NASHVILLE SPECIAL 2024: FEEL COUNTRY'S MOMENTUM

Country so white, country so sexist, country so homophobic. We’ve all heard it, cringed and tried to explain. For Country Music Association CEO Sarah Trahern and Academy of Country Music CEO Damon Whiteside, getting people to see where and what country music actually represents is a mission as well as the compass both leaders use to steer by. Artist-positive, community- and business-forward, they are working to create positives and expand the genre’s reach in a rapidly changing world.

For HITS’ Nashville 2024 special issue, they spoke to their wins, country’s evolution and the challenges ahead. With Beyoncé, Lana Del Ray and Post Malone releasing their own country projects, the genre has taken a big leap forward perceptually—and in terms of its impact.

What is your organization’s biggest achievement or accomplishment this year—2023 or 2024?

Damon Whiteside: We found tremendous success with the ACM Awards settling into our new home in Frisco, Texas, home of the Dallas Cowboys, and streaming live all over the globe on Prime Video; becoming the most-watched country-music awards show of 2023 in just our second year streaming. Also, having the biggest awards show hosts in history, Dolly Parton and Garth Brooks, was a landmark achievement. Coming off that, we extended our partnership with Amazon another two years, keeping the ACMs on Prime Video through our landmark 60th anniversary in 2025.

Sarah Trahern: For the long run, the membership restructuring. We added an industry tier; now our touring professional category outnumbers our artist category. We have a student tier, too, because it creates a pipeline into our industry, especially long term, which ensures the future. And personally, the 50th anniversary of CMA Music Fest was an incredible experience.

With America so divisive, is country music something that can bring people together? Can you talk about our genre’s healing aspects, how to amplify them?

ST: In the ’60s and ’80s, looking at something political and heartfelt, you could see the changes created and truly bringing people together. A Morgan Wallen, a Jelly Roll can bring people under a very big tent. Lainey Wilson, Zach Bryan and Luke Combs, beyond the metadata and analytics, are connecting because of the authenticity. Having worked with T.J. Osborne, seeing him feel comfortable coming out and being embraced, not ostracized, speaks volumes. John Osborne, too, talking about mental-health issues, opened up a lot of conversation. To me, beyond the divisive places, it’s about the authentic discussion about issues that’s happening. That’s a big deal.

DW: Country music can form a community. ACM Lifting Lives focuses on the healing power of music, specifically in mental-health-related causes and emergency situations. The annual ACM Lifting Lives Music Camp partners with the Vanderbilt Kennedy Center to bring individuals with Williams syndrome who are passionate about music together for a weeklong residential program that serves the dual purpose of studying Williams syndrome and other developmental disabilities, while experiencing the life of a country-music star from the recording studio to the Opry stage.

Country is as diverse as it’s ever been: Look at Lainey, Jelly, Morgan and Stapleton, for starters. What factors are contributing? How are you supporting that?

ST: The advent of streaming created a mood that’s not just about genre. Maybe it’s a great songwriter playlist, maybe it’s a performance with someone or somewhere you don’t expect. Social media has allowed artists to go directly to the fan; they can have a relationship without the structure of business.

It’s also about blurring [genres]. Jelly Roll was originally released with country metadata and rock metadata. Country’s the biggest platform at radio, but it’s having its biggest reach because of the size of the platforms across all streaming and social media. And I may be biased, but the best moment on the Grammys was Tracy Chapman and Luke Combs.

DW: Country music has always been focused on world-class songwriting, musicianship and honest relatability. Now traditional genre lines are blurry or irrelevant to fans; country is being embraced by the masses, thanks not only to our country legends but the new crop of superstars.

The War and Treaty’s performance on the 58th ACM Awards made an impact on our fans, artists and their career trajectory. It so impressed ACM Triple Crown winner Chris Stapleton, that he invited them to open on his tour later that year, while ACM New Male Artist Zach Bryan discovered them, then invited them to write and record with him.

ACM has provided many artists of color their first awards show performance stage, including BRELAND, Brittney Spencer, The War and Treaty, and Tiera Kennedy; plus hosting for Mickey Guyton and Jimmie Allen.

What defines and/or sets your awards show?

DW: We’re the first major awards show to move exclusively to streaming and to go to a two-hour, commercial-free format. Through our groundbreaking partnership with Prime Video, the ACM Awards stream live in 240-plus countries and territories all over the world, making us immediately available for country-music fans no matter where they live, giving them the opportunity to see and engage with an exceptional show and the top stars. With Prime Video, we’re able to bring so much value to artists and fans through Amazon’s ecosystem. Prime Video, Amazon Music, Twitch, Amazon Fashion, Amazon Merch on Demand, which allows fans and customers to immediately dive deeper into our artists, opening the door to incredible new engagement opportunities.

ST: We are and always have been Nashville-based always, so at year’s end, as a trade organization we’re celebrating the industry’s successes. SESAC and BMI are having their awards alongside ours, so it’s a real celebration of the music. Plus, our show’s been known for its collaborations. With his passing, I pulled up the tape of Toby Keith and Sting; there was Chris Stapleton and Justin Timberlake, the opening in 2017 with all the women; The Chicks with Beyoncé on our 50th. That’s what we are known for.

What are tangible steps your organization can implement to help with equity?

DW: This asks what we can do, as opposed to what we’ve been doing. It’s easy to say you want to make the genre more inclusive—but action makes the difference.

We launched our OnRamp professional development program in partnership with the Black Music Action Coalition. This guaranteed-income program for 20 young, Black members of the Nashville music community, both artists and industry professionals, aims to improve inclusivity by empowering the next generation of leaders in the early stages of their careers.

ST: We can’t impact who gets signed, but we can create opportunity. This is our third year of the Women’s Leadership Academy, because there was no pipeline to the corner office. Here they have a safe space to talk about their challenges, put forward questions. It’s empowering and giving women space to grow.

As an organization, it’s long-term initiatives, whether the TV shows we do or even the platform stage at the stadium during Music Fest. Madeline Edwards, Brittney Spencer and Megan Moroney all performed there—and not only did it put them in front of the industry’s VIPs, it let them experience a stadium crowd. Add that to CMA EDU and other industry pipeline programs—we’re building the future.

What are country music’s greatest challenge in the next few years?

ST: We’re on top right now, but cycles are cycles. Using this moment to try to combat the continuing stereotypes. I still hear “country & Western”—recently at an event by the CEO of a major [Forbes 500] company.

We are in our pop-culture moment, so it needs to not get pulled into the stereotypes. We need to use this to get people who aren’t fans to see us as we are.

DW: As technology advances, economics of the industry evolve, platforms diversify and the fan base expands, the country community is actively advocating for regulation to address the intrusion of AI. We need to protect our artists and allow them to share their gifts without threat of people stealing their voices and likeness through AI.

Beyond that, the landscape of economics has changed with increased costs across the board, as well as diversifying platforms in which fans discover and consume music. With media consolidation, artists and music companies are having to find new models to get their music discovered and monetized.

Finally, what’s the most exciting thing on the horizon for your organization, and for country music?

DW: The Academy is working hard on the 59th ACM Awards in May, but within the organization, sights are already set on 2025 for the 60th ACM Awards. We’ve been brainstorming for this landmark show; our partners at dick clark productions and Prime Video are passionate about making it an unforgettable event.

For country music, I’m excited to see the buzz around the genre growing worldwide. Country’s never been more visible or welcoming to new faces and other genres. Artists like Ray Charles and Lionel Richie created country masterpieces. Now, with recent country projects announced by Beyoncé, Lana Del Rey, Post Malone and others, it’s a new dawning, while Taylor Swift’s taking over the pop world and Dolly Parton’s becoming a rock star.

ST: It’s all exciting! The breadth of new artists who are emerging with their own lanes is awesome. So many young artists are carving their own sound and path. That individualism speaks to people.

And I feel a real renewed sense of these artists being proud to be in country music. They’re here because of what the music means. They know the music, the roots, and that pride is a great thing.