ACM Studio Recording Awards Announced; Opry Welcomes New Members; Nashville Industry Expands with New Companies and Signings

When the ACM announced its 59th Studio Recording and Industry Awards on June 30, the city of Nashville felt the pulse of country’s creative core. The ceremony, slated for August 19 at The Pinnacle, honors the technical and artistic talent that shapes every chart‑topping track.

The studio categories were a showcase of seasoned veterans and emerging stars. Acoustic Guitar Player of the Year went to Bryan Sutton, marking his first win and a fourth ACM Studio Recording Award overall. Audio Engineer of the Year was claimed by Justin Niebank, who added a tenth honor to his résumé, while producer Dann Huff earned his sixth Producer of the Year title. The award list also celebrated Stuart Duncan, Rob McNelley, Gordon Mote, Jimmie Lee Sloas, Fred Eltringham, and Jerry Roe for their contributions to the genre’s sonic landscape.

Industry recognitions highlighted the venues and events that host the music community. The Pinnacle was named Club of the Year, while Cheyenne Frontier Days received Fair/Rodeo of the Year. The awards also noted repeat winners such as Stagecoach, Red Rocks Amphitheatre, Bridgestone Arena, the Ryman Auditorium, Choctaw Grand Theater, Mohegan Sun Arena, Adam Weiser, and Ed Warm.

Within the same week, the Grand Ole Opry added two new members to its storied roster. Rhett Akins received an invitation during a surprise presentation on June 28, and Dave Fenley officially entered the famed circle. The Opry’s communications team confirmed both announcements.

Staffing shifts across Nashville’s music organizations underscored the industry’s evolving needs. The Country Music Association promoted five employees and hired five new staff across events, marketing, membership, creative, business affairs, accounting, partnerships, and analytics. Musicians On Call expanded its workforce with two new hires and promoted eight staff members in marketing, development, programs, and volunteer roles.

The city’s business scene also saw fresh entrants. Blake Duncan and Scott Hendricks launched TAYCAN Entertainment, a music‑publishing and A&R firm. Back Row Publishing, founded by Lindsay Will and Taylor Antle, signed Christian Yancey as its first songwriter. On the artist side, Restless Road joined the EMPIRE Nashville roster, while singer Ashe inked a record deal with Atlantic Records and publishing agreements with Doomsday and Universal Music Publishing Group. Chris Sligh entered publishing partnerships with Sony Music Publishing and Ace High Music. Nicole Alexis signed with Hardworking Record Company, Carlisle Wright joined Joan of Arc Music for management, and Riley Thomas secured a deal with ONErpm Nashville.

Radio airplay continued to reflect the city’s commercial reach. The MusicRow CountryBreakout Radio Chart for the week of July 2, 2026, placed Morgan Wallen’s single “Don’t We” at No. 1, a position that MusicRow updates weekly based on nationwide radio spins.

These developments paint a picture of Nashville’s relentless growth. The ACM awards shine a spotlight on the technical excellence that underpins every release, while the Opry’s new members reinforce the city’s status as a living music institution. Staffing changes within key industry bodies and the launch of new publishing and management entities signal ongoing investment in the infrastructure that fuels country music’s creative output. Meanwhile, Morgan Wallen’s chart‑topper demonstrates the sustained commercial relevance of established artists amid a dynamic market.

With the ACM Honors ceremony on the horizon, industry stakeholders will likely weigh how these recognitions and new partnerships shape upcoming projects, touring schedules, and the broader Nashville music ecosystem. The city’s vibrant community continues to thrive, driven by fresh talent, entrepreneurial ventures, and the enduring rhythm of its studios and stages.