MUSICROW Magazine: Exclusive: peermusic Comes Full Circle And Full Throttle

• July 27, 2016 
 
Michael Tyler & Michael Knox. Photo: Moments By Moser Photography
Michael Tyler & Michael Knox at peermusic’s Nashville office. Photo: Moments By Moser Photography

Among the gold and platinum sales plaques lining the walls of peermusic’s Nashville outpost on 18th Avenue South are glimpses of the independent publishing outfit’s earliest days, propelled by the emergence of modern country music in 1927.
Rising singer-songwriter and Thayer, Missouri, native Michael Tyler signed with peermusic’s Nashville office in 2012. Tyler had been with peermusic for more than a year before Michael Knox, peermusic’s Nashville VP and producer for superstar artists such as Jason Aldean, learned of the heritage of the young man they had added to their writer roster.
During a visit to the peermusic Nashville office, Tyler’s mother noticed a photo of Jimmie Rodgers hanging on the wall. Rodgers was one of the artists recorded by talent scout Ralph Peer in 1927 during The Bristol Sessions. In 1928, Peer established Southern Music Publishing company, which would later become known as peermusic.
“She mentioned, ‘Hey, we have a musician named Jimmie Rodgers in the family,’” recalls Knox. “I asked if perhaps she meant the ‘50s artist, but she said, ‘Nah, he died back in 1933 or something,’ And I went, ‘That’s OUR Jimmie Rodgers!’ They did the research and it all came back that that is Michael’s bloodline.”
“It is a neat thing,” says Knox. “Very full circle.”

MUSICROW Magazine: Three CMT Unscripted Series Returning This Year

• July 13, 2016 
 
Pictured (L-R): Kellie Pickler, Kyle Jacobs. Photo: Bev Moser.
Pictured (L-R): Kellie Pickler, Kyle Jacobs. Photo: Bev Moser.

CMT has announced that I Love Kellie Pickler, Dallas Cowboy Cheerleaders: Making the Team and Steve Austin’s Broken Skull Challenge will all return to the network this year.
The second season of I Love Kellie Pickler will begin Aug. 25. The 2015 series debut marked CMT’s highest-rated premiere among women between the ages of 18-49 since 2008. The series stars Kellie Pickler and her husband, songwriter Kyle Jacobs.
Dallas Cowboy Cheerleaders: Making the Team will also start its 11th season on Aug. 25. Pickler and Kacey Musgraves will both make guest appearances on the show. The new season of Steve Austin’s Broken Skull Challenge will start later this year but no premiere date has been announced.
“CMT’s unscripted series mirror the optimism and passion of our fans,” said Jayson Dinsmore, Executive Vice President of Development. “Our shows are smart, spirited and play an important role in attracting new audiences.”

MUSICROW Magazine: Songwriter Larry McCoy Signs with HoriPro Entertainment Group

• July 6, 2016 
 
Pictured (L-R) SESAC’s Shannan Hatch, HoriPro’s Courtney Crist and Lee Krabel, McCoy, HoriPro’s Butch Baker and Tim Stehli & SESAC’s Dennis Lord. Photo: Bev Moser
Pictured (L-R) SESAC’s Shannan Hatch, HoriPro’s Courtney Crist and Lee Krabel, McCoy, HoriPro’s Butch Baker and Tim Stehli, SESAC’s Dennis Lord. Photo: Bev Moser/Moments By Moser

Larry McCoy, a co-writer of Thomas Rhett’s “Make Me Wanna,” has signed with HoriPro Entertainment Group for representation. McCoy is also affiliated with SESAC. He celebrated the signing with a visit to the PRO’s new offices, joined by the HoriPro team.
McCoy is an accomplished singer, songwriter and musician and has played guitar and provided background vocals for Brian White, Joe Diffie, Ray Stevens and Eddie Money. McCoy co-wrote “Make Me Wanna” with Bart Butler and Thomas Rhett.

MUSICROW Magazine: Exclusive: Lori McKenna Feels Embraced By Nashville

• July 5, 2016 
 
Lori McKenna
Lori McKenna
Lori McKenna delivered a beautiful rendition of “Humble and Kind” at the MusicRow Awards last week, just moments after accepting a plaque for writing the MusicRow 2016 Song of the Year.
Recorded by Tim McGraw, “Humble and Kind” marks McKenna’s third win for MusicRow Song of the Year, following “Stealing Kisses” (2007, recorded by Faith Hill) and “Girl Crush” (2015, recorded by Little Big Town and co-written with Liz Rose and Hillary Lindsey).
McKenna will release a new solo album, The Bird & The Rifle, on July 29 via Creative Nation/Thirty Tigers. During a visit to Nashville, the Boston-based songwriter (and mother of five) chatted with MusicRow about first seeing the music video for “Humble and Kind,” working with producer/honorary brother Dave Cobb, and stapling the pages together for a new book inspired by “Humble and Kind.”
Read more about the award in the 2016 MusicRow Awards print issue, available now.
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MusicRow: What does it mean to you to be embraced by the Nashville industry?
Lori McKenna: Nashville is such a close-knit town. What I have seen of this town is the way that writers support each other. Like with “Girl Crush,” we kind of knew we had something special because other songwriters reached out to say they loved the song and wished they had thought of that, or wished they were in the room that day. Songwriters are like that—very proud of each other when something happens. It gives Nashville a family feel, like we’re all on the same team.
What they will tell you about Nashville is, “You have to move here.” I’ve never moved here. I travel down a lot but I feel really lucky and blessed that this town has accepted me. I’m a very non-competitive person and I would just run for the hills if I ended up in a community of musicians that aren’t supportive of one another.
Pictured (L-R): Sherod Robertson, Lori McKenna, Kent Earls, Craig Shelburne. Photo: Moments by Moser
Pictured (L-R): Sherod Robertson, Lori McKenna, Kent Earls, Craig Shelburne. Photo: Moments by Moser

Describe the impact Tim McGraw and his family have made on your life?
The reason I have a job at all in this town is because of Faith and Tim. Missi Gallimore played them music of mine years ago. I remember we were on the Oprah show and she asked, “How have they changed your life?” I didn’t really know. It had all just happened. But time after time, they have continued to be amazing supporters—just like angels to me, both of them.
I know from going out on the road with them—the little bit of time I did—that they prioritize family. So it made sense to me to send Tim [“Humble and Kind”] after I wrote it. I felt like if someone was going to record the song it would be one of them. We have kids of similar ages, so we were going through things at the same time. So it’s just a matter of someone writing it down. It couldn’t have worked out any better. I couldn’t have asked for a better cut of the song. He made it so much bigger than this little prayer. And it’s affected all my kids.
How has “Humble and Kind” affected your kids?
I got to play the song at the Ryman for the Opry after I wrote it and all my kids came. They knew it was written for them and was a list of what I was thinking about for them. My kids pay attention to my songs, but I think this one hit a special spot for them because they know it’s completely driven by their influence on me or what my husband and I are trying to teach them.
My youngest said he passed some girl in the corridor at his school and she said, “Hey, David, always stay humble and kind.” [laughs]. He’s kind of proud of it in a certain way.
You wrote “Humble and Kind” alone. What is the significance of solo writes, in contrast to co-writes, which Nashville is known for?
As far as “Humble and Kind,” it really was because nobody was in my house that day. But it worked out in that I know where each line came from, or which conversation from which kid that line came from. If I was with someone else, you would have maybe had to sand those edges because they wouldn’t have had that conversation with my son. It worked out the way it did and I’m thankful for that. But co-writing is part of the community of this town, and why everyone supports each other. I can see if you lived here it would be hard to write alone.
Because I’ve always kept that artist side of me, I’ve learned that I need to write by myself sometimes. I need to not have anybody else in the room and make my own mistakes or get something good by myself. Sometimes I’ll have titles, and I’ll know that I could do it by myself or just that nobody else thought they were good titles. I make sure that I notch out time to keep that. Even if I don’t get a song, I still get that peace.
Were you pleased with the “Humble and Kind” video?
When Tim told me what they were doing, I couldn’t imagine what it would look like. I wrote that song at my dining room table one day when my kids were at school—which is why I am obsessed with the word “kitchen.” But my world is from the kitchen looking out. I don’t necessarily see the world much bigger than that.
It really blows my mind that you can take the same song, and the way I saw it, and put it in his mouth and have him see this whole world of things in it. I saw it as this small prayer for your kids that you would sing to put them to bed, or at the end of your show. He has a broader picture of who could listen, and be affected by the song. I had to watch it a couple times. It’s magical, and I love it.
What is your participation in the Humble and Kind book?
I wrote the epilogue and the lyrical content. Tim had the idea for people looking to give their kids a little token at graduation. It’s funny because when people say graduation you think of college and high school, and there are so many videos of kids singing the song. And even with the book, I thought, “What are they going to do when they get to the part about ‘sleeping with someone/and sleeping with someone you love’?” I realized they changed the word “sleeping” to “dancing.” I wouldn’t have even thought that! I thought, “They’re gonna have to staple the pages of the book together.” (laughs)
Dave Cobb worked with you on The Bird & The Rifle. How did his influence benefit the project?
I have four brothers and Dave reminds me of them. Not a specific one, but if I had a fifth brother it would be Dave. The minute I met Dave, I instantly liked him. I am not a person who could ever self-produce. I completely need help because I almost never hear anything else other than a voice and a guitar. I am very limited in that way. I liked the idea of taking these songs and plugging them into the way he works.
He played me a song off of that White Mansions record that he thought this record should sound like. He’s so inspired by that record, and it’s a big part of where his brain was at the time. When we went to record, they didn’t listen to any demos or work tape. I literally sang the song and then we went and played it. It was such a great experience because the lyric is very important to him. It was kind of like we recorded a live show, even though it was recorded over a few days because there was no rehearsal.
You’ve changed publishers since writing “Humble and Kind.” How has the transition been from UMPG Nashville to Creative Nation?
It’s always hard to move, unless you don’t have a great relationship with your publisher. I did. I love Universal. They were so great for me. The transition has been wonderful. These last two songs, “Girl Crush” and “Humble and Kind,” are Universal songs. The other thing about Nashville is it’s hard to burn a bridge—it’s a very nurturing town.
But really the biggest decision to move over was the artist piece of it and being in a smaller group. They are a family. But it was really Beth Laird. She is kind of magical to me. I’ve known her for years, when she was at BMI, yet she’s one of those people who can see what you’re doing and can kind of read your mind.
When I reached out to talk to her about my deal being up, and what I was doing that was and wasn’t working, she knew right away that I needed to pay more attention to the artist side of my career. Even though I would rather sit in my house and write songs all day and the artist thing is exhausting to me, for some reason I need the live part to feed the best writer in me.
Lori McKenna. Photo: Moments by Moser
Lori McKenna. Photo: Moments by Moser

MusicRow: Exclusive: Maren Morris Explains How “My Church” Catapulted Her Career


Eric T. Parker • July 1, 2016 • 
 
Maren
Maren Morris at the 28th Annual MusicRow Awards. Photo: Moments by Moser

Most listeners discovered Maren Morris this year with her debut single, “My Church,” yet she had been attracting attention in the music industry for several years already.
Since 2013, Morris has been writing for Nashville publishing company Big Yellow Dog Music, which released a digital EP in late 2015. Columbia Nashville took notice, signed the singer and released her full-length debut, Hero, which debuted at No. 1 after its release on June 3.
Calling from the first night as a special guest on Keith Urban’s Ripcord World Tour, she discussed with MusicRow the launch of her career, as well as the story behind “My Church,” which led her to win of the magazine’s 2016 Breakthrough Songwriter of the Year.
Read more about the award in the 2016 MusicRow Awards print issue, available now.
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MusicRow: Describe the path “My Church” took to finally being released.
Maren Morris: I wrote it a little over a year ago, I guess March of 2015. I was out on a writing trip in Los Angeles. [Producer/songwriter] busbee has a house in Nashville but is based out of Los Angeles. The day before I wrote with him, the title “My Church” popped in my head and I went in with him and he totally got the concept I was going for.
It was a quick write, probably because it’s such a clear emotional context that everyone can relate to in some way. I instantly knew that song was really special, and felt a strong need to keep it to myself. If I was going to take a whack at this artist thing—if I had one shot at it—I would want it to be with this song. It’s crazy to think that was a little over a year ago. It really catapulted this whole thing to be set in motion.
As a songwriter and artist, how do you decide which songs to hold or let go?
“My Church” was really the first song I wanted to keep for myself. Narrowing down songs for the record was tough because I have a catalog from the last three years of music that I really love—hundreds of songs and I’m sure there are some I have forgotten about completely.
It’s sort of a sacrifice to narrow it down. There are great songs I adore that I had to leave off the record. But with the 11 songs that are on the record, it was hard to imagine someone else singing them and I think it tells a cohesive story.
Did you always want to be an artist and songwriter?
I felt like I was pretty much done with the performance side when I moved to Nashville. I’m from Arlington, Texas, and I toured there for over a decade—I had a whole other life there, really as a kid from about 10 or 11 years old. I didn’t write songs then but that eventually led to getting my first guitar and wanting to write.
After I moved, I just wanted to be a songwriter in a writing room and be creative—not worried about selling anything. Somewhere along the way I missed that high you get when you walk off stage after a show. That is so hard to match. In a writing room you get a different kind of high when you hear something back that you’ve created out of nothing with your friends, but that gave me the gumption to finish out this record.
Talk about the launch of your career.
Everything was sort of a domino effect after my publisher Carla Wallace introduced me to my manager Janet Weir at Red Light Management. At the time I hadn’t even written “My Church.” Around that time Janet and I met and hit it off. She understood the vision I had for my music and what I wanted to say to the world.
Janet tracked down Copeland Isaacson at Spotify, where one thing led to another and I ended up doing an exclusive EP release with them before I had ever signed a deal. That Spotify exclusive really created a lot of leverage. It really set into motion me signing a record deal with Sony.

Big Yellow Dog’s Carla Wallace (R) surprises her writer Maren Morris (L) with a plaque commemorating a No. 1 country album debut, along with its lead single achieving gold. Photo: Moments By Moser Photography
Big Yellow Dog’s Carla Wallace (R) surprises her writer Maren Morris (L) with a plaque commemorating a No. 1 country album debut, along with its lead single achieving gold. Photo: Moments By Moser Photography

How much of your project did you have set before you signed with Columbia?
I didn’t have the track listing down, but I had the bulk of the songs written. There were last-minute additions, because I was still writing. Like “Rich,” I think that was one of the last songs I wrote, and it was too much fun to leave off the album and fit so perfectly with the vibe we created.
Why was Columbia Nashville the right place for you?
When I was rounding out the EP, Sony Nashville didn’t have a president. They were going through a transition. They came on board later in the game once Jim Catino played Randy Goodman a few of my songs.
At the time I wasn’t really thinking whether or not I should sign to a pop or country label, but with the Columbia imprint that I’m on, I felt like I got the best of both worlds—I’ve been lucky to have a partnership with New York and Nashville with my deal. I never felt like I had to choose between the two worlds.
Describe that New York component.
Person for person, the same amount of people that work on my team here in Nashville under Columbia, the same goes for the New York office. So if I’m ever overseas or in New York, I feel like they both have a tight grasp on my direction.
It’s nice because I feel like these genre walls are coming down, bit by bit. I’m seeing the New York labels start to have more conversation with their Nashville counterparts. There’s more symbiosis happening and you don’t have to choose between the two. Randy Goodman and Rob Stringer at Columbia Records in New York really get what I do.

Pictured (L-R): Sherod Robertson, Maren Morris, Carla Wallace, Craig Shelburne. Photo: Moments by Moser
Pictured (L-R): Sherod Robertson, Maren Morris, Carla Wallace, Craig Shelburne. Photo: Moments by Moser

MUSICROW Magazine: Exclusive: Dave Cobb Settles In After Move To RCA Studio A

• July 1, 2016 
 
Pictured (L-R): Craig Shelburne, Dave Cobb, Sherod Robertson. Photo: Moments by Moser
Pictured (L-R): Craig Shelburne, Dave Cobb, Sherod Robertson. Photo: Moments by Moser

Dave Cobb has hit his stride in Nashville, moving to Music City after spending nearly 11 years in Los Angeles. Artists like Chris Stapleton, A Thousand Horses, Jason Isbell, Jamey Johnson and Sturgill Simpson put him on track to win awards, including 2016 MusicRow Producer of the Year.
Read more about Cobb’s 2016 win with the magazine in the latest MusicRow Awards print issue, available now.
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MusicRow: Before Chris Stapleton’s 2015 CMA Awards sweep, you told us that you hadn’t yet felt a part of the Nashville establishment. Do you more at home with your recent success?
Dave Cobb: I’m humbled by it all. It’s such a prestigious thing—so much history with MusicRow magazine, and Music Row in general. There are no words to be in RCA A on Music Row and to be embraced by the industry. It’s beyond any wildest dream I could have had. I’m very happy to start and be part of the community and I’d love to help other people wherever I can. I definitely feel welcomed.
It’s been a pleasure getting to know everybody. I had been just in the back of my house in a little studio and didn’t really get out. I love getting to know people and who they are and feel happy to be part of the community.

Dave Cobb accepts 2016 MusicRow Producer of the Year. Photo: Moments by Moser
Dave Cobb accepts 2016 MusicRow Producer of the Year. Photo: Moments by Moser

Have you enjoyed your RCA Studio A move?
You walk in everyday humbled by who came before you. You feel the history and it inspires songs and playing. … It has become a clubhouse. Chris Stapleton came in and played on an Anderson East record I was working on just because. He called up and had some extra time. All these people just stop by. They befriend each other and feels like a great community here. It’s a really special place.
On July 29, Lori McKenna’s CN Records project you produced will be released. Can you tell us about that project?
Lori is one of my favorite songwriters ever. I love her voice. It was a pleasure to work with her—she’s an amazing human being. She’s got such good wit with a pen. It was so enjoyable to hear her everyday. She’s a master class in songwriting. Seeing that everyday and seeing her bring in new songs everyday kinda shocked us all. She’s got so much emotion and heartfelt lyrics. I can’t wait for people to hear it.
Lori and her management/label had a really good grasp on who she was coming into the project. I benefited greatly from that. All I did was show up and make the record. The song choice was mostly done prior to the studio. We recorded it in the back of my house, prior to me moving into RCA Studio A.
Also in RCA Studio A is where you operate Low Country Sound, your label and publishing company. 
It’s amazing. I’m really, really happy with my partners and team with Atlantic/Elektra and now Warner/Chappell in Nashville. It’s great to be able to find an artist you feel passionate about and have a team of support around to run with it and try to make the record a success. Before I would make a record and hope someone would pay attention to it. Now we have a really solid team and great strategic plans.
On the publishing side with Warner/Chappell, we have Aaron Raitiere and Adam Hood, with another signing to be announced soon. [A third signing, Charlie Pate, was announced on Thursday.] So now if there’s a void on a record for an artist I sign, we can go find the right song to finish the record. It’s picking up where all the great labels left off—Stax, Muscle Shoals, Motown. They all had facilities for writers interacting with the artists as well. It’s a little bit of a one-stop shop, in a good way.
As far as staff, we have Ben Vaughn [Executive Vice President] at Warner/Chappell, who handles the publishing side, and New York handles the label side. The writers are here with offices upstairs in RCA Studio A. So there’s a lot of synergy with the writers upstairs and the studio downstairs. But Adam and Aaron have been getting cuts and are a little bit left of center with the way they write and sing. They follow similar principles that I do.
Now that your wheels are off the ground, what’s next?
It’s been great to do something like Southern Family. Who in their right mind would OK that to happen? It sounds like a nightmare to get all those artists lined up, but they were up for the task. It’s amazing to have this creative freedom.
There’s a film being made right now with Southern Family that may be out before next year. It’s a bit of a process and we want to make it right—something lasting and meaningful. But there is probably not a second volume coming anytime soon. That’s a huge hill to climb. I’m really happy with what we have.
Right now I’m [producing] Old Crow Medicine Show. Their record is really incredible. I’m really into the band and the record. I’m just taking my time to find things that I’m crazy about. When those people cross my path, we act on it.

SOUTHERN HALO Fast-Forwards Career With New Single, "Rewind," & Taste Of Country Video Premiere


Cutting-Edge Country Trio SOUTHERN HALO Fast-Forwards Career With New Single, "Rewind," & Taste Of Country Video Premiere
To Kick Off Townsquare Media's KICK 97.9FM 
"Say It With Pepsi" Concert Series July 12
"Talent must run in the family because these three ladies are amazing!"
- Cary Rolfe, The Country Network (TCN)
"Southern Halo ... wow!!!" Mark my word they WILL be a household name soon ...
 the real deal!!"- Bev Moser, Digital Rodeo TV

Nashville, TN (June 29, 2016) - The cutting-edge Country trio SOUTHERN HALO hits "fast-forward" on their career with the release of their new single, "Rewind," and an exclusive video premiere today on Taste of Country. The track, from their self-titled debut CD released last fall, is available for purchase on iTunes, AmazonSpotify and other popular online retailers. 

Entering the MusicRow CountryBreakout™ Chart last week, the single is described by Music News Atlanta's Rick Moore as "One of the feel-good Country singles of 2016 ... (by) the trio of teenage sisters whose remarkable harmonies put them in the company of Lady Antebellum and Little Big Town."
SOUTHERN HALO made their CMA Music Festival performance debut earlier this month with a jam-packed schedule that included an impressive acoustic performance on the CMA's Music City Stage.  The sisters co-hosted WTVF-TV's two-hour-long Morning Show on Nashville's historic Riverfront, taped TCN's (The Country Network's) Live at the Whiskey Bent Saloon and On The Couch, plus filmed an appearance for Young Country TV.  Additionally, the trio performed live for Heartland TV's Coffee, Country & Cody, and signed autographs galore.  They capped off the week with a performance on the Radio Disney Country Stage
Designed to have a feminine "Mark Twain" feel, the playful companion music video was shot on an island in the Mississippi River near Warfield Point Park in Greenville, MS.  Filled with images of the sweet Southern life, the clip contrasts the demands of the girls' professional lives with their natural desire to be normal teenage girls - and have fun.  Produced by Heather Mathews (WHEN COTTON BLOSSOMS, A STONE'S THROW) and co-directed by Heather and James Mathews (SPIDERMAN, SWORDFISH), this is their second outing with the band since the video for "Little White Dress."
Short-listed in Billboard.com's insightful feature on trending all-female bands, SOUTHERN HALO has recently enjoyed media coverage on  Radio Disney Country, WREG-TV (Memphis), Parcbench, AXS.com and WTVF-TV.  
Since landing in the National finals of the 2014 Texaco Country Showdown, these Mississippi Delta natives have worked hard honing their craft.  They've gone from regional to national acclaim and opened for Brantley Gilbert, Eric Paslay, Tyler Farr, Randy Houser, John Michael Montgomery, Parmalee, Old Dominion, Craig Campbell, Julie Roberts, American Young and B.B. King.  They visited radio stations around the country in support of their debut single, "Little White Dress," and continue to perform shows regularly.  On July 12, SOUTHERN HALO will launch Townsquare Media's KICK 97.9 FM "Say It With Pepsi" Concert Series in Quincy, Illinois. 
Stay social:
Twitter: @3halos   https://twitter.com/3halos
Instagram:  officialsouthernhalo
ABOUT SOUTHERN HALO
A soulful sister trio hailing from the small town of Cleveland, Mississippi, SOUTHERN HALO features Natalia, Christina and Hannah Morris. Natalia, 19 years old, is the principal songwriter, guitarist and lead vocalist, while 17-year-old Christina plays drums. Younger sister Hannah, who just turned 16, is the group's bassist.  They recorded their first EP with Alabama's Jeff Cook, and their fall 2015 CD, SOUTHERN HALO, with SESAC's 2012 Writer of the Year Catt Gravitt (Kelly Clarkson, Jake Owen) and Gerald O'Brien (writer of hits for Martina McBride, Trace Adkins) at the helm.  Since then, they have headlined Sara Evans' Rock The South Festival in Cullman, Alabama, performed at an elite pre-GRAMMY Awards show on the rooftop terrace of the GRAMMY Museum ® at LA Live in Los Angeles and filmed a series for online distribution. 

MusicRowPics: 28th Annual MusicRow Awards


• June 30, 2016 • 
 
28th Annual MusicRow Awards (C) Moments By Moser Photography
Maren Morris and her Big Yellow Dog publisher Carla Wallace pose with their 2016 MusicRow Awards plaques, in addition to a No. 1 MusicRow Challenge Coin for “My Church.” Pictured (L-R): MusicRow‘s Sherod Robertson, Maren Morris, Carla Wallace, MusicRow‘s Craig Shelburne. Photo: Moments By Moser Photography
MusicRow held it’s 28th Annual MusicRow Awards at BMI on Wednesday (June 29) in front of a packed house. The 2016 awards honored MusicRow‘s Top 10 Album All-Star Musicians for playing on the most top 10 albums during the awards timeframe in addition to the reader-voted Breakthrough Artist and Songwriter and Producer and Song of the Year.
Sample all the fun with a photo-roundup of the 2016 event below.
Read more about the MusicRow Awards
Read more about the winners
Read more about the MusicRow Awards print issue
• • •
28th Annual MusicRow Awards (C) Moments By Moser Photography
28th Annual MusicRow Awards at BMI. Photo: Moments By Moser Photography

28th Annual MusicRow Awards (C) Moments By Moser Photography
MusicRow‘s 2016 Album All-Star Musicians accept plaques. Pictured (L-R): MusicRow‘s Sherod Robertson; musicians Stuart Duncan, Ilya Toshinskiy, Jimmie Lee Sloas, Charles Judge; MusicRow‘s Craig Shelburne, Eric T. Parker. Photo: Moments By Moser Photography

28th Annual MusicRow Awards (C) Moments By Moser Photography
MusicRow‘s 2016 Ablum All-Star Musicians. Pictured (L-R): Jimmie Lee Sloas, Ilya Toshinskiy, Charles Judge. Photo: Moments By Moser Photography

28th Annual MusicRow Awards (C) Moments By Moser Photography
MusicRow Owner/Publisher Sherod Robertson welcomes the MusicRow Awards crowd to BMI. Photo: Moments By Moser Photography

28th Annual MusicRow Awards (C) Moments By Moser Photography
Dave Cobb accepts his MusicRow Producer of the Year award. Photo: Moments By Moser Photography

28th Annual MusicRow Awards (C) Moments By Moser Photography
Dave Cobb accepts his MusicRow Producer of the Year award. Pictured (L-R): MusicRow‘s Craig Shelburne, Dave Cobb, MusicRow‘s Sherod Robertson. Photo: Moments By Moser Photography

28th Annual MusicRow Awards (C) Moments By Moser Photography
Maren Morris accepts her 2016 Breakthrough Songwriter award at the 28th Annual MusicRow Awards. Photo: Moments By Moser Photography

28th Annual MusicRow Awards (C) Moments By Moser Photography
Big Yellow Dog’s Carla Wallace (R) surprises her writer Maren Morris (L) with a plaque commemorating a No. 1 country album debut, along with its lead single achieving gold. Photo: Moments By Moser Photography

28th Annual MusicRow Awards (C) Moments By Moser Photography
Lori McKenna accepts honors for writing MusicRow‘s 2016 Song of the Year, “Humble and Kind” (recorded by Tim McGraw). Photo: Moments By Moser Photography

28th Annual MusicRow Awards (C) Moments By Moser Photography
Lori McKenna and Universal Music Group Publishing’s Kent Earls accept plaques for Song of the Year at MusicRow‘s 28th annual awards. Pictured (L-R) MusicRow‘s Sherod Robertson, Lori McKenna, Kent Earls, MusicRow‘s Craig Shelburne. Photo: Moments By Moser Photography

28th Annual MusicRow Awards (C) Moments By Moser Photography
Lori McKenna performs “Humble and Kind,” MusicRow‘s 2016 Song of the Year. Photo: Moments By Moser Photography

28th Annual MusicRow Awards (C) Moments By Moser Photography
Kent Earls offers remarks for publishing MusicRow‘s 2016 Song of the Year, “Humble and Kind.” Photo: Moments By Moser Photography

28th Annual MusicRow Awards (C) Moments By Moser Photography
Will Hitchcock accepts Old Dominion’s Artist of the Year plaque for winning MusicRow‘s 2016 Breakthrough Artist of the Year, in addition to accepting a MusicRow No. 1 Challenge Coin for “Snapback.” Photo: Moments By Moser Photography

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MusicRow‘s 2016 Producer of the Year Dave Cobb (center) mingles with MusicRow‘s Sherod Robertson and Robert K. Oermann. Photo: Molly Hannula

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MusicRow 2016 Song of the Year nominee Corey Crowder with Broken Bow Records recording artist Jordan Rager. Photo: Molly Hannula

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MusicRow 2016 Producer of the Year and Songwriter of the Year winners Dave Cobb (L) and Maren Morris (R). Photo: Molly Hannula

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Rounder Records’ Ashley Moyer with MusicRow‘s Craig Shelburne. Photo: Molly Hannula

28th Annual MusicRow Awards (C) Moments By Moser Photography
28th Annual MusicRow Awards were hosted by BMI and sponsored by Anderson Benson. Photo: Moments By Moser Photography

28th Annual MusicRow Awards (C) Moments By Moser Photography
Guests snacked on jumbo meatballs, Mexi-sticks, chips, guacamole, salsa and deep-fried peppers. Photo: Moments By Moser Photography