Cowboy Charter: Country music’s unstoppable growth

The rapidly expanding fanbase for country music is perhaps best illustrated by the success of this year’s County to Country (C2C) festival series in Europe and the CMC Rocks QLD event in Australia, where tens of thousands of fans attended multiple shows to catch established A-list talent, as well as supporting scores of emerging stars, many of whom found themselves playing outside of their native United States for the first time.

This year’s C2C programme included a triple header in the UK – The O2 arena in London, Glasgow’s OVO Hydro, and The SSE Arena in Belfast – over the 14–16 March weekend, while the previous weekend, the travelling festival set down in Berlin (at Uber Eats Music Hall) and Rotterdam’s Ahoy arena campus, with dozens of acts on the bill to entertain country music fans.

A number of those artists, including headliner Cody Johnson, also made the trip to Willowbank Raceway in Queensland, Australia for CMC Rocks, 21–23 March, where the outdoor event has been growing ever since its debut 18 years ago at the Thredbo mountain resort in neighbouring New South Wales.

“Country music’s rise in Australia has been incredible over the past few years,” says Michael Chugg, one of CMC’s co-promoters. “A lot of factors have driven this: social media and streaming have played a massive role, allowing fans to discover artists outside of traditional radio and TV exposure. Festivals like CMC Rocks, Groundwater, and Deni Ute Muster have given country music a physical presence, while crossover artists and collaborations with pop and rock have introduced new listeners to the genre.”

“Country music continues to see incredible momentum both in the US and internationally”

Firmly cemented into the Australasian psyche, the genre’s success owes much to the hard work and strategy of the Nashville-based Country Music Association (CMA), who work tirelessly to pave the way for continued expansion for its members around the world.

“Country music continues to see incredible momentum both in the US and internationally,” states the association’s CEO Sarah Trahern. “CMA tracks quarterly streaming consumption across several global territories, and what we’re seeing is not just growth but growth that consistently outpaces the broader music industry.”

Citing statistics compiled by Luminate Data, Trahern reveals country music streaming grew 7% year-on-year in the US, compared to 1% growth industry-wide. In Australia, the numbers were up 28% vs. industry growth of 7%; Canada saw 18% growth vs. 6% industry-wide; and Germany recorded a whopping 58% growth, compared with just an 11% industry increase.

In the UK, meanwhile, the Official Charts Company reported a remarkable 78% increase in the streaming of country music, versus just 10% across the general industry, noting that this percentage excludes Taylor Swift’s country re-releases.

“CMA is also launching an international insights initiative this year to broaden our understanding and support of emerging markets around the world,” Trahern tells IQ.

“We have a network of promoters who are really into country music and are very passionate right across Europe”

International Representation
With the genre’s geographical reach continuing to grow, agents working with country acts are reaping the benefits. Indeed, Nigel Hassler at CAA acknowledges that the demographic tuning into country is getting more widespread.

“It’s really exciting,” he says, noting that one of the challenges in having American acts hitting the road is the limited time they can devote to their international fans: “You normally get a two-and-a-half- or three-week window, so sometimes Scandinavia, for instance, doesn’t get served. But the beauty now is that we have a network of promoters who are really into country music and are very passionate right across Europe – there are now three companies actively promoting country music in Germany; there’s a couple in Switzerland; there are two or three in each market in Scandinavia; and two very strong ones in Holland. That network of promoters allows you to book a tour, and the fact we now have the infrastructure in place means that you can properly start to develop artists across a number of territories.”

Similarly, Zac Peters at Runway Artists reports he is targeting a bigger pool of promoters for his country music roster. “C2C has already expanded into the Netherlands and Germany, and there are new festivals starting each year,” he says. “Even promoters across mainland Europe who weren’t that bothered about country are now taking an interest.”

Peters cites the UK, Germany, and Netherlands as particularly strong, “While there’s also smaller scenes in Denmark and Ireland,” he says. “The more the countries previously mentioned put on events, and then radio and press pick up on it, plus social media demand as well, means that new countries will come into play each year.”

That mirrors the experience of UTA agent Beth Morton, who comments, “Generally, more country artists are seeing Europe and Australia as a viable touring option than ever before – so they are prioritising international into their yearly schedules as opposed to fitting around the [North American] touring windows. For example, artists like Dylan Gossett are building international touring into their live strategy right from the get-go, and some are even starting their headline touring in Europe – Dylan’s first-ever headline show was in Dublin last year.”

“We are seeing more demand developing in Brazil, Mexico, South Africa, and the Middle East in recent years”

At WME, Shannon Saunders is head of Nashville International. She notes, “The increased demand and profitability in international country touring has allowed artists to reprioritise headline dates outside of the US. Artists are now able to rely less on festival anchors to justify the economics of an international tour and instead strategically tour based on the artists goals in any given territory.”

She adds, “We are seeing significant strides in countries across mainland Europe, with more demand developing in Brazil, Mexico, South Africa, and the Middle East in recent years.”

Wasserman Music agent Olly Hodgson first became involved in the genre eight years ago and now has a roster dominated by country and Americana artists. Noting that many acts are using social media channels to build their community, Hodgson comments, “Some artists are building exposure on TikTok and that’s building their streaming numbers, which can trend 30, 50, 100m per song, and they’re getting 5m monthly Spotify listeners a lot quicker than they would otherwise. The first time they’re coming over, the awareness of them is just so much greater.

“I’ve got artists who are coming over to do their first headline shows, and they’re doing Islington Assembly Hall, KOKO, Brixton Electric, London Forum. Max McNown will play the London Forum in December as his first London headline show, which is over 2,000 tickets – quite incredible for someone on their first headline tour.”

Other agents are witnessing the country effect spreading to non-American acts. “Traditionally, interest has largely been in US-based artists as they have that authenticity factor,” notes UTA agent Sarah Casey. “There have been exceptions of course – Keith Urban, for example – but what is really cool to see now is the blend in genres with many acts from UK and Ireland, in particular, in- corporating country music into their singer-song- writer sound, so we are seeing a different strain emerge, which really highlights the effect the genre is having globally.”

“In 2025, we sold more [C2C] tickets than ever, in every market”

Putting chaps on seats
The steady stream of acts heading across the Atlantic, year-round is helping promoters, too. With C2C growing in stature, Semmel Concerts’ Sina Hall (the event’s German promoter) is at the sharp end of public interest. “There’s so much more organic international growth happening compared to where it may have been just in the past,” she says. “The new artists coming forward now definitely have international more as a priority – people are aiming for more than just being a US domestic act. It’s not just a little adventure anymore to go to Europe – it’s part of your business.”

EG Presents promoter Rachel Lloyd fulfils a similar role in the UK, where she co-promotes C2C alongside Jack Dowling at SJM Concerts. She observes that the impact that country music fashion is having, combined with acts like Post Malone and Myles Smith collaborating with country acts, is introducing a new generation of fans. “This is all before you take into account the simple fact that the music itself is very good,” she states. “The level of songwriting and musicianship is amongst the best in the business.”

That’s certainly helping to shift inventory. “In 2025, we sold more [C2C] tickets than ever, in every market,” reports Lloyd. “We already had to add a slot each day on the main stage to help us accommodate the number of acts who are ready to deliver an arena set.”

And revealing C2C’s impressive demographics, Lloyd says, “It is a very wide age range, 18-55, and pretty much a 50/50 male/female split. We’re gaining new lifelong fans of the genre while retaining the existing fanbase, which is extremely loyal and still very engaged with music discovery.”

But it’s not just the major markets that are benefiting from country’s rising popularity. “Switzerland is a strong market for country music – much stronger than surrounding markets,” notes Sebastien Vuignier, CEO of TAKK ab Entertainment.

“Country music has always been big in Norway, but what has changed since the pandemic is that it has become mainstream”

“This comes from the fact that our partner, André Béchir, started bringing in country music artists from the very beginning. Back in the 80s, André promoted a country music festival at Hallenstadion with all the biggest acts – Johnny Cash, Dolly Parton, Kris Kristofferson, Willie Nelson, Garth Brooks – and it was selling out two nights, every year. Thanks to this festival, there is a real and strong country music fanbase in Switzerland.”

Béchir’s groundwork also allowed TAKK to take a risk on a new generation of country artists. “[We] recently promoted shows with Luke Combs, Brad Paisley, Drake Milligan, and also the likes of Megan Moroney, Kip Moore, and Dylan Gossett,” says Vuignier. “As promoters, we are totally dedicated to the genre and 100% convinced that country artists will reach the highest levels in Switzerland – not only arenas, which is already happening, but also stadiums.”

Vegard Storaas of Live Nation Norway explains that the genre appeals to the more rural communities in his country, especially through the aesthetic and fashion choices that align culturally. “I emphasise to the agents that 80% of the people buying tickets for a country music show [live] outside of Oslo. If I can get a weekend, the chances for success increase a lot, [whereas] if you do a Tuesday night show, and [fans] live eight hours away, they might be inclined to skip it,” he says. “Marketing-wise, you have to go to the smaller areas around the country [and] find local news outlets because that’s the kind of newspapers that this audience sometimes reads.”

But the hard work pays off. “Country music has always been big in Norway, but what has changed since the pandemic is that it has become mainstream,” continues Storaas. “Luke Combs drew big interest around the genre, post-pandemic. He came in and upgraded all his shows in the European tour, including Norway, and we saw sales on that show that we haven’t seen since Garth Brooks in the 90s. [That] showed the Nashville community how popular this genre is over here.”

“Audiences have been looking for authentic voices and country music provides so many”

Those success stories are music to the ears of UK-based Live Nation colleague Anna-Sophie Mertens, who is gearing up for the third year of her Highways festival later this month at the iconic Royal Albert Hall in London. “Artists committed to building international fanbases can be very successful, in some cases selling more tickets internationally than domestically. The tide has turned, and international touring is now a big part of their strategy,” states Mertens.

“Audiences have been looking for authentic voices and country music provides so many,” she discerns. “It’s also music that different generations can share – primarily due to the good musicianship and storytelling nature.”

While agents Hassler and Hodgson chart green shoots of growth in the likes of Belgium and France, the genre’s popularity is no more evident than in Latino stronghold, Spain, where Barnaby Harrod at Mercury Wheels is hoping he can emulate some of the success that peers elsewhere in Europe are experiencing.

“I’m a big fan of Americana and country music,” says Harrod. “One of the greatest shows of my life was seeing the country punk band Jason and the Scorchers play the Marquee in London in 1984! As a young punk myself, that show, with their incredible version of Hank Williams’ Lost Highway, blew me away and brought country mu- sic into my life.”

As a result, Harrod and his team have worked with a number of acts including Sturgill Simpson, Natheniel Rateliff, John Hiatt, Whiskey Myers, The Cadillac Three, The Handsome Family, and Nicki Bluhm.

“Spain is ready, and now is the moment that country can finally cross over into the mainstream here”

“Spain has always been a good market for southern rock, which includes many elements of country music,” he observes. “The Black Crowes, for example, are an arena act in Spain, and on the last tour, the show in Madrid, promoted by my colleague Nacho Cordoba, was the strongest market in Europe.”

Harrod also cites southern rock acts like Blackberry Smoke, The Sheepdogs, and DeWolff as bands who enjoy Iberian success; “and also American folk artists like The Lumineers, Fleet Foxes, and other artists like Mike Farris who mix elements of blues, country, and gospel,” he adds.

“We will sell 10,000 tickets for the upcoming 3 May show [by The Lumineers] in Madrid, at the Movistar Arena. This all indicates to me that there is most definitely a strong market here for country music. Spain is ready, and now is the moment that country can finally cross over into the mainstream here.”

Industry saddles up
Among all the professionals IQ spoke with for this report, the unanimous opinion is that propagation of the country genre is being facilitated by the investment that the Country Music Association is making to identify engaged partners around the world.

CMA’s Trahern discloses that much of the groundwork for that strategy was laid in Britain. “We’re incredibly proud of our UK taskforce and what it represents – a space where competitors come together as collaborators,” says Trahern.

“Over time, we’ve expanded this concept into other territories, with task forces now active across the Nordics, broader Europe, Canada, and Australasia. While each market is distinct, the structure of these groups mirrors the CMA Board, meaning they include decision-makers across all sectors of the industry. […] What unites them is a shared passion for country music and a commitment to building something lasting.”

“The CMA is a good first step to understand what’s happening in each market: what data is telling us, being connected with people, and getting the industry together”

She adds, “We don’t establish a task force on a whim. It really begins with local industry voices coming to us with a unified vision, asking how CMA can support growth in their region. That kind of grassroots energy, paired with CMA’s connective infrastructure, is essential to sustainable progress.”

It’s an approach that’s most definitely appreciated by those enjoying an upturn in business because of their country music rosters. Semmel’s Hall comments, “The CMA is a good first step to understand what’s happening in each market: what data is telling us, being connected with people, and getting the industry together. Having that ongoing conversation on both sides, is very unique and very profitable for the artist side, promoter side, and agency side.”

In Australia, Chugg states, “The CMA has played a huge part in breaking down barriers for country music outside of North America – and international acts into America. Their commitment to investing in international markets through initiatives like CMA Fest, the CMA International Awards, and strategic partnerships has really helped bridge the gap between Nashville and global audiences.”

However, he adds, “While the CMA is a key partner in growing the genre, it’s not the only road to exposure. Some artists take a more independent route, building their fanbase organically through social media, streaming platforms, and fan engagement. Acts like 18-year-old Australian Lane Pittman have found success without traditional industry opportunities, proving that there are multiple pathways to breaking into new markets.”

Dedicated Fanbase
While the perception in the past has been that country acts only travel outside of North America when the summer season ends, the fact that the genre is no longer niche is changing that paradigm.

“This is also a genre that can support a higher ticket price, which is also helpful when playing smaller venues”

“Artists are more than happy staying in America where they can make millions. But A-list acts like Luke Combs and Morgan Wallen can now make the same level of money for shows in the UK and Europe as they would in America,” notes CAA’s Hassler. “Sometimes, it’s important for those artists to get out of America – to give them some breathing room in that market. The smart
artist managers see that and understand that touring internationally is a long-term investment that can give their acts a global reach.”

WME’s Saunders agrees. “The increased demand and profitability in international country touring has allowed artists to reprioritise headline dates outside of the US,” she says. “Artists are now able to rely less on festival anchors to justify the economics of an international tour and instead strategically tour based on the artists goals in any given territory.”

It’s not just the A-listers who are benefiting from the boom. UTA’s Morton says, “This is an audience that comes out to see country artists across all levels of show – we’ve had club- and theatre-level show tickets absolutely fly out. Country as a genre comes into its own in the live space – it’s about sharing stories.” She adds, “This is also a genre that can support a higher ticket price, which is also helpful when playing smaller venues.”

The ability to tap into large potential fanbases is also attracting acts to visit the likes of Brazil, where the organisers of an existing circuit of rodeos are looking to bring in artistic talent from other countries. “There’s a rodeo in Barretos, which attracts over a million people during its ten-day run in August, including three or four shows in the evening,” says Hassler.

“In recent years, they’ve had Shania Twain and Cody Johnson, and they’re definitely looking to have more sort of mainstream country down there. That’s also woken up all the smaller rodeos, which are hosting 25,000 or 30,000 people per day, so that’s a market that will definitely open up further.”

“I will see some domestic or European talent tapping into the same group of fans and winning them over”

The success of such North American talent in breaking into new territories is having a knock-on effect for others, according to Peters at Runway Artists. “UK talent is now starting to sell into Eu- rope more than ever before,” he tells IQ, “Elles Bailey has been doing incredible work for a while now, plus Remember Monday – who are doing Eu- rovision – are going to help with exposure to the scene once that airs in May. There’s also the amazing Fanny Lumsden from Australia, who is coming back here this summer, too!”

Peters also namechecks UK talent First Time Flyers, Janet Devlin, Morganway, and Gina Larner as acts on his roster whose careers are progressing, while Kezia Gill, he says, is enjoying a particularly strong year.

While Beth Morton cites Megan Moroney’s assault on the mainstream as something to keep an eye on, her UTA colleague, Sarah Casey, says, “We are excited for Irish artist Gareth’s debut European headline tour. He moved to Nashville earlier this year and has had an incredible start to his career with sold-out shows and strong mainstream media support.”

She continues, “Stephen Wilson Jr. is an unstoppable force right now and another artist that invested early in coming to Europe. Cam is also set to make her return this year with a new album, coming off the back of contributing five songs to Beyoncé’s Grammy-winning album Cowboy Carter.”

And Wasserman’s Hodgson points to the speed that artists can climb the ladder. “[Tyler Childers] was one of the first that I took on. We brought him over and did 100 tickets in the Slaughtered Lamb in London. Fast-forward seven or eight years, and he’s playing The O2 arena this November and going to sell out 16,000 tickets.”

Country’s rise in popularity also has many of our professionals feeling sanguine about the knock-on effect for homegrown talent. Storaas sums up this optimism.

“One of the changes we’ve seen in the last two years is that more US artists are looking for opportunities to play during summer over here in Europe”

“Hopefully, you’ll see some European artists break it into the US market in this space,” he says. “Obviously, the competition is crazy. But all these Norwegians, they’re coming and buying tickets for American talent, and I think I will see some domestic or European talent tapping into the same group of fans and winning them over with their current, traditional sounds, or their own original thing.”

Spurred on
All in all, with the genre’s popularity spawning specialist platforms – the UK’s Absolute Radio Country station already boasts 650,000 listeners per week – the likes of Shaboozey confirmed for Glastonbury Festival, Zach Bryan headlining back-to-back dates at BST Hyde Park, and Luke Combs recently selling more than 400,000 tickets on his Australian stadiums tour, the country mu- sic ecosystem is in rude health, with more industry professionals around the world keen to capitalise on its ability to bolster box office revenues.

Noting the catalyst effect that mainstream artists such as Beyoncé, Lana Del Rey, and Post Malone are having in persuading young fans to explore country music, Live Nation’s Mertens says, “Be- cause authenticity translates so well on social me- dia platforms, that’s also where country music has won over so many new UK fans – US artists often have London as one of their biggest streaming cities – so we know there is a growing fanbase really engaging with the artists on those platforms.”

Semmel’s Hall comments, “One of the changes we’ve seen in the last two years is that more US artists are looking for opportunities to play during summer over here in Europe, which is probably mostly dependent on the bigger festivals and the opportunities they have there. When we first started, getting a country artist to come in summer seemed very far off because the touring in the US and the festivals keep them so busy.”

Noting the incredible reach of the genre, UTA’s Casey says, “I went to the first-ever country music festival in South Africa last year, and we are bringing Midland to Mexico for the first time later this year, so there are lots of new opportunities emerging.”

“Country music will continue to rise with listenership increasing year on year and higher attendance at live shows across all levels of venues”

WME’s Saunders is equally enthused, “What I find most exciting about our format right now is we may not know who our next year’s headliners are just yet. Over the past year, we have witnessed artists experience some of the most meteoric rises in extremely short timelines, such as Zach Top, Dasha, and Tucker Wetmore. All three of these artists were relatively unknown 12–18 months ago but are already becoming global household names.”

“It only seems to be going in one direction, which is up,” says Hodgson. “There’ll be more arena-level touring, and I think some of the bigger acts will come over to play stadiums, and hopefully, we’ll see more country artists being booked for mainstream, multi-genre festivals.”

Indeed, Live Nation’s Mertens predicts, “Country music will continue to rise with listenership increasing year on year and higher attendance at live shows across all levels of venues. A few years ago, we would have a single arena tour by a country artist but now having multiple arena tours in a single year is the norm. We will also see more stadium-level shows and country headliners at festivals, like Morgan Wallen’s unprecedented headline slot at BST Hyde Park [last year].”

And with Zach Bryan close to selling out both of his headline slots at this year’s BST, the genre is proving that is more relevant than ever, as more and more fans choose to buy tickets for country music events, and its stars cross into the mainstream.

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