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CMT’s flagship show, the Hot 20 Countdown, will conclude at the end of the year, Billboard has learned from sources.
The program, hosted by Cody Alan and Carissa Culinar, has run on CMT since 2013. The show counts down the 20 hottest country music videos and features appearances by country artists.
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The Hot 20 Countdown is the last original regular music programming on the channel, which has experienced continual cutbacks in staff and programming over the past year and a half. This spring, for the first time since its debut in 2002, the CMT Awards were paused as parent Paramount Global merged with its new owner, Skydance Media. That deal closed in August.
Though non-music related, CMT does still air original programming, with the Taylor Sheridan-produced The Last Cowboy, a horse-reining rider talent competition. The sixth season premieres on Friday (Nov. 7). Last week, it was announced that Yellowstone creator Sheridan will leave Paramount in 2028 for a new deal with NBCUniversal.
As with the other Paramount-owned linear channels, there has been a massive talent drain at CMT over the past 18 months, including Leslie Fram, senior vp of music strategy and talent, who left last fall, as did director of music and talent Stacy Cato, vp of production; Quinn Brown, vp of production; Ray Sells, senior director of production and Darrell Hughes, senior producer of Hot 20 Countdown, among others.
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This fall, there have been more cuts and buyouts, including Donna Duncan, vp of CMT music and talent, who left in September. Last week, as around 1,000 people were cut across Paramount, Margaret Comeaux, the highest-ranking executive still at CMT, who serves as senior vp of production, music & events, announced she will leave the company in December after 24 years. (Comeaux also serves as an executive producer on Hot 20 Countdown.) Melissa Goldberg, who had been CMT’s vp of digital and social, left the company to join sports and entertainment company Teton Ridge in October.
Even before the merger, Paramount Global had been chipping away at original content on CMT and other websites. In June 2024, Paramount stopped producing original content for many of its cable channels’ websites, including CMT.com, which had been a robust site for years, and began directing visitors to content on Paramount+ and other sister outlets.
CMT’s daytime programming consists primarily of classic sitcoms, including Reba, Roseanne, Mama’s Family, King of Queens and Golden Girls, as well as movies like Raiders of the Lost Ark. Music videos run overnight between 12 a.m. and 6 a.m. In addition to new episodes premiering on Saturday mornings, the Hot 20 Countdown repeats on Sunday mornings.
In broader Paramount Skydance news, the company announced today that George Cheeks, chair of TV media, who oversees CBS, will now also oversee the cable networks. Laurel Weir, who reports to Cheeks, will oversee programming for Paramount TV Media, including CMT.
Billboard has reached out to Paramount for comment.
CMT’s Next Women of Country franchise, launched in 2013, has selected its class of 2025, naming seven burgeoning female country artists to the latest edition.
The Class of 2025 is Alexandra Kay, Dasha, Kaitlin Butts, Kat Luna, Lanie Gardner, Meghan Patrick and MŌRIAH.
CMT’s Next Women of Country franchise started 12 years ago under Leslie Fram, CMT’s former senior vp of music & talent, as a way to highlight developing country artists across CMT and parent company Paramount’s suite of brands.
“CMT provides support for our NWOC artists, their music and videos across CMT, CMT Music, PlutoTV’s CMT Equal Play channels, CMT Hot 20, our CMT Digital franchises (Studio Sessions, Campfire Sessions, On The Road, etc.) our curated playlists on Apple Music, Spotify and beyond,” Donna Duncan, vp of music & talent tells Billboard. “We also provide support and cross-brand promo opportunities across our portfolio of Showtime/MTV Entertainment Studios & Paramount Media Network brands with the Times Square Billboard in New York City, promotional and event opportunities.” There have also been branded NWOC tours, but so far there are no plans for a tour this year.
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Members of the 2025 class are already benefiting from the corporate synergy. Duncan cites Dasha, who was the first country artist to be named an MTV Push artist in December. “We just coordinated a big premiere rollout for her new video with CMT, MTV and the Times Square billboard,” she says. “We also just booked her to perform at a Paramount ad sales event in Vail. These are the kind of opportunities we look to do across the board where it makes sense for all our artists.”
The official introduction to the new class will come Saturday (March 8) during CMT Hot 20 Countdown, when Lauren Alaina interviews each of the new inductees during the three-hour episode. The segments also include Alaina, who was in the class of 2014, breaking the news to each woman that she is a member of the 2025 class.
“It was special to have it come from someone who has also been in their shoes,” says Duncan. “One of my favorite moments is Lauren talking to Kaitlin Butts about her upcoming tour with Lainey Wilson. She tells her Lainey will take great care of her on the road – and that she herself is only a call away. That moment embodied exactly what NWOC is about – it’s become one big sisterhood and artist support group.”
CMT selects the women through a variety of ways, but the primary focus is always the music, Duncan stresses. Then, “CMT takes a 360, full-picture look at each artist. There is no single stat, streaming benchmark or airplay requirement,” she says. “A variety of factors are considered in our decision making: Artists can be independent, signed to a label, in the industry for a decade or a new breakout sensation. Each class of Next Women are selected for their unique contributions to meeting the moment in country music.”
The seven-member class size is smaller than in past years — last year’s class was 14 — but Duncan says “there’s no one-size-fits-all rule for the number of inductees.”
Despite the cutbacks CMT underwent last fall as part of a Paramount Global restructuring, which included Fram’s departure, Duncan says continuing the NWOC program was never in doubt. “There was never a question CMT would continue the work it’s done for 10+ years in this space,” Duncan says. “Supporting female artists and underrepresented voices in country music remains a top priority for us.”
Including the new class, more than 130 women acts have gone through the NWOC program. Beyond Alaina, alumni include Ashley McBryde, Brandy Clark, Brittney Spencer, Carly Pearce, Ella Langley, Gabby Barrett, Ingrid Andress, Kacey Musgraves, Kelsea Ballerini, Lainey Wilson, Maren Morris, Megan Moroney and Mickey Guyton.
A number of staffers at CMT, the Nashville-based country music and lifestyle programming network, have been let go as part of a broad swath of staff cuts taking place at Paramount Global.
Billboard has learned that among the music and talent team leaving are Stacey Cato (director of music and talent), Quinn Brown (vp of production), Ray Sells (senior director of production), Jennifer DeVault (senior producer), Jordan Walker (senior manager of music and talent), Abbi Roth (senior manager of music and talent) and Bryana Cielo (executive assistant), as well as Heather Graffagnino, vp of production management.
Among those remaining are Margaret Comeaux (senior vp of music and events production), Donna Duncan (vp of music and talent), Melissa Goldberg (vp of digital and social), Yasmin Mohammed (producer) and David Bennett (creative director).
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Sources say that Paramount will continue to support CMT and is positioning the outlet for the future, but what that looks like is unclear.
This week, Paramount Global began a second round of staff cuts, as it continues its aim of reducing its U.S. workforce by 15%, seemingly in preparation for the company’s planned merger with Skydance Media. In a memo to staffers on Monday (Sept. 24), Paramount’s co-CEOs George Cheeks, Chris McCarthy and Brian Robbins stated, “Like the entire media industry, we are working to accelerate streaming profitability while at the same time adjusting to the evolving landscape in our traditional businesses. In order to set Paramount up for continued success, we are taking these actions. Days like today are never easy. It is difficult to say goodbye to valued colleagues, and to those departing, we are incredibly grateful for your countless contributions.”
The cuts come as the company, like many legacy media companies, is seeing a decline in linear television viewership and advertising, and consumers continue to move toward streaming video and digital.
In June, Paramount cut nearly all the content roles across its CMT, MTV, Comedy Central and TV Land websites, while storied news site MTVnews.com was taken down. During a town hall on June 25, McCarthy noted that Paramount’s revenue had grown by 13% between 2018 and 2023, while the company’s operating income before depreciation and amortization (OIBDA) has fallen 61% during that same time frame. Thus, they are aiming at cutting $500 million in costs.
Country radio trade publication Country Aircheck first reported a number of the layoffs.
Reps for Paramount Global had not responded to Billboard‘s request for confirmation by press time.
Blake Shelton fires up a new collaboration with country veteran Steve Wariner, covering “Old Flame” on the Aug. 15 premiere of CMT Giants: Alabama, to air at 8 p.m./7 p.m. CT exclusively on CMT. Explore Explore See latest videos, charts and news See latest videos, charts and news A dozen artists — including Brad Paisley, […]
Following the unexpected shuttering of the MTV News website earlier this week, Paramount has now largely cleaned house on the sites for several more of its cable channels, in a potential cost-cutting move.
As of Wednesday afternoon, the sites for Comedy Central, CMT, Yellowstone airer Paramount Network and TV Land were instead directing users to the media conglomerate’s streaming platform Paramount+. On Monday, MTVnews.com was taken down, purging some 20 years of stories from the web.
A pop-up window on the Comedy Central site reads, “While episodes of most Comedy Central series are no longer available on this website, you can watch Comedy Central through your TV provider. You can also sign up for Paramount+ to watch many seasons of Comedy Central shows.” Similar language shows up on the CMT, Paramount Network and TV Land sites, as well as that of MTV (which was separate from MTVnews.com).
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aramount said in a statement, “As part of broader website changes across Paramount, we have introduced more streamlined versions of our sites, driving fans to Paramount+ to watch their favorite shows.”
As noted by LateNighter, the cleaning out of the Comedy Central site in particular wipes out a huge trove of archival material from The Daily Show and other late night series, along with clips from South Park, Key & Peele and Workaholics, among many others. Some of that material is available on YouTube, but it’s not as easily searchable or accessible as it was on the network page. (The oldest video on the Daily Show YouTube channel, for instance, is from 2016, while the show’s history stretches back 20 years before then.)
On Paramount+, only the two most recent seasons of The Daily Show are available. The platform has several South Park specials and the 1999 feature film Bigger, Longer and Uncut, but the show’s primary streaming home is on Max. Paramount+ does have the full runs of Key & Peele and Workaholics.
As of publication time, sites for Paramount’s BET, Nickelodeon and VH1 were still active, while MTV.com offered some episodes and clips.
The website changes come on the heels of Paramount’s co-CEOs — George Cheeks, Chris McCarthy and Brian Robbins — telling employees at a town hall meeting Tuesday that they were embarking on a cost-cutting mission as profits have dropped for the company. Paramount is looking for $500 million in reduced costs, which will mean layoffs for some employees. Cheeks also said at the town hall that “We’re looking at selling certain Paramount-owned assets — in fact, we’ve already hired bankers to assist us in this process — and we’ll use the proceeds to help pay down debt and strengthen our balance sheet.”
This article was originally published by The Hollywood Reporter.
CMT‘s Next Women of Country franchise, now in its 11th year, has added 14 new artists to its ranks, revealing the 2024 class in the program’s ongoing aim at promoting female country artists — and fighting systemic gender disparity within the country music industry — as part of CMT’s overarching CMT Equal Play initiative.
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The CMT Next Women of Country: Class of 2024 includes Anne Wilson, Denitia, Ella Langley, Emily Ann Roberts, HunterGirl, Karley Scott Collins, Kylie Frey, Lauren Watkins, Madeline Merlo, Mae Estes, Tanner Adell, The Castellows, Tigirlily Gold and Twinnie.
The franchise’s new class was revealed and celebrated on Tuesday (Jan. 23) before a Nashville gathering of music industry and media members at City Winery Nashville. CMT’s Leslie Fram was joined by co-hosts Kimberly Perry and Colbie Caillat, each of whom will serve as mentors to the 2024 CMT Next Women of Country class.
“As someone that grew up watching CMT every morning, to now be highlighted with this wonderful class of artists is inspiring. CMT’s continued support of my career has been amazing, first through Equal Access, and now as a Next Woman of Country,” NWOC Class of 2024 member Denitia told Billboard in a statement. “My focus is to make music that connects with people and I’m really grateful for this opportunity to have even more of a platform to do that. I want to continue to be inspired by the past traditions of country music while moving forward into an exciting future. What an honor to be included in what’s next!”
The singer-songwriter released the 2022 album Highways, featuring the song “I Want to Live,” and followed in 2023 with a cover of Garth Brooks’ “What She’s Doin’ Now.”
With its 2024 class, the franchise has welcomed 125 women into its ranks over the past decade, creating a community and network of supporters, champions and collaborators, including Mickey Guyton, Kelsea Ballerini, Brittney Spencer, Lainey Wilson, Megan Moroney and more.
For 2024, the Next Women of Country will team up with the female singer-songwriter collective, Song Suffragettes, for a year-long partnership, which was announced onstage by Fram and Song Suffragettes leader Todd Cassetty. Since 2014, Song Suffragettes has held weekly songwriter showcases in Nashville, with dozens of the women featured going on to secure publishing and record deals.
This joint effort, in conjunction with organizations Change the Conversation and The Change Agent·cy, aims to pursue industry education opportunities together to continue advancing and supporting women country music artists. In celebration of the collaboration, NWOC will host a showcase with Song Suffragettes at City Winery on Feb. 27, with performer lineup and ticketing details to come.
Additionally, CMT’s series CMT Hot 20 Countdown, hosted by Carissa Culiner and Rissi Palmer, will again this year offer a three-hour special episode, honoring the NWOC 2024 class; the episode will air Feb. 10.
NWOC Class of 2024 member Anne Wilson, whose album My Jesus was a sonic slab of CCM-country sounds, is experiencing a crossover surge, having previously earned two No. 1 Billboard Christian Airplay hits with “My Jesus” and “I Still Believe in Christmas.” She recently released the country radio-focused track “Rain in the Rearview,” while her single “Strong” is in the top 20 on the Christian Airplay chart.
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“I’m overwhelmed with gratitude to be a part of this year’s Next Women of Country,” Wilson told Billboard via a statement. “It’s truly an honor that I don’t take lightly. My love for country music and the beautiful community of artists in it is immense. It’s a dream to be walking alongside these incredible female artists with the support of an organization I’ve loved since ever since I can remember.”
NWOC Class of 2024 member Adell, who released the critically acclaimed album Buckle Bunny last year, told Billboard via a statement, “Being a part of CMT’s Next Women of Country is an honor in so many ways. As a little girl I watched CMT and admired all the strong women I saw. I’m blessed with a story that wasn’t always easy to live, but I can’t wait to heal and inspire other women with my journey and wear the Next Women of Country badge with honor.”
CMT’s Next Women of Country franchise launched in 2013, highlighting female country performers on all CMT screens, including CMT and CMT Music, as well as digital series; the NWOC franchise expanded to include seven tours spearheaded by artists including Jennifer Nettles, Martina McBride, Sara Evans, Tanya Tucker and Maddie & Tae.
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“It’s an honor and a privilege to welcome this latest group of artists to CMT’s Next Women of Country,” said Leslie Fram, SVP, Music & Talent, CMT, via a statement. “For the past 10 years, this franchise has represented the best and brightest new talent in all of country music and this year is no exception. From the UK and Canada to California and the deep South, these women all have their own unique stories to tell, and we can’t wait to introduce them to CMT audiences in creative and meaningful ways.
“And in the spirit of providing greater opportunities and visibility for female voices in our format, we’re thrilled to join hands and partner with our friends at notable singer-songwriter collective, Song Suffragettes, to work together towards our collective goal: greater parity for underrepresented female voices in our format. We look forward to collaborating with Todd Cassetty and his team to ensure that more talented women like these are given the opportunities they deserve to be seen and heard worldwide by our industry and fans.”
Ledisi, Billie Jean King, Amber Riley, Chris Janson, Fancy Hagood and Lucie Silvas have been added to CMT Smashing Glass, a salute to genre-defying women artists that premieres Wednesday, Nov. 15, at 9 p.m. ET/PT. Clint Black, Mickey Guyton, Sheryl Crow and The War & Treaty were already announced for the special, which will celebrate […]
Usher serenades Quavo’s rumored girlfriend during his Las Vegas Residency show. YG & Saweetie announce tour as they continue to spark dating rumors. Doja Cat vows to stop making music that is “palatable, marketable and sellable.” Jason Aldean’s “Try That In A Small Town” has caused quite a controversy. CMT has pulled the video after […]
CMT and management services company mtheory have revealed the six new candidates selected to take part in the Equal Access Development Program, its yearlong artist and management training program designed to support underrepresented voices and communities in country music, including Black, Native and Indigenous, Latino, LGBTQ+ and women.
This year’s participants are artists Angie K, Camille Parker and Denitia, as well as music industry executives Ahsaki LaFrance-Chachere, Alex Evelyn and Roberto Martinez.
The Equal Access Program launched in April 2022, spearheaded by mtheory CEO Cameo Carlson and Tiffany Provenzano, as well as CMT senior vp of music & talent Leslie Fram. The program provides funding and training, as well as access to industry leaders, with the goal of creating a multifaceted pipeline of diverse talent in country music.
Angie K previously competed with Team Blake on NBC’s The Voice and is part of CMT’s Next Women of Country Class of 2023. Her music often blends country with her Latin roots, such as her bilingual release “Real Talk,” which made her a Highway Find on SiriusXM. Parker, a member of CMT’s Next Women of Country Class of 2022, also recently competed on AppleTV+’s My Kind of Country. Parker is also currently recording her debut EP with producers Chris McClenny and David Phelps. Texas native Denitia is a multi-instrumentalist who has played saxophone, trumpet and guitar and has roots in a myriad of musical genres, including gospel, folk and alternative rock.
LaFrance-Chachere is a Diné (Navajo) tribal member and African-American woman, who aims to demonstrate that Native Americans/Indigenous people are diverse despite stereotypical depictions. Her LaChachere Management & Publishing represents country music artists Dzaki Sukarno, C’ing Jerome and Jay Brown. Evelyn is CEO/founder of management and development company Big Al Management, which includes clients YSA and Khrys Hatch. Evelyn also serves as radio/TV producer/show host at YoCo 96.7 FM in Nashville. Martinez has worked as a songwriter, producer and recording engineer. After a five-year stint at Warner Music Group, Martinez manages artists in multiple genres as CEO of The Exos Group and is partner in Coco’s Backstage.
Carlson, CEO of mtheory, said via a statement, “Research continues to show the enduring racial and gendered hierarchy within the industry, and its ripple effect throughout every facet of the business: radio airplay, songwriting, publishing, streaming, record label signings, artist development, touring and more. Only through deliberate, consistent efforts like Equal Access, will we begin to see stronger representation of underserved groups in the format, and we’re committed to helping this new group of exceptionally talented individuals successfully prepare for careers in country music, particularly in this current legislative environment that has become an increasingly prohibitive place for creativity to grow and flourish. Thank you to all of our supporters for making this program possible, particularly our title sponsors at CMT and across the Paramount companies.”
Fram added, “CMT, along with Paramount Global and its Content for Change initiative, is proud to partner with mtheory once again and is committed to leading the industry in igniting systemic change. Equal Access accentuates our roster of groundbreaking initiatives including CMT Equal Play and CMT Next Women of Country, and contributes significantly towards leveling the playing field in country music. We look forward to collaborating with this amazing new group of artists and managers to amplify their work to CMT audiences and beyond.”
The inaugural 2022-23 Equal Access cohort included artists Madeline Edwards, Miko Marks and Valerie Ponzio and music management professionals Charlene Bryant, Kadeem Phillips and Marques Vance.
Over the past year, the 2022-23 Equal Access class members have reached numerous goals. Edwards signed a publishing deal with Sony Music Publishing, a recording deal with Warner Music Nashville and has toured with Chris Stapleton and Ingrid Andress. Marks released the album Feel Like Going Home with music reaching the top five on the Americana Radio Albums chart, while her single “One More Night” reached the top 20. Ponzio released her EP Frontera and had her music featured on the Times Square billboard and on CMT. Marks and Edwards both made their Grand Ole Opry debut performances.
Bryant now manages artist Harper Grae and is a consultant for Universal Music Nashville. Vance began a full-time job with a major label and launched a website to feature his work as a manager and marketing consultant. Phillips launched the Empower the Block website to showcase his work as a manager, publisher, distributor and studio owner, and launched a monthly showcase, Spirit of Country, to highlight country artists of color.
Kane Brown and Jelly Roll made history at the 2023 CMT Music Awards, which were presented on Sunday at Moody Center in Austin, Texas. The show aired on CBS for the second year in a row.
Brown became the first person in 20 years to both host or co-host the show and win the top award, video of the year. He co-hosted with Kelsea Ballerini for the third year in a row. He won video of the year for “Thank God,” his hit duet with his wife Katelyn Brown. The last person to accomplish this double feat was Toby Keith, who co-hosted the 2003 CMT Music Awards with actress Pamela Anderson and took the video of the year award for his post-9/11 song “Courtesy of the Red, White & Blue (The Angry American).”
This is the third year in a row that a collaborative video has won video of the year. “If I Didn’t Love You” by Jason Aldean and Carrie Underwood won last year. “Hallelujah” by Underwood featuring John Legend won two years ago.
Jelly Roll won both male video of the year and breakthrough male video of the year for “Son of a Sinner.” This marks the fourth time in the show’s history that someone has won the award for the year’s top male, female, group or duo video and a breakthrough award in the same year. In 2005, Gretchen Wilson took female video of the year for “When I Think About Cheatin’” and breakthrough video of the year for “Redneck Woman.” The following year, Underwood took both awards for “Jesus, Take the Wheel.” In 2013, Florida Georgia Line took breakthrough video and duo video of the year for “Cruise.”
Underwood didn’t add to her record-setting collection of 25 CMT Music Awards. She was nominated for video of the year for “Hate My Heart,” but lost to the Browns’ smash. She was nominated for female video of the year for “Ghost Story,” but lost to Lainey Wilson’s “Heart Like a Truck.” This marks the first time in 12 years that Underwood hasn’t won in at least one of those marquee categories.
Wilson, who led the pack with four nominations, won two: female video of the year for “Heart Like a Truck” and collaborative video of the year for her featured role on HARDY’s “wait in the truck.” HARDY and Wilson beat the Browns’ “Thank God” in the latter category, though there was a reversal of fortune in the video of the year category where the two videos again competed.
Zac Brown Band took group/duo video of the year for “Out in the Middle.” It’s their second win in the group video category, following a 2019 win for “Someone I Used to Know.” Rascal Flatts is the top winner in the category, with seven wins, followed by Lady A with five and Little Big Town with four.
Cody Johnson’s performance of “Til You Can’t” on last year’s CMT Music Awards won for CMT performance of the year. Johnson won male video of the year for the smash at last year’s show.
Megan Moroney’s “Tennessee Orange” won breakthrough female video of the year.
