The Country Music Association tapped Brittany Schaffer as its next CEO, effective January 1, 2027. Schaffer currently serves as a dean at Belmont University in Nashville and previously held a senior position overseeing country operations at Spotify. She replaces Sarah Trahern, who has led the CMA for 13 years and announced her departure earlier this year.
Schaffer brings dual expertise in music education and streaming distribution, two areas that shape how country music reaches audiences today. Her background at Spotify positions her with firsthand knowledge of how streaming platforms have reshaped country's commercial landscape and listener demographics. That experience matters as the CMA navigates its role as the genre's governing trade organization during a period when streaming dominance continues reshaping artist economics and radio's influence.
The CMA oversees the annual CMA Awards, one of country music's most visible institutional events, along with industry advocacy and artist development initiatives. Trahern's 13-year tenure saw the organization navigate the rise of streaming, the pandemic's impact on live events, and shifting demographics within country music's fanbase. The organization has also faced ongoing conversations about diversity and representation within a traditionally conservative genre.
Schaffer's appointment signals the CMA's interest in leadership grounded in modern music distribution models. Her Belmont position suggests ties to Nashville's music education ecosystem, which feeds talent into the industry. The transition period of nearly two years gives Trahern time to complete her current initiatives while allowing Schaffer to prepare for the role.
The CMA remains one of country music's most influential institutions, controlling access to its marquee awards show and shaping the genre's commercial narrative. Schaffer's blend of academic credentials, streaming industry knowledge, and presumably deep Nashville relationships positions her to lead during a period when country continues its mainstream commercial dominance while grappling with questions about artistic