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Big Machine Music has promoted Mike Molinar to president of the publishing company, effective immediately. Molinar will continue to report to Big Machine Label Group chairman and CEO Scott Borchetta.
BMM, a division of HYBE America, also announced the advancement of Alex Heddle to senior vp of publishing and Grayson Stephens to vice president, overseeing royalties and finance.
“I’m so proud to announce that Mike Molinar has been appointed President of Big Machine Music. His leadership, vision, artist relations and song sense are unmatched,” Borchetta said in a press release. “We are also acknowledging the outstanding work and accomplishments of BMM’s Alex Heddle and Grayson Stephens as they continue to power the Machine to new heights.”
Molinar has nearly three decades of experience as a music publisher and advocate for creatives. He has led Big Machine Music since its inception in 2011, overseeing the company’s ongoing growth of a diverse roster and dynamic catalog of over 14,000 songs (including the RIAA Diamond-certified “Beautiful Crazy” (recorded by Luke Combs), “In Case You Didn’t Know (Brett Young) and “Speechless” (Dan+Shay), while also leading the company’s impact beyond its Nashville base with the addition of a West Coast division based in Los Angeles. Molinar has been named a Billboard Country Power Player for four consecutive years, and was selected for the Nashville Cohort of the Harvard Young American Leaders Program in 2021. Molinar currently serves as a board member on the National Music Publishers Association, Mechanical Licensing Collective designated by the U.S. Copyright Office, Music Health Alliance, Academy of Country Music and Country Music Hall of Fame Education Council.
Heddle recently celebrated a decade at BMM and represents songwriters Jessie Jo Dillon, Ryan Hurd, Matt Dragstrem, Geoff Warburton and Sara Davis, who recently earned her first Grammy Award nomination with “abcdefu” (GAYLE) for song of the year. A graduate of Leadership Music’s class of 2022, Heddle currently serves on the AIMP Nashville board and as a Music Row Ambassador for St. Jude Children’s Hospital. The Belmont University alum’s career includes time at Love Monkey Music, Writer’s Den Music, Propoel Music Publishing and Ash Street Music.
A graduate of Arizona State University’s W.P. Carey School of Business, Stephens brings nearly 14 years of publishing administration experience to the vice president role, having previously held positions at Sony Music Publishing prior to joining Big Machine Music in 2017.
“I’m honored by Scott Borchetta’s continued faith and partnership. Big Machine Music is my home; our incredible team and world-class songwriters are my family. I’m proud to continue our journey together,” Molinar added in a press release. “In that spirit, I can’t understate how important Alex Heddle and Grayson Stephens have been through these past several years of transition and growth. I’m so happy to see their efforts recognized with such well-deserved promotions.”
BMM’s current roster includes Billboard’s 2022 Songwriter of the Year Laura Veltz, Brett Young, Ryan Hurd, Jessie Jo Dillon, Matt Dragstrem, Geoff Warburton, Sara Davis, Eric Paslay, Justin Moore, Maddie & Tae, Anna Vaus, Matt Roy, Mike Eli, Daniel Ross, Callista Clark, Tyler Rich, Laci Kaye Booth, Troy Cartwright, Ayron Jones, Dalton Mauldin and Teddy Reimer. Catalog writers include Luke Combs, Brandy Clark, Jonathan Singleton and Josh Thompson.
Universal Music Group Nashville has named Charlene Bryant as senior vp of business development & strategy.
Bryant brings with her a track record of experience and success in genres including country, Christian and hip-hop. The Ohio native and Belmont University graduate previously spent five years leading artist management company Riveter Management, which she founded in 2018. Bryant was named one of Billboard‘s R&B/Hip-Hop Power Players in 2020 and 2021 and was part of CMT and mtheory’s inaugural equal access development program.
“Charlene has spent her career in artist development and learning to merge cultures of Christian, R&B, Hip-Hop and Country music,” says UMG Nashville chair & CEO Cindy Mabe. “She’s had success at major labels and independents, as well as success as an entrepreneur. As Universal Nashville is investing deeper to expand our growth in partnering in innovation with entrepreneurs, the independent label sector as well as our sister labels, Charlene is the perfect person to help merge those worlds and cultures to help build the next era of Universal Music Group Nashville. I could not be more excited to have Charlene Bryant help build our vision.”
UMG Nashville’s latest hire comes under the leadership of Mabe, who officially took the chair/CEO reins of the label in April. In a memo to UMG Nashville staffers at the time, Mabe laid out a vision for the company going forward. Among her plans are to “dramatically expand our partnerships with independent labels and entrepreneurs.” Mabe added, “Inspiration and new ideas are coming from everywhere. Much of that innovation is coming from the independent sector, but by the same token there is so much more they could do if they partnered with us in key areas. Universal Nashville will actively take a role to position ourselves as the best partners to expand their growth and help develop and support these artists.”
As Mabe continues to build the leadership team at UMG Nashville, the company is also pulling from other industry sectors. In May, Chelsea Blythe was appointed as executive vp of A&R for UMG Nashville. Blythe previously served as senior vp of A&R at Def Jam, leading A&R efforts for artists including Armani White and 26AR. Blythe also worked at Columbia Records, signing artists including Baby Keem and developing artists including The Kid LAROI.
In the memo to UMG Nashville staffers in April, Mabe said the company also aims to “collaborate even closer (and more creatively) with our label colleagues around the world where we can leverage each other’s strengths to break artists who are either signed to their rosters or ours. There’s so much more we can do together.”
As part of that work with UMG Nashville’s sister labels, the label also recently announced its partnership with Capitol Christian Music Group to release new music from Grammy-nominated artist Anne Wilson (“My Jesus,” “Sunday Sermons”).
Sure, proper country songs had been absent from the top of the Hot 100 for quite sometime prior to Wallen’s reign, but that doesn’t mean the genre’s sound and aesthetics weren’t present in mainstream music and pop culture, especially when it comes to the work of Black and queer artists.
Obviously, “Old Town Road” is the lightning rod moment — its fusion of country and trap helped keep country sonic motifs present on top 40 radio, and the Billy Ray Cyrus remix gave it an extra dose of country legitimacy — but there were other moments and artists doing similar work. Megan Thee Stallion, a Houston, Texas native, has consistently employed Southern aesthetics in her artistry and music. The Grammy Award-winning rapper frequently sports cowboy hats, she teamed up with Fashion Nova for a 100-piece cowboy-themed collection, and she recently presented Shania Twain the Equal Pay Award at the 2023 CMT Music Awards.
Beyoncé, another Houston native, made a big splash at the 50th Annual Country Music Association Awards back in 2016 with the live performance of her The Chicks-assisted “Daddy Lessons” remix. Lizzo, a Detroit native who moved to Houston with her family when she was a child, similarly flaunts her Texas pride with tons of fringe and cowboy hats. She even gave her own spin on country-pop with “If You Love Me,” a deep cut from her Grammy-nominated Special album.
Just this year, the Broadway musical Shucked! — which features original music and lyrics from award-winning country music songwriters Brandy Clark and Shane McAnally — earned star Alex Newell a history-making Tony Award for Best Featured Actor in a Musical. Album cuts from R&B stars Chlöe (“Cheatback”) and 6LACK (“Testify”), two artists with roots in Atlanta, Georgia, feature obvious nods to the guitar-based production and narrative-centric songwriting of country music.
The past decade has also seen pop stars like Justin Timberlake, Kelly Clarkson, Lady Gaga, Miley Cyrus, and P!nk dip their toes into country music, as well as a handful of country songs (Sam Hunt’s “Body Like a Backroad,” Chris Stapleton’s “Tennessee Whiskey,” etc.) that proved to be sizable and enduring cultural moments. Nonetheless, the increased visibility of country music and Southern aesthetics across a diverse collection of Black and queer artists has helped mainstream ears and minds become a bit more open to the sounds and styles of country music, hence the genre’s recent rebound in popularity amongst a general public that might have been less tuned-in to Nashville happenings in decades prior.
For the first time, country songs occupy the top two spots on Billboard’s Streaming Songs chart.
Morgan Wallen’s “Last Night” crowns the July 1-dated survey, leading for a 14th week. But it’s Luke Combs’ cover of Tracy Chapman’s “Fast Car” that rises 4-2 to complete the distinction.
“Last Night” earned 29.8 million official U.S. streams in the June 16-22 tracking week, up 1%, while “Fast Car” racked up 21.2 million streams, a 4% boost, according to Luminate.
It’s the first time that the top two of Streaming Songs, which began in 2013, is made up of country songs. Previously, the genre claimed two of the top three multiple times over the holidays, most recently via this year’s Jan. 7 survey when Brenda Lee’s “Rockin’ Around the Christmas Tree” crowned the tally and Bobby Helms’ “Jingle Bell Rock” ranked at No. 3.
Removing holiday songs, this week marks the first in which country songs have infused two of the top three on Streaming Songs, let alone the top two.
“Fast Car” becomes Combs’ second track to reach a career-best No. 2 on Streaming Songs, following “Forever After All,” which debuted at the spot in November 2020. In between the two songs, Combs’ hit a No. 5 high with “Love You Anyway” this February.
In all, the country genre claims four of the top 10 on the July 1-dated list. Below the top two are Zach Bryan’s “Something in the Orange” (No. 7; 15.6 million streams) and Wallen’s “Thinkin’ Bout Me” (No. 8; 14.4 million). Country last had a higher share of the top 10 on the March 25 survey thanks to five Wallen titles, led by “Last Night.”
“Last Night” and “Fast Car” concurrently rank at Nos. 1 and 2 on Country Streaming Songs for a 10th straight week, dating back to the April 29 tally.
As previously reported, the songs also rank at Nos. 1 and 2, respectively, on the multimetric Billboard Hot 100, marking the first time that country songs have held the top two simultaneously in over 42 years.
While the country music music industry is still working toward equality and inclusion on several fronts, the onslaught of music streaming and maturation of social media have opened doors for artists in the LGBTQIA+ community to connect with music fans and build audiences.
While country music artist Lavender Country was a pioneer in the space, releasing a queer-themed country music album in 1973, it has a been a largely uphill battle for LGBTQIA+ artists in the genre.
Chely Wright, known for her 1997 top 20 Country Airplay hit “Shut Up and Drive” and her 1999 No. 1, “Single White Female,” came out publicly in 2007. Ty Herndon came out as gay in 2014, having previously earned a handful of No. 1 Country Airplay hits in the 1990s, including “What Matters Most” and “Living in a Moment.” That same year, Billy Gilman (who found success in country music as a child with songs including “One Voice”) also came out publicly as gay.
Since then, the country music industry has slowly seen more openly gay artists and songwriters find success. And certainly, there have been and are many within the LGBTQIA+ community who are creatives, songwriters, producers and music industry execs working behind the scenes within the industry.
In the 2000s and 2010s, songwriters Shane McAnally and Brandy Clark, who are both openly gay, began having success as writers. McAnally earned No. 1 Country Airplay hits for artists including Lee Ann Womack (“Last Call”) and Kenny Chesney (“Somewhere With You”), and rose to prominence as a writer and producer working with Luke Bryan, Sam Hunt, Reba McEntire, Kacey Musgraves and more. Meanwhile, Clark wrote hits including Miranda Lambert’s “Mama’s Broken Heart” and The Band Perry’s “Better Dig Two.”
The year 2014 brought a moment of public recognition, when Kacey Musgraves’ “Follow Your Arrow” — which Musgraves wrote with Clark and McAnally and which famously featured the line “Kiss lots of boys/ or kiss lots of girls, if that’s what your into” — was named song of the year by the Country Music Association’s music industry voters.
Then 2021 saw two more country artists — Brooke Eden and Brothers Osborne’s T.J. Osborne — speak publicly about their sexuality. Additionally, more artists in country and Americana circles have been forthright about their sexual identities, including Lily Rose, Joy Oladokun, Orville Peck, Amythyst Kiah, Adeem the Artist and more.
We take a look at a set of songs from LGBTQIA+ artists and allies — songs which run the gamut from celebratory to reflective, from joyous to mournful — as we continue to celebrate Pride Month.
Miranda Lambert, “Y’all Means All”
Toby Keith is feeling hopeful after first revealing to fans in June 2022 that he has been battling stomach cancer. One year later, the country star opened up about his health ahead of his annual Toby Keith & Friends Golf Classic with The Oklahoman, and shared that things are looking up. “I’m feeling pretty good,” […]
San Antonio, Texas, native Austin Mahone is reconnecting with his roots on A Lone Star Story, and he sat down with Billboard‘s Rania Aniftos to talk about how it all came together. Explore Explore See latest videos, charts and news See latest videos, charts and news “A Lone Star Story is an album I started […]
You have to go all the way back to 1981 — when Eddie Rabbitt and Dolly Parton were both at the peak of their pop powers — to find the last time two country stars were simultaneously occupying the top two spots of the Billboard Hot 100. That is, until this week’s chart (dated July 1).
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Luke Combs‘ cover of Tracy Chapman’s 1988 alt-folk classic “Fast Car” climbs 3-2 on the Hot 100 this week, tying 2020’s “Forever After All” as the highest-charting hit of Combs’ career. Meanwhile, Morgan Wallen‘s “Last Night” continues its reign atop the listing, spending its 12th week at No. 1 — while its parent album, One Thing at a Time, also enjoys its 14th week atop the Billboard 200 albums chart.
What does this moment mean for country music? And why is it happening now? Billboard staffers discuss these questions and more below.
1. For the first time in over 40 years, country songs occupy the top two spots of the Hot 100. On a scale from 1-10, how important a moment do you think this is for country music?
Kyle Denis: I’ll go with a strong 7. It’s been a relatively shaky past decade for country music as the genre bumpily transitioned into the streaming era. With undeniable Hot 100 success in the chart’s upper regions evading the genre for a few years now, concurrently holding the No. 1 and No. 2 songs in the country is a really big deal. I’d argue that country music and aesthetics have been very present over the past few years, although not necessarily in the way that the genre’s gatekeepers might prefer. Nonetheless, I think it’s important to note that these Wallen and Combs songs are performing well across consumption metrics. They’re balanced hits, and that’s probably the most important part of this historic week.
Jason Lipshutz: A 6. I don’t think anyone paying attention to country music’s commercial muscle over the past few years would have anticipated a shrinking of the genre’s footprint if these two songs were not at the top of the Hot 100, but it’s easy to forget that, five or so years ago, country seemed a little lost when it came to streaming acceptance and mainstream visibility. “Last Night” and “Fast Car” clocking in at Nos. 1 and 2 on the Hot 100 crystallizes the shift that has taken place over the past half-decade, with new superstars like Wallen and Combs, greater stylistic differentiation in hits (as led by Zach Bryan and Bailey Zimmerman, each with recent top 10 hits), and a far greater presence on streaming and social media platforms. This is not a fluke – country music truly is on top.
Melinda Newman: I would give it a 9. It has taken two generations for Morgan Wallen and Luke Combs to do what Dolly Parton and Eddie Rabbitt did 42 years ago; that’s almost twice as long as Bailey Zimmerman has been alive. Wallen’s “Last Night” and Combs’ “Fast Car” stand at the same positions on the Country Airplay chart, making them legit crossover sensations.
Jessica Nicholson: An 8. Around a decade ago, some in Nashville circles were bemoaning the lack of development of new superstars within in the country music format. But since Combs’ debut with “Hurricane” in 2015 and Wallen’s with “Up Down” in 2017, each artist has had an exceedingly accelerated rise to their current status as stadium-headlining, chart-topping entertainers (in Luke’s case, he’s the reigning, two-time CMA entertainer of the year winner). At the same time, it’s notable that each of these artists has released music with a sustainable resonance for music listeners, given the sheer amount of music available to listeners now thanks to TikTok, streaming, etc.
Andrew Unterberger: I think a nine is fair. There was a time not all that long ago where even one country song getting to the top two of the Hot 100 felt near-impossible — and certainly not without a big pop guest or a majorly crossover-courting sound. For two major country hits from arguably the two biggest stars in country right now to be the top two songs in the U.S. demonstrates how country music — like rap music five years ago and dance music 10 years ago — really is just pop music right now.
2. If you had to isolate one reason why the Hot 100 seems particularly amenable to country right now — after a nearly 20-year period where merely making the top 10 felt notable for most country songs — what would it be?
Kyle Denis: “Old Town Road.” Walk with me for a second: Lil Nas X & Billy Ray Cryus’ history-making country-trap smash was the preeminent country-rap hybrid song of the late 2010s, and it arrived alongside a larger racial reckoning for the genre in terms of honoring its Black roots and supporting its contemporary Black stars. “Old Town Road” was absolutely the right record at the right time, even if many people didn’t see the vision back in 2019.
Now, Wallen’s “Last Night” is at No. 1 — and in the song’s second verse, he employs an unmistakable rap cadence. In fact, hip-hop influences pop up across One Thing at a Time. Combs’ “Fast Car” is at No. 2, and the song is a cover of Tracy Chapman’s original, a self-penned folk song by a Black woman. These are country songs that are genuinely in conversation with the larger contemporary cultural and musical climate, and I think “Old Town Road” was pivotal in spurring that shift.
Jason Lipshutz: It has to start with Morgan Wallen delivering a new, 36-song project during a period of time featuring very few huge new album releases. Although some listeners will always be hesitant to accept the singer-songwriter considering his past controversies, Wallen is very clearly the biggest artist in country music right now, with One Thing at a Time becoming the biggest album of 2023 after its predecessor, Dangerous: The Double Album, was the No. 1 album of 2021. He’s a supernova of a seller who’s going to boost his genre whenever he returns with a new project, and even though country music would be enjoying a strong year without him, his presence accentuates every facet of the genre’s overall consumption.
Melinda Newman: In many ways, it’s a perfect meeting in the middle musically. A lot of country music sounds like pop these days and pop is going through a less rhythmic and more melodic phase. Also, streaming has broken down barriers since listeners only care about whether they like a song or not, not the genre, and there’s a lot to like about a lot of the country music coming out of Nashville today.
Jessica Nicholson: Over the past two decades, many modern country music artists — to varying degrees — have steadily incorporated sonic elements from the other most popular genres — hip/hop, pop, rock, and even folk, as we’ve seen with artists like Florida Georgia Line, Sam Hunt and Kane Brown, and now to artists including Bailey Zimmerman and Jelly Roll. Fusing those melodies and vocal phrasings that are familiar with even listeners who may not count themselves as die-hard country music fans, along with relatable story songs country music is known for, has made the genre ever-more accessible with a large swath of music listeners.
Andrew Unterberger: Timing certainly helps. Hip-hop is in a bit of a dry spell and most of pop’s A-listers are either dormant or touring right now. That not only opens chart space for country artists, it opens up opportunity — as top 40 PDs and today’s-hits playlist curators need some big releases to cling to, and country (along with regional Mexican) is the genre producing them most consistently in 2023. Five or 10 years ago, any hint of country twang been a dealbreaker for a lot of those gatekeepers, but in 2023, listeners are a little more open (and programmers a little more desperate), so those old fences are coming down real fast.
3. “Fast Car” has been zooming up the Hot 100, at least by 2023 standards, and now matches Luke Combs’ career-best ranking of No. 2. What kind of chances do you think it has to become Combs’ first-ever Hot 100 No. 1?
Kyle Denis: I think “Fast Car” has a solid shot of hitting No. 1. It’s all a matter of how long Wallen can keep up his lead and how much more room “Fast Car” has left to grow. If the song remains consistent, I could see it following in the steps of Billie Eilish’s “Bad Guy,” and spending a single week at No. 1 after months in the top three.
Jason Lipshutz: I don’t love its chances, considering that Wallen’s “Last Night” remains a multi-platform behemoth ahead of it on the chart right now, and we’ve got a new Olivia Rodrigo single in a few days that will undoubtedly be vying for No. 1 soon enough. “Fast Car” could surge to the top spot on next week’s chart, but if it doesn’t, I doubt that this cover finally becomes Combs’ first Hot 100 chart-topper.
Melinda Newman: A very good chance given the metrics for how the Hot 100 is configured, since “Fast Car” is soaring at both country and pop radio and streaming remains strong.
Jessica Nicholson: In terms of streaming numbers, it’s still behind Wallen’s “Last Night,” but given its recent surge in popularity in streaming and at radio (it was pushed to both pop and country radio) — it has a solid chance to become his first Hot 100 No. 1.
Andrew Unterberger: It’s still got a pretty big gap to make up on both streaming and radio, which I sort of doubt it’ll be able to make up quickly enough — but then again, I’ve doubted “Fast Car” to this point and its continued to prove me wrong, so I certainly won’t say it’s impossible. (That said, speaking of cars, a certain Licensed Driver’s return to the pop world this Friday could also prove something of a roadblock for Combs in the weeks to come.)
4. Wallen and Combs make sense as the two artists to hold these two spots, as very arguably the two biggest artists in country right now. If you had to pick another country artist who might be able to match these commercial heights within the next couple years, who would it be?
Kyle Denis: I think Bailey Zimmerman is well on his way there. He’s already scored two consecutive Billboard 200 top 19 albums in less than a year, and recently earned his first Hot 100 top 10 hit this past April with “Rock And a Hard Place” (No. 10). I’d also love to see Lainey Wilson hold it down for the ladies on the level of a Wallen/Combs. I think she can grow to that level within the next couple years.
Jason Lipshutz: Jelly Roll, who’s on fire and seems to only be getting started. With a compelling backstory, genuine songwriting panache and a ton of momentum gathering from different sides of Nashville, Jelly Roll already had multiple songs on the Hot 100 without landing his true breakout hit yet. “Need a Favor” might get there, but I’d bet that another song from Whitsitt Chapel, or a future project, helps deliver him to the status of Wallen and Combs over the next few years.
Melinda Newman: There are a number of contenders, as country music is exploding right now. Both HARDY and Jelly Roll have already topped Billboard‘s Top Rock Albums chart, so they’re one step away, though they may have to come with something a little less aggressive for pop radio. Both Bailey Zimmerman and Lainey Wilson are on meteoric rises that feel like they can’t and won’t be limited to country. But if I had to pick one, it would be Jelly Roll — since he already has rap and rock fans and has a mighty wind at his back.
Jessica Nicholson: Zach Bryan and Bailey Zimmerman have each already earned top 10s on the Hot 100 (Bryan with “Something in the Orange” and Zimmerman with “Rock and a Hard Place”). Each artist has a unique sound that is resonating with fans; Each first broke through via social media/streaming, and each ultimately signing with major labels to help propel pushes to radio. They are both hitting it hard on the road, with Zach headlining his own tour, and Bailey is out on Morgan Wallen’s One Night at a Time stadium tour.
Andrew Unterberger: Pretty wild there are this many credible choices, huh? I’ll say Jelly Roll: He just seems like he’s on a rocket to the moon right now, and making all the right choices along the way. But a large part of me still hopes Sam Hunt, the original country-hip-hop crossover star — who came around a couple years too early (and maybe squandered a couple too many opportunities) to realize his full potential — still has that late-career-peak blockbuster in him.
5. “Last Night” has now reigned for 12 weeks at No. 1 — three weeks away from matching Harry Styles’ “As It Was” for the longest-running No. 1 of the 2020s. Do you think it falls short of that total, matches it, or surpasses it before all is said and done?
Kyle Denis: I think “Last Night” will surpass “As It Was.” The song is showing no signs of slowing down, and I’m sure there’s a remix or alternate version ready for release if another song proves to be stiff competition. There’s a solid chance that a song from Drake’s forthcoming For All the Dogs knocks “Last Night” down to No. 2 for a week or two, but I think Wallen will at least tie Styles’ record.
Jason Lipshutz: My prediction is a tie: three more total weeks at No. 1 to match “As It Was” before falling out of the top spot for good. Summer is just getting started, and I’d bet that the Hot 100 opens up a bit in the coming weeks to make room for new and old hits.
Melinda Newman: I have a feeling Taylor Swift and Ice Spice are going to kick him out of the penthouse pretty soon with “Karma,” so I think he’s going to fall short. But Morgan’s set enough records that I don’t think any of us need to feel too sorry for him — and there are plenty more singles on the album!
Jessica Nicholson: Given the numerous records that Morgan has already broken with his songs and albums, even going back to his Dangerous project, I would not be surprised if he passes Harry’s mark.
Andrew Unterberger: I’ll say he comes up one week short, 14 weeks total. But a large part of it might depend on just how deep “Vampire” is able to sink its fangs into streaming and radio right away.
The Academy of Country Music has revealed the recipients of the Special Awards for the 58th Academy of Country Music Awards, leading up to the 16th annual ACM Honors, which will take place Aug. 23 at Nashville’s Ryman Auditorium.
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This year’s honorees are Clint Black, BRELAND, Kane Brown, Mary Chapin Carpenter, Charlie Cook, Charlie Daniels, Mike Dungan, Ashley Gorley, HARDY, Bill Mayne, Tim McGraw, K.T. Oslin, Chris Stapleton and Troy Vollhoffer.
Carly Pearce, who has taken home four career ACM Awards, will return as host for a third consecutive year.
“The Academy of Country Music has played such a crucial role in the rise of my career in the last several years, giving me opportunities to expand my artistry with hosting,” Pearce said in a press release. “To be able to come back as the host of the ACM Honors for the third year in a row, I feel so grateful and excited for what I know will be such a special night!”
“This year’s ACM Special Award honorees have made a tremendous impact on the music we know and love, from icons and veteran executives who have shaped and steered the industry for years, to newer artists making a splash and welcoming fresh audiences into the community, and I am so excited about celebrating them in August at what is always one of the best nights of the year,” said KP Entertainment’s Kerri Edwards, chair of the ACM Special Awards Committee, in a press release. “I’d like to thank our committee members for their invaluable participation and contributions in selecting this year’s exceptionally worthy class of honorees and offer my congratulations to all of the recipients.”
Additionally, previously-announced winners including artist-songwriter of the year HARDY and songwriter of the year Ashley Gorley, as well as the studio recording award and industry award winners, will be celebrated during the event, with reigning ACM new female artist of the year Hailey Whitters presenting the ACM studio recording and industry awards portion of the ACM Honors.
ACM TRIPLE CROWN AWARD – Chris Stapleton will receive the prestigious ACM Triple Crown Award following his first win for ACM Entertainer of the Year at the 58th Academy of Country Music Awards. Stapleton qualified for the triple crown award after winning ACM new male vocalist of the year, ACM male vocalist of the year and ACM entertainer of the year throughout his career, an honor only eight other artists have been awarded.
Previous recipients of the ACM triple crown award include Jason Aldean, Brooks & Dunn, Kenny Chesney, Mickey Gilley, Merle Haggard, Miranda Lambert, Barbara Mandrell and Carrie Underwood.
ACM ICON AWARD – Tim McGraw and former UMG Nashville chairman/CEO Mike Dungan have both been chosen to receive the ACM icon award, honoring the contributions of Cliffie Stone, who was known for his producing work along with his Country Music career. This award is presented to a country music artist, duo/group or industry leader who, throughout their career, has advanced the popularity of the genre through their contributions in multiple facets of the industry, such as songwriting, recording, production, touring, film, television, literary works, philanthropic contributions and other goodwill efforts.
Past recipients of the ACM icon award include Alabama, Connie Bradley, Brooks & Dunn, Garth Brooks, Glen Campbell, Johnny Cash, Charlie Daniels, Joe Galante, Merle Haggard, Emmylou Harris, Alan Jackson, George Jones, The Judds, Loretta Lynn, Martina McBride, Willie Nelson, Dolly Parton, Charley Pride, Rascal Flatts, George Strait, Conway Twitty, Hank Williams, Hank Williams Jr. and Dwight Yoakam, among others.
ACM INTERNATIONAL AWARD – Kane Brown has been chosen to receive the international award, inspired by Jim Reeves and presented to a country music artist, duo/group, or industry leader for outstanding contributions to the growth of country music throughout the world.
Kane Brown broadened his global appeal with the Drunk or Dreaming Tour, an international trek that launched in Melbourne, Australia, in September 2022. During his trip down under, Brown also performed in Sydney and CBC Rocks in Queensland, followed by a show in Auckland, New Zealand. Concluding the year, he headlined 10 arenas in Canada, including stops in Ottawa, Montreal, London, Toronto, Winnipeg, Regina, Saskatoon, Vancouver, Calgary, and Edmonton. In early 2023, Brown resumed the international tour in the United Kingdom and Europe, taking the stage for O2 Academy shows in Glasgow, Manchester and Birmingham, as well as the Hammersmith Apollo in London. The European leg ended with shows in Amsterdam, Cologne and Munich.
Past recipients of the ACM International Award include Garth Brooks, Eric Church, Dick Clark, Roy Clark, Dan + Shay, Alan Jackson, Lady A, Kacey Musgraves, Buck Owens, Dolly Parton, Rascal Flatts, Roy Rogers, Taylor Swift and Keith Urban.
ACM LIFT EVERY VOICE AWARD – BRELAND has been chosen to receive the first-ever ACM lift every voice award. This award is presented to a country music artist, duo/group, industry leader or affiliate/partner who plays a pivotal role in elevating underrepresented voices throughout the country music genre, transcending demographics and geography. The nominee for this category is proposed by the rising leaders in the Academy’s LEVel UP: Lift Every Voice professional development and enrichment program, a two-year curriculum designed to empower participants to play a pivotal role in expanding the horizons of Country Music into new audiences that transcend demographics and geography.
ACM LIFTING LIVES AWARD – Troy Vollhoffer has been chosen to receive the lifting lives award, honoring the contributions of Gary Haber, known as a business manager and past president of ACM Lifting Lives. This award is presented to a country music artist, duo/group, or industry professional who is devoted to improving lives through the power of music, has a generosity of spirit, and is committed to serving others. It is voted on by the ACM Lifting Lives Board of Directors.
ACM Lifting Lives executive director Lyndsay Cruz congratulates this year’s recipient and says, “This recognition for Troy is so well deserved and is a testament of his generosity and commitment to helping others. As a longtime board member and former Chair, his support has had a huge impact on the work of ACM Lifting Lives, and I’m so delighted we get to celebrate his contributions to making the industry a better place at ACM Honors in August. Troy’s efforts have made a difference in people’s lives whether they know it or not, as he doesn’t seek the spotlight and has always been a selfless leader and a beacon of support to so many.”
Troy Vollhoffer has been successfully involved in the music industry for more than 30 years, and during that time, he has placed an emphasis on giving back to support the country community. He joined the Board of ACM Lifting Lives, the philanthropic partner of the Academy of Country Music, in 2016 and rose quickly to officer positions, including vice president, president, and ultimately chair in 2022. Additionally, he’s served on the advisory boards of the T.J. Martell Foundation and Vanderbilt Children’s Hospital, among other causes.
His company, Premier Global Production, has provided touring lights and outdoor staging to some of the biggest artists in the industry including Metallica, the Red Hot Chili Peppers, Florence and the Machine, Tim McGraw, Chris Stapleton, Morgan Wallen, Riley Green, Lee Brice and many more. Vollhoffer is also well-known for music festivals, including six Country Thunder events across North America and a seventh event called Big Valley Jamboree. Past recipients of the ACM Lifting Lives Award include Paul Barnabee, Ross Copperman, Gayle Holcomb, Lady A, Dolly Parton, Darius Rucker, Carrie Underwood and Dwight Wiles.
ACM POET’S AWARD – Clint Black, Mary Chapin Carpenter, and K.T. Oslin have each been chosen as recipients of the ACM poet’s award. This award is presented to a country music songwriter for outstanding and longstanding musical and/or lyrical contributions throughout their career, with special consideration given to a song or songs’ impact on the culture of country music.
Previous recipients of the ACM Poet’s Award include Bill Anderson, Rodney Crowell, Dean Dillon, Kye Fleming, Merle Haggard, Tom T. Hall, Toby Keith, Kris Kristofferson, Loretta Lynn, Willie Nelson, Buck Owens, Eddie Rabbitt, Fred Rose, Don Schlitz, Billy Joe Shaver, Shel Silverstein, Sonny Throckmorton, Shania Twain, Cindy Walker and Hank Williams, among others.
ACM SERVICE AWARD – Cumulus Media vp, country music and operations manager, Cumulus/Nashville Charlie Cook and former country radio broadcasters executive director Bill Mayne have both been chosen as the recipients of the ACM service award, honoring the contributions of songwriter Mae Boren Axton and her service to the Academy. This award is presented to an outstanding country music artist, duo/group, or industry leader in recognition of years of dedication and service to the Academy of Country Music.
Previous recipients of the ACM Service Award include Barry Adelman, Duane Clark, RAC Clark, Bob Kingsley, Reba McEntire, Gayle Holcomb, Keith Urban and Gene Weed, among others.
ACM SPIRIT AWARD – Charlie Daniels has been chosen for the ACM spirit award, honoring the contributions of Merle Haggard, who received 20 ACM Awards in his career, including the triple crown award. This award is presented to a singer-songwriter who is continuing the legacy of Country Music legend Merle Haggard by following his/her own path, crafting great songs and epitomizing Haggard’s spirit through genuine performances and great storytelling.
Previous recipients of the ACM Spirit Award include Dierks Bentley, Eric Church, Toby Keith, Miranda Lambert and Chris Stapleton.
ACM ARTIST-SONGWRITER OF THE YEAR AWARD – As previously announced, HARDY was awarded the 58th ACM artist-songwriter of the year award. This award is presented to an individual known both as an artist and a songwriter, selected by a Professional Panel of judges whose members composed of songwriters, publishers, producers and performing rights organization (PRO) representatives. The Panel submits five nominees, at which time ACM members in the Artist/Musician/Producer/Engineer, Songwriter, Music Publisher/PRO and Record Company categories vote for the winner. This is the first-ever ACM artist-songwriter of the year Award and HARDY receives the honor after winning ACM songwriter of the year last year.
ACM SONGWRITER OF THE YEAR AWARD – As previously announced, Ashley Gorley was awarded the 58th ACM songwriter of the year award. This award is presented to an individual known predominately as a songwriter, selected by a professional panel of judges composed of songwriters, publishers, producers, and performing rights organization (PRO) representatives. The Panel submits five nominees, at which time ACM members in the Artist/Musician/Producer/Engineer, Songwriter, Music Publisher/PRO and Record Company categories vote for the winner. This is Ashley Gorley’s first ACM songwriter of the year award.
Past recipients of the ACM Songwriter of the Year Award include Ross Copperman, Dallas Davidson, HARDY, Luke Laird, Hillary Lindsey, Shane McAnally, Lori McKenna and Roger Miller.
Tickets for ACM Honors will be available to ACM A-List email newsletter subscribers and Academy members through an exclusive pre-sale beginning Thursday, June 29, with general on-sale beginning Friday, June 30, through AXS. Fans can subscribe now to the A-List here to gain access to Thursday’s pre-sale.
When Nate Smith emerged with his debut single, “Whiskey on You,” in 2022, a key piece of his backstory was the November 2018 Camp Fire, which destroyed the city of Paradise, Calif.
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Smith, who was on the path to becoming a nurse, lost everything in the tragedy. But he wrote a song about the experience, “One of These Days,” and when it went viral, he ended up returning to Nashville, where he had previously recorded for Word, and gave music a second shot. Another song, “Wildfire,” led to his recording contract with Sony Music Nashville in 2021. Now his second radio single — “World on Fire,” which RCA Nashville released to country broadcasters via PlayMPE on May 15 – draws on Smith’s history once again.
“I have a fire theme in my songs,” he says. “It’s something that just stayed with me.”
“World on Fire” uses flames as a metaphor for a relationship that has been burned to the ground. But as personal as the symbolism might be for Smith, the title for the song came from co-writer Taylor Phillips (“Heaven by Then,” “Hurricane”).
“He’s got a million of ’em,” says co-writer Ashley Gorley (“Last Night,” “Girl in Mine”). “He’s the idea guy.”
Phillips works as a volunteer firefighter in North Carolina in a sideline gig, and after he helped put out blaze at a construction site, he took a phone call where he ended up recounting the tragedy. In the process, he focused on what it meant for the victim.
“I said, ‘You know, that person’s whole world is on fire,’ and I just wrote that down on my phone and really never looked back at it,” he recalls. “I was scrolling through one day and started thinking about a relationship, breaking up with somebody in a town like that. You know, you’re not just leaving that person. You’re taking the whole town with you, leaving memories everywhere.”
In November 2022, Gorley hosted a two-day writing retreat to come up with songs for Smith that included his producer, songwriter Lindsay Rimes (“Lonely If You Are,” “Cool Again”). On the first day, Smith shared a bit about the Camp Fire, and Gorley mentioned that it might be worthwhile to incorporate that into a song. When Phillips participated the second day, Rimes mentioned the previous day’s exchange, and the two of them did some very cursory work with Phillips’ “World on Fire” title song, building on late-’90s/early-2000s rock influences.
Once Smith and Gorley were in the room, they dug in fully on the chorus, bracketed by the title at the front and the back, with soaring flames referenced in the middle. Smith played a major role in shaping the top line’s intense direction.
“I’m big on the melodies,” he says. “Obviously, Ashley Gorley is the king of that, but really making it my own is important, and I can tell certain melodies don’t work. Like if it’s too happy — I know it sounds kind of emo — but if it’s too giddy, it’s not a Nate melody.”
Halfway through the chorus, Gorley suggested a repetitive rhyme — “burn, burn, burn” linked to a world that won’t “turn, turn, turn” — cinching its singalong qualities. When they shifted to the verses, Smith shared some of the details from the Camp Fire: how his brother could barely see through the smoke as he tried to evacuate, how they didn’t even recognize old haunts because the landmarks had all been destroyed. The song infused the terror of the fire, but it also reminded Smith that disasters can be a prelude to something better.
“Anytime I’m thinking about the Camp Fire and stuff, it’s definitely an emotional thing,” he notes. “There’s a lot of gratitude, too, when I think about it because in a weird way, as tough as the situation was — and it was harder on some people than me — it’s still changed the trajectory of my life.”
Phillips was impressed by Smith’s willingness to tackle such a horrific topic. “I think that what’s so cool about his artistry is that because he is that vulnerable, he is willing to open up,” says Phillips. “He’s able to tell the world a lot of things that some people probably wouldn’t want to.”
Rimes created a guitar-based demo, slipping in a part just before the bridge that borrows from the sound of a siren. Then he shipped it off to Sol Philcox-Littlefield, who layered more guitars on top. But when Smith was gearing up to do final vocals, he asked for even more.
“Nate was like, ‘I want it to rock more,’ so I picked up my Les Paul and turned up the amp, and we just started playing some heavy guitars,” says Rimes. “Then the intro lick — that kind of guitar line at the top was never there on the demo. I think there was some other guitar there. And Nate kind of had the idea of like, ‘We need some kind of thing that sounds sort of like Foo Fighters.’ ”
Since Smith’s self-titled debut had already been turned in, Rimes planned to take his time finishing “World on Fire.” But Smith, with the label’s support, put the chorus up on TikTok on Jan. 14, and it created instant, overwhelming demand. That also presented a bit of a problem: His self-titled debut album was already being pre-sold; if they changed anything about the 20-song collection, it would nullify all those sales. So they left that album intact for its April 28 release, but also fast-tracked a deluxe edition with six additional songs, released the same day.
“It was very stressful,” Rimes recalls. “Our mastering deadline [was] the week after, so it was like two weeks until we needed everything done. I had to get all the [new] songs recorded and ready for mixing within a week.”
On May 11, four days before Smith’s single release, Dolly Parton debuted her own “World on Fire” during the Academy of Country Music Awards, though her take on the title had a political lean, and her global-themed skirt suggested climate sensitivity. “They thankfully are completely different, so I think they can coexist,” says Gorley. “When they said the title, I was like ‘Oh, shoot.’ And then when she started singing, I was like, ‘Ah, that’s a completely different vibe. We’re OK.’ ”
Smith’s “World on Fire” debuted on the Country Airplay chart dated June 24 and sits at No. 54 in its second week. So while the song borrows from the in-the-moment emotions of his personal tragedy, it’s also representative of the big-picture effect that the Camp Fire had on his life.
“If the fire never happened, I wouldn’t be an artist. I wouldn’t have written these songs,” he says. “It’s kind of crazy how life works.”