The Country Music Association appointed Brittany Schaffer as its next chief executive officer, effective January 1, 2027. Schaffer succeeds Sarah Trahern, who has steered the nonprofit organization for 13 years.
Schaffer currently serves as a dean at Belmont University in Nashville, where she oversees music business and entertainment industry programs. Her background bridges the streaming economy and traditional country music infrastructure. She previously held a senior position overseeing country music operations at Spotify, giving her direct experience with how the largest music platform in the world shapes artist discovery and revenue streams for country artists.
Trahern's departure marks the end of a consequential tenure. During her 13-year leadership, she navigated the industry through seismic shifts including the rise of streaming services, the #MeToo movement's impact on country music, and the genre's ongoing reckoning with its relationship to marginalized communities. She leaves behind an organization that hosts the CMA Awards, one of country music's most prestigious annual ceremonies, alongside numerous industry initiatives and advocacy efforts.
Schaffer's appointment signals the CMA board's desire for leadership steeped in both institutional music education and the digital platforms that now dominate how listeners encounter country artists. Her Belmont role places her at the intersection of emerging talent and industry practitioners, while her Spotify experience positions her to understand the economic realities shaping the genre's present and future.
The transition occurs over a roughly 12-month runway, allowing Trahern time to facilitate the handoff. For a 60-year-old organization like the CMA, which coordinates everything from awards ceremonies to radio play initiatives to advocacy work, continuity matters. Schaffer's appointment reflects the board's confidence that she can steward the institution while pushing it toward relevance in an increasingly digital, fragmented music landscape. Her dual expertise in music business education and streaming platform economics makes her a natural fit for an organization attempting to represent artists in an industry transformed since Trahern took the helm in 2014.