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For this year’s update of our ongoing Greatest Pop Star by Year project, Billboard is counting down our staff picks for the top 10 pop stars of 2023 all this week. At No. 6, we remember the year in Morgan Wallen — who put up mind-boggling stats all year, but was still surprisingly invisible at times.
Few artists, if any, were as set up to put numbers on the board in 2023 as country superstar Morgan Wallen.
It had been two years since the release of his massive-in-all-ways Dangerous: The Double Album and the backlash following his use of the N-word in a video captured on TMZ, making 2021 both the best and worst year of his career. He had spent the rest of that year mostly laying low as Dangerous continued to produce – it would ultimately break the Billboard 200 record for most weeks in the top 10 – and then took 2022 to reintroduce himself to fans. He set out on the Dangerous Tour that February, then began to release a slow trickle of music, leading to Billboard Hot 100 top 10 hits like the trap-influenced “You Proof” and mama-I’m-crazy ballad “Thought You Should Know,” which proved how hungry most of the public still was for new Wallen material.
Billboard’s Greatest Pop Stars of 2023:Introduction & Honorable Mentions | Rookie of the Year: Peso Pluma | Comeback of the Year: Miley Cyrus | No. 10: Drake | No. 9: Doja Cat | No. 8: Bad Bunny | No. 7: Olivia Rodrigo | No. 6: Karol G
By early 2023, that slow trickle would turn into a broken dam. In late January, Wallen announced the March release of One Thing at a Time, to be a whopping 36 tracks long – Dangerous ran a scant 30 – and to be promoted on his One Night at a Time World Tour, kicking off that April, which would take Wallen to stadiums for the first time. Even before its release, the album was all but a pre-certified blockbuster, with the tracklist including the already-minted hits “Proof,” “Thought” and the pop-rocking title track, the latter one of three new songs he’d released along with his tour announcement in late 2022.
Matt Paskert
Matt Paskert
But one song he released while divulging the One Thing details would end up dwarfing them all, as well as anything on Dangerous. “Last Night” was part of another three-pack (along with the Allmans-interpolating “Everything I Love” and the cleverly Bible-wary “I Wrote the Book”) released by Wallen, this time to hype the One Thing announcement. The liquor-soaked, maybe-breakup anthem took off immediately following its mid-week release, reaching the top spot five weeks after its debut – not only a career first for Wallen, but a first for any solo male country star since Eddie Rabbit back in 1981.
The final push that got “Last Night” to No. 1 came with the March release of the full One Thing album, which unsurprisingly bowed with the biggest first-week total of the year to that point: 501,000 units, nearly doubling the 265,000 posted by Dangerous in its opening frame. One Thing would also chart all 36 of its tracks on the Hot 100 in its debut week, as Wallen blew past the previously Drake-held record of 27 for the most songs notched by an artist on the chart in a single week. If Wallen’s superstardom had escaped anyone’s notice to that point, it was finally unignorable.
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And it would stay that way for months. Both “Last Night” and One Thing would continue their rule on the Hot 100 and Billboard 200, respectively – occasionally getting knocked off by a big debut or surging hit, but seemingly always returning to their perch. All in all, both song and album would reign for 16 weeks total, giving Wallen the longest reign on each chart yet this decade – and the longest ever for any unaccompanied solo artist on the Hot 100.
In the process, Wallen also laid claim to territory that had largely eluded him to that point: top 40 radio. While he had been laying siege to country radio for a half-decade already, he’d yet to score much success on the pop airwaves. But “Last Night” was simply too huge to be overlooked, and it reached No. 5 on Billboard’s Pop Airplay chart – an extremely rare level of top 40 success for a country song without a major non-country guest or obviously crossover-aimed production. And of course, his dominance at country radio practically went without saying: four songs from One Thing (“Proof,” “Thought,” “Night” and “Thinkin’ Bout Me”) topped the Country Airplay chart in 2023, and a fifth (“Everything”) is currently lurking around the top five.
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Meanwhile, all 2023, Wallen was leading the charge for a country takeover on the Billboard charts, with the genre particularly beginning to catch up to pop and hip-hop in its streaming presence. Though “Last Night” was the first country Hot 100 by a solo male in over four decades, it opened the floodgates for three more immediately after it – from Jason Aldean, Oliver Anthony Music and Zach Bryan (with Kacey Musgraves), all with songs that were massive streaming successes. In our December cover story on Wallen, Billboard’s Melinda Newman called him “the tip of the spear for the genre’s new generation,” and pointed out that while country grew by grew by 24% in on-demand audio and video streaming from 2022 to 2023, Wallen’s numbers alone accounted for 31% of that growth.
So if he had the No. 1 album of the year, the No. 1 song of the year, and was the biggest driving force behind arguably the most consequential trend in the (English-language) music industry this year – by the way, he also finished No. 4 on Billboard Boxscore’s Year-End Top Tours ranking, highest of any artist who released an album in 2023 – how is Morgan Wallen only our No. 5 Greatest Pop Star this year?
Well, there’s no arguing that there were four artists with more impressive portfolios of commercial achievements and statistics this year. But were there four greater pop stars? We think so, mostly because as huge as Morgan Wallen’s music was this year, the man himself was a much-less-conspicuous presence. He had no major award show or late night appearances, released no official music videos, had no particularly viral moments (besides a fan brawl outside his show that he wasn’t involved with), barely posted on TikTok – the app once integral to his early success – and until Billboard’s cover story, made no major media appearances. Millions of people caught Wallen on the One Night at a Time tour, but if you weren’t one of them, you could’ve very easily gone the entire year without seeing the man in action.
It’s an unsurprising and arguably wise strategy for an artist whose biggest career moments in the spotlight have mostly been embarrassing ones – from his 2020 arrest for public intoxication and disorderly conduct to his violation of SNL’s COVID-19 policy and subsequent removal from the show later that year, to, of course, his filmed racial slur usage in 2021. And while a large portion of the public appears to have moved on from these incidents, Wallen’s continual underperformance at major award shows – shut out at this year’s CMAs, and with no nominations at the 2024 Grammys (“Last Night” is up for best country song, but he’s not nominated since he didn’t write on it) – suggests there may remain (understandable) hard feelings from some folks in the industry. It makes sense that Wallen would continue to tread lightly re-inserting himself into the mainstream’s center.
Meanwhile, his chart fortunes have clearly not suffered for his lack of national visibility or award wins – regardless of Wallen’s presence in the headlines or lack thereof, his commercial momentum has only ever trended upwards since his 2018 breakthrough. This year, he even proved he could cross over to the pop world without really playing the pop game. So as long as he can top the charts and sell out his tours while letting his music do the talking for him, there’s not necessarily a lot compelling Wallen to do more.
Fair enough. But true pop stardom – from Madonna and Michael Jackson to BTS and Bad Bunny – has always been about more than just the numbers. It’s about impact, about presence, about being the whole package. It’s about putting yourself out there, in just about every way possible, and sometimes risking it all in the process. Wallen can and most likely will continue to top nearly every official Billboard chart while laying low, relatively speaking, but it’ll take him being a little more willing to step into the spotlight at his brightest to get to the top of these rankings.
A star-studded assembly of performers has been added to help Nashville count down the minutes to 2024 on New Year’s Eve in the music-spotlighting way that only Nashville provide, as part of the CBS special New Year’s Eve Live: Nashville’s Big Bash. Trace Adkins, Grace Bowers, Kane Brown, Jackson Dean, HARDY, Cody Johnson, Parker McCollum, […]
Producer and longtime Warner Music Nashville executive Scott Hendricks will be leaving the company at the end of the month. He joined Warner Nashville in 2007 and currently serves as executive vp of A&R/ creative advisor. Hendricks will transition back to being an independent producer and will continue his work with Warner Nashville artists Blake […]
Billboard revealed its year-end Boxscore charts, ranking the top tours, venues, and promoters of 2023. That coverage included analysis of the new wave of genre diverse artists crashing stadium stages, and in turn, our charts. This week, we are breaking down the year’s biggest tours, genre by genre. Today, we continue with country. Country music […]
Google released its list of the biggest trending searches of 2023 and when it comes to music, Jason Aldean‘s controversial “Try That in a Small Town” led the list of search inquiries for songs, with Aldean also hitting No. 1 as the top trending musician.
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In a year when Taylor Swift and Beyoncé were perpetually in the news thanks to their massive tours and the live concert films, the high placement for Aldean was not totally surprising given the weeks of attention he got for “Small Town,” which was pulled from CMT and labeled by some detractors as being pro-gun, pro-violence and akin to a “modern lynching song” after the release of the track’s video.
The visual found Aldean performing the song in front of the Maury County Courthouse in Columbia, TN, the site of the 1927 lynching and hanging of 18-year-old Henry Choate over allegations that he sexually assaulted a white girl, as well as the spot of a 1946 race riot in which two Black men were killed. Aldean rejected detractors’ claims about the song whose video featured images of an American flag burning, protesters clashing with police, looters breaking a display case and thieves robbing a convenience store; the video was later seemingly edited to remove images of a Black Lives Matter protest following the backlash.
Right behind Aldean was buzzy rapper Ice Spice, followed by “Rich Men North of Richmond” country singer Oliver Anthony, Peso Pluma, Joe Jonas, Sam Smith, The 1975’s Matty Healy, Kellie Pickler, Kim Petras and Sexxy Red.
Google’s data shows the top trending searches in the U.S., referring to trending queries as searches that had a major spike in traffic over a sustained period in 2023 versus 2022, which is why despite being a near-ubiquitous search term who has a consistently high search interest, TIME‘s Person of the Year Swift (and Beyoncé) didn’t top the ranking for musicians; click here for Gizmodo‘s explanation.
The year’s most buzzed-about movies, Barbie and Oppenheimer (combined as Barbenheimer by fans) came out on top, followed by the controversial anti-trafficking movie Sound of Freedom and Oscar-winner Everything Everywhere All At Once, as well as Guardians of the Galaxy Vol. 3, The Super Mario Bros. Movie, Creed III, John Wick: Chapter 4, Five Nights at Freddy’s and Cocaine Bear. The No. 1 trending actor was Jeremy Renner, who suffered serious injuries in a snowplow incident in January.
Jamie Foxx, who was sidelined most of this year after an unexplained “medical complication” in April, was just behind Renner, followed by disgraced That 70’s Show actor Danny Masterson, comedian Matt Rife, Pedro Pascal, Jonathan Majors, Sophie Turner, Russell Brand, Ke Huy Quan and Josh Hutcherson.
The trending people list had Buffalo Bills safety Damar Hamlin at No. 1 following his scary on-field cardiac incident during a Cincinnati Bengals game in January, followed by Renner and Kansas City Chiefs tight end Travis Kelce, likely due to his romance with Taylor Swift; Kelce was also among the top five most-searched athletes.
The TV tally featured mostly Netflix projects, including its originals Ginny & Georgia, Queen Charlotte: A Bridgerton Story, Wednesday, That 90’s Show, Kaleidoscope, Beef and The Fall of the House of Usher. Other shows that got in the mix included Daisy Jones & the Six (No. 4) and The Weeknd’s one-and-done HBO series The Idol (No. 9).
Late Friends star Matthew Perry was No. 1 on searches for celebrity deaths, followed by Tina Turner, Jerry Springer, Jimmy Buffett and Sinead O’Connor, with Lisa Marie Presley coming in at No. 8. The news headlines that we searched the most were those related to the war between Israel and Hamas, followed by the sinking of the Titanic tourist submarine, Hurricanes Hilary, Idalia and Lee, as well as a mass shootings in Maine and Nashville, the Maui wildfire, the Idaho college campus murder trail and the Canadian wildfires.
Lee Thomas Miller, a writer on hit country songs including “In Color” (Jamey Johnson) and “You’re Gonna Miss This,” (Trace Adkins) has signed a publishing deal with SMACKSongs. Over three decades, Miller has become one of country music’s most prolific songwriters, as well as one of the songwriting industry’s biggest champions. He has earned 13 […]
His hometown — Willacoochee, Ga. — sounds a whole lot like “Chattahoochee,” so it’s not entirely surprising that indie artist RVSHVD’s current single, “Small Town Talk,” employs many of the same values that inhabit an Alan Jackson song.
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The red brick church, the tire marks he left on Main Street, his first broken heart and his grandmother’s grave marker all provide this relatable sense of RVSHVD’s upbringing, which is quite similar to the childhood that many country fans experience across America. In a very real way, “Small Town Talk” exists mostly because RVSHVD doesn’t tend to talk that easily about what he’s doing or where he’s from. He just kind of lives it.
“My dad will sit there and tell me the same story,” he notes, drawing an obvious contrast. “Even random people in the grocery store, if there’s somebody standing there, he’ll walk up — he don’t even know the guy — and he’s like, ‘This meat’s high, ain’t it?’ He don’t even know the guy! My mom, she ain’t going to say more than three words. That must be where I get it from.”
RVSHVD’s reserved nature was on full display in April 2021 when he took part in a writing retreat specifically designed to generate songs that fit him at The Penthouse, the home base for his manager, Jonnie Forster, located near the Beverly Center in Los Angeles. Four or five different rooms were set up with at least one “track guy” and one topliner, with each of those rooms aiming for a song in the morning and another in the evening across two or three days. It all started with a get-acquainted session, where RVSHVD shared a little about his personal history, his goals, his tastes and his philosophy. Still, the introduction wasn’t all that detailed.
“I think I remember Jonnie making some jokes about, you know, ‘Good luck trying to get a lot out of him, because he’s usually a man of few words,’ ” says singer-songwriter Josh Logan.
That’s apparently pretty accurate — it’s similar to the understanding that singer-songwriter Willie Jones, who shares Forster as a manager, has of him. “RVSHVD is like that,” Jones says, “simple, low-key, real chill, laid-back, really grounded and really thoughtful.”
Logan, Jones and Jason Afable all ended up in a room together that first morning, and as they sought a direction to write for RVSHVD, they fixated on that “man of few words” description. They batted around some ideas, then found themselves wondering what more they could learn about RVSHVD if, as an old adage suggests, the walls could talk. That became its own train of thought, and as they started chasing down what that could mean, Forster popped into the room for a bit. They told him where they were headed, and somehow the phrase “Small Town Talk” showed itself.
“Jonnie was a big part of that title,” says Logan. “I don’t remember if someone just threw out the title, or he really kind of got us going or encouraged us down that road.”
But it was enough to work from. Afable developed a bittersweet, arpeggiated chord progression on electric guitar, and they began building a hook that flipped the gossipy implication of “small-town talk” into a confident portrait of a man’s roots speaking for his character. The opening lines — “The way I was raised up/I don’t really say a lot” — came directly from the day’s conversation and set up the storyline that followed.
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The phrasing in that verse was conversational, leaning into a fluid, hip-hop vibe near the end of the stanza, then lifted into a chorus melody that emphasized repeated three-beat phrases: “small-town talk,” “grade school walls,” “right from wrong,” for starters. The chorus’ images and its melodic components were classically country, forming a contrast with the flowy, hip-hop lead-in. It hinted at an artistic range that also showed itself in the span from the verse’s lower melodies to the chorus’ higher notes.
“A lot of singers got maybe one sweet spot,” Logan notes. “But for RVSHVD, I feel like his low tone is so rich and deep, and I just love that tone. But then also he has that upper range that just soars. So when he hits that, it just makes our job easier because we can really utilize a different range, and we have [fewer] rules.”
The second verse painted an image of a broken-hearted young man who narrowly escaped tragedy, recounting an 18-year-old who drank a fifth of his dad’s Jack Daniel’s after his girlfriend broke his heart, jumped into his dad’s Cadillac and left tire marks on the road. The story wasn’t exactly RVSHVD’s — he changed the road to Main Street, his first overindulgence in alcohol was actually with Wild Irish Rose, and the tire marks he left were from playing with the gear shift in his mom’s car around age 10. But the narrative still hit close to home.
“When I first recorded the demo for it, I was getting choked up, and my wife, Angel, she was there with me,” remembers RVSHVD. “I’m tearing up, and I keep looking at her over in the chair, trying to make sure she don’t see me.”
The initial demo relied on the electric guitar part and drum with some other programmed parts thrown in. Afable produced several versions of it, though they had a hard time getting it right. RVSHVD, at some point, seemed to lose faith in it, so Forster suggested that Jones cut it. The song, he sensed, was too good to let go. Jones agreed on the song quality, though the opening lines didn’t really suit him.
“I talk a lot,” Jones says with a laugh.
He changed the street name and substituted Shreveport for Georgia to personalize it, but it never felt quite right.
“It was cool, but I felt like I was lying,” he admits. “Then he came back around, RVSHVD, like, ‘I want to do a version.’ I was like, ‘Do it and do it well.’ They changed the production, and I was like, ‘Whoa, that’s what I like to hear.’ ”
For that last go-around, Afable reached out to a multigenre Los Angeles production team, Dream Addix (aka singer-songwriters Michael Ferrucci and Chris Valenzuela, both of whom participated in the original retreat at The Penthouse), and they were able to meld just enough classic country pieces, such as fiddle and baritone guitars, to capture the song’s small-town essence and still feel contemporary. RVSHVD recut the vocals, and — since he had lived with “Small Town Talk” long enough —he had a different physical reaction to the song.
“It wasn’t tears no more,” he says, “but it was still chills on that.”
RVSHVD shot a video to “Small Town Talk” in his hometown, performing on the same football field where he used to play bass drum in the marching band and receiving a key to the city. The video and the song itself, released Nov. 3, shine a light on the same sort of small-town ethics at the center of country’s lexicon. RVSHVD knows it firsthand, and he expects the rest of his first album will create an even fuller picture of that heritage.
“Hopefully,” he says, “it’ll come out next year.”
12/11/2023
This year’s picks for top 10 tracks include music from Lainey Wilson, Luke Combs, Morgan Wallen, Jelly Roll, Tyler Childers and more.
12/11/2023
Something unusual happened at the 2023 Country Music Association (CMA) Awards: A song written over three decades ago won the award for song of the year.
While Tracy Chapman’s “Fast Car” first became a pop hit in 1988 — when it reached No. 6 on the Billboard Hot 100 — the song experienced a renaissance over the past year thanks to country singer Luke Combs’ faithful cover. Combs released his rendition to pop radio in April and country radio in June, helping it became a juggernaut that ultimately reached No. 2 on the Hot 100 and spent five weeks atop the Country Airplay chart.
“The success of ‘Fast Car’ is mind-blowing. But should it be?” asks Combs’ manager, Chris Kappy. He calls Combs’ connection to the song (the artist has said that it reminds him of his father) and his ability to deliver it to a new generation of fans “the perfect chemistry to create this moment.”
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The fact that Combs scored one of the biggest hits of his career with a cover is illustrative of the unconventional success stories that defined country music in 2023 — all of which helped propel the genre to one of its most prominent years in Billboard chart history. Jason Aldean’s politically charged “Try That in a Small Town”; outlier Oliver Anthony’s out-of-nowhere hit, “Rich Men North of Richmond”; and Zach Bryan and Kacey Musgraves’ somber duet, “I Remember Everything” all ruled the Hot 100. Along with Morgan Wallen’s “Last Night,” which spent 16 nonconsecutive weeks at No. 1, 2023 marked just the second time in Hot 100 history that four country songs reached the chart’s summit in a calendar year. And for the first time since the chart launched in 1958, country hits occupied the top three spots (“Small Town” at No. 1, “Last Night” at No. 2 and “Fast Car” at No. 3) in a single week on the Hot 100.
Yet in the same way that a decades-old single winning the song of the year CMA Award (a feat that also made Chapman the first Black songwriter to win that honor) marked an uncommon achievement, the biggest wins of country’s huge year all contained atypical wrinkles in their narratives. The success of “Try That in a Small Town” — and in particular, the song’s accompanying music video — was mired in controversy. Footage of Black Lives Matter protests was seemingly edited out of the original clip, while critics noted the performance itself was filmed in front of the site of a 1927 lynching. CMT ultimately pulled the video from its rotation — a move that led many to view the clip on YouTube and stream the song, some out of curiosity alone, which helped push it to No. 1 on the all-genre Hot 100.
In late August, independent artist Anthony broke through with one of the year’s most unexpected hits, the polarizing “Rich Men North of Richmond.” The song — with lyrics centering on greedy politicians, inflation, rising taxes and welfare abuse — was uploaded to YouTube out of the blue. And a little more than 10 days later, it debuted atop the Hot 100, making him the first artist to enter at No. 1 without any prior Billboard chart history. The video has been viewed over 98 million times on YouTube.
“Rich Men North of Richmond” stayed atop the Hot 100 for two weeks, during which time it became a lightning rod of controversy for political pundits on both the right and left. “The most special thing about it being on the chart at all is that it made it [there] without some big, corporate schmucky schmuck somewhere pumping a bunch of money into making it get there,” Anthony recently told Billboard. “It actually got to the top of the [Hot 100] because people genuinely wanted to listen to it and support it.”
As Country’s Radio Coach owner/CEO John Shomby says, “Now he’s going on a 40-plus-city tour next year. That tells you a lot.”
Then there’s the alternative, genre-fluid Bryan, who prior to signing with Warner Music in 2021 built a fan base with his independent releases and constant touring, and has a history of shucking industry expectations. He capped 2022 with a live album titled All My Homies Hate Ticketmaster and throughout his breakout 2023 has largely avoided press. In September, he and Musgraves each earned their first Hot 100 No. 1 with “I Remember Everything” off his self-titled album. The duet became the first song to simultaneously debut atop the Hot 100, Hot Country Songs and Hot Rock & Alternative Songs charts — proving Bryan’s wide appeal.
A surplus of country artists have experienced similar crossover success, with hits that have both topped country charts and entered the upper echelon of the Hot 100. Jelly Roll’s “Need a Favor” hit No. 13 on the Hot 100, Bailey Zimmerman’s “Rock and A Hard Place” entered the chart’s top 10, and Lainey Wilson’s “Watermelon Moonshine” reached No. 21 — and all three songs were Country Airplay No. 1s. Meanwhile, a few Hot 100 first-timers included rising stars like Hailey Whitters and Warren Zeiders along with Americana stalwart Tyler Childers.
“This year has shown us that the genre is not as painted into a corner as it was years ago,” says Shomby, who credits a younger generation of programmers moving into decision-making roles at radio stations as a driving factor in the span of country music sounds dominating charts in 2023. “The bigger companies, it’s going to take a little while, but some of these smaller organizations, you can see it already, with people taking chances on songs like the Zach Bryan and Kacey Musgraves duet, or Tyler Childers or the Post Malone song [titled “Pickup Man,” off HARDY’s HIXTAPE and featuring the late Joe Diffie, which debuted on Country Airplay in November]. They look at it as, ‘It sounds good, so I’m going to play it.’
“I come from the generation where we couldn’t care less whether it was rock or pop or country,” Shomby adds. “Then we started putting people into lanes. Thankfully, it’s starting to open up a little more. I’m not saying we’re there, but it’s the beginning of it.”
This story originally appeared in the Dec. 9, 2023, issue of Billboard.
The Country Music Association has announced the nominees for the 2023 CMA Touring Awards, spotlighting those behind-the-scenes members who keep country music’s touring industry going.
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Final-round voting for the 2023 CMA Touring Awards opens Wednesday, Dec. 13 and closes Thursday, Dec. 28. This year’s CMA Touring Awards will again be hosted by Keith Urban and will take place Monday, Feb. 12, 2024, in Nashville.
Ron Baird, industry veteran and former head of Creative Arts Agency’s (CAA) Nashville office, will be posthumously honored with the CMA Touring Lifetime Achievement Award. The award honors an individual who has positively impacted and contributed to the growth of touring throughout the years.
“Honoring our touring community is something I look forward to every year,” said Sarah Trahern, CMA chief executive officer, in a statement. “Each time I attend a show, hear a new tour being announced, or see footage from an unforgettable night, I am reminded again of the importance, dedication and resilience of our touring community. I am also especially excited to add five additional categories this year, including a Crew of the Year honor. They are the road warriors that keep Country Music alive all over the world, and I can’t wait to celebrate them on February 12!”
“As someone who spent years not only setting up all my own equipment at shows, but was also for a time a lighting guy and crew member for a band, I know the hard work that goes in to keeping shows on the road,” Urban added. “I’m honored to once again be asked to host the CMA Touring Awards and acknowledge and shower some love on all the hard workers behind the scenes that make it all happen.”
This year, the CMA Touring Awards have expanded, adding five categories. CMA members will have the opportunity to vote for Backline Technician, Stage Manager, Support Services Company, Unsung Hero and Crew of the Year. All balloting is tabulated by the professional services organization, Deloitte.
The CMA Touring Awards, originally called the SRO (Standing Room Only) Awards, were created by the CMA Board of Directors in 1990 to honor outstanding professional achievement within the touring industry. The first awards were presented at a black-tie gala hosted by K.T. Oslin and Roger Miller during CMA’s Entertainment Expo, also known as the Talent Buyers Entertainment Marketplace. Ten awards were presented at the first gala and the number swelled to 19 over the years before settling at the current 20. The SRO Awards were renamed the CMA Touring Awards in 2016.
See the full list of nominees below:
Crew of the year
“All American Road Show Tour” Crew – Chris Stapleton“The Outsiders Revival Tour” Crew – Eric Church“I Go Back Tour” Crew – Kenny Chesney“Country On Tour” Crew – Luke Bryan“2023 World Tour” Crew – Luke Combs“One Night At A Time World Tour” Crew – Morgan Wallen“No Bad Vibes Tour” Crew – Old Dominion“Home Team Tour 23” Crew – Thomas Rhett
Backline technician of the year
Jason Baskin – Zac Brown BandMelvin “Melvis” Fults – Kenny ChesneyCarlos Gutierrez – Dierks BentleyJason Herndon – Blake SheltonJoel “Tico” Jimenez – Thomas RhettJeremiah Langdon – Jelly RollChris Miller – Keith UrbanZach Rickard – Brothers Osborne
Business manager of the year
Renee Allen – Arnie Barn, Inc.David Boyer – Flood, Bumstead, McCready & McCarthy, Inc.Duane Clark – Flood, Bumstead, McCready & McCarthy, Inc.Catherine Morris – Farris, Self & Moore, LLCCaleb See – Curo Financial, LLCMichael Vaden – Vaden Group/Elliott DavisKris Wiatr – Wiatr & Associates, LLC
Coach/truck driver of the year
Ronnie Brown – Zac Brown BandJosh Easter – Morgan WallenRhett Evens – Thomas RhettCaleb Garrett – Luke BryanJustin Pullin – Old DominionErin Siegfried – Lainey WilsonChris Simms – Jelly RollWayne “Wayno” Sullivan – Blake Shelton/Keith Urban
FOH (front of house) engineer of the year
Brendan Hines – Jelly RollAaron Lain – Morgan WallenTodd Lewis – Luke CombsBen Rigby – Eric ChurchArpad Sayko – Chris StapletonTrey Smith – Thomas RhettIan Zorbaugh – Old Dominion
Lighting director of the year
Zac Coren – Morgan WallenPhilip Ealy – Kenny ChesneyKevin Lichty – Old DominionMac Mosier – Chris StapletonKevin Northrup – Luke CombsTaylor Price – Miranda LambertAustin Strain – Jelly RollAlec Takahashi – Thomas Rhett
Manager of the year
Narvel Blackstock – Starstruck EntertainmentVirginia Bunetta – G-Major ManagementMartha Earls – Neon CoastKerri Edwards – KP EntertainmentClint Higham – Morris Higham ManagementMarion Kraft – ShopKeeper ManagementMandelyn Monchick – Red Light ManagementJohn Peets – Q Prime South
Monitor engineer of the year
Bryan “Opie” Baxley – Kenny ChesneyMark Davis – Jelly RollLogan Hanna – Brothers OsborneAndy Hill – Zac Brown BandNathan Lowe – Eric ChurchJimmy Nicholson – Thomas RhettDean Studebaker – Old DominionScott Tatter – Dierks Bentley
Production manager of the year
Chris Alderman – Blake SheltonJohn Garriott – Chris StapletonMeesha Kosciolek – Eric ChurchErik Leighty – Miranda LambertChris Nathan – Jake OwenEarl Neal – Jason AldeanKevin Twist – Thomas RhettEd Wannebo – Kenny Chesney
Publicist of the year
Janet Buck – Essential Broadcast MediaPaul Freundlich – PFA MediaQuinn Kaemmer – Big Machine Label GroupTyne Parrish – The GreenRoom PRCarla Sacks – Sacks & Co.Jessie Schmidt – Schmidt Public RelationsWes Vause – Press On PublicityJennifer Vessio – 1220 Entertainment Publicity
Stage manager of the year
Sam “Sambo” Coats – Eric ChurchDonnie Floyd – Morgan WallenTodd Green – Chris StapletonMatt Hornbeck – Luke CombsJosh “Dude” Marcus – Jason AldeanTom Nisun – Kenny ChesneyRichard Rossey – Old DominionJustin Sumrall – Thomas Rhett
Support services company of the year
4 Wall EntertainmentClair GlobalDega CateringMaster Tour by EventricMoo TVRichards & Southern
Talent agent of the year
Meredith Jones – CAAJoey Lee – WMEJonathan Levine – Wasserman MusicDarin Murphy – CAAAdi Sharma – The Neal AgencyAaron Tannenbaum – WMEElisa Vazzana – UTAJay Williams – WME
Talent buyer/promoter of the year
Bradley Jordan – Peachtree EntertainmentPatrick McDill – Live Nation NashvilleLouis Messina – The Messina GroupRich Schaefer – AEG PresentsAaron Spalding – Live Nation NashvilleEd Warm – Joe’s ConcertsAdam Weiser – AEG Presents
Tour manager of the year
Matt Anderson – Old DominionJason Hecht – Chris StapletonLuke Holton – Brothers OsborneChuck Hull – Keith UrbanMeg Miller – Lainey WilsonEthan Strunk – Luke CombsChris Thacker – Dierks BentleyJon Townley – Thomas Rhett
Touring musician of the year
Rob Byus (Bass Guitar) – Blake SheltonPaul Franklin (Steel Guitar) – Chris Stapleton/Vince GillBen Helson (Guitar) – Dierks BentleyLee Hendricks (Bass Guitar) – Eric ChurchHarmoni Kelley (Bass Guitar) – Kenny ChesneyChris Kimmerer (Drums) – Thomas RhettDanny Mitchell (Piano) – Miranda LambertKurt Ozan (Guitar) – Luke Combs
Tour videographer/photographer of the year
Mason Allen – Old DominionAndy Barron – Chris StapletonZach Belcher – Dierks BentleyDavid Bergman – Luke CombsCeCe Dawson – Lainey WilsonTanner Gallagher – HARDYGrayson Gregory – Thomas RhettAndy Pollitt – Jelly Roll
Tour video director of the year
Josh Clark – Miranda LambertJay Cooper – Kenny ChesneyHouston Creswell – Dierks BentleyRon Etters – Chris StapletonNate Fountain – Zach Bryan/Blake SheltonChris Jones – Jelly RollRicky Krohne – Thomas RhettMichael Todd “M.T.” Stembridge – Eric Church
Venue of the year
Ascend Amphitheater – Nashville, TNBankNH Pavilion – Gilford, NHBridgestone Arena – Nashville, TNChoctaw Casino Resort – Durant, OKGrand Ole Opry House – Nashville, TNJoe’s on Weed Street – Chicago, ILPaycom Center – Oklahoma City, OKRed Rocks Amphitheatre – Morrison, CO
Unsung hero of the year
Dallas Bowsier – Eric ChurchJosh Castle – Dierks BentleyRJ Estrella – Luke CombsKayla Carter Greear – Luke BryanKelsey Maynard – Old DominionTodd Molle – Jake OwenMel Murphy – Live Nation NashvilleTyler Rhodes – Thomas Rhett