,” “A Better Man,” and “Like The Rain” onstage at the 32nd ACM Awards.

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acmcountry.com

NFR

COWBOY CHRISTMAS LAS VEGAS DECEMBER 7 - 16 BOOTH 1821

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