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Key Information

Josh Kear is a multi-Grammy Award winning songwriter based in Nashville, Tennessee.[1]

In 2007, Kear co-wrote Carrie Underwood's hit "Before He Cheats" with Chris Tompkins.[2] The song dominated the US Hot Country Songs chart for five weeks and earned a Grammy Award for Best Country Song.[3][4] The song is one of the longest-charting hits in Billboard history, and was the third longest-running hit of the 2000s decade.[5][6]

In 2011, Kear co-wrote "Need You Now" with Lady Antebellum.[7] The track held the top position on the country chart for five weeks and remained at number one on the adult contemporary chart for 14 weeks.[8] The song received two Grammy Awards in 2011, achieving recognition as both Country Song of the Year and Overall Song of the Year.[9] "Need You Now" was also awarded the ASCAP Global Impact Award.[10]

In 2013, Kear received his third Grammy Award for Country Song of the Year with "Blown Away" which he co-wrote with Chris Tompkins.[11][9] He made history as the first songwriter to secure the Country Song of The Year Grammy on three separate occasions.[9][12] In the same year, he received the title of ASCAP Country Songwriter of the Year at the 51st annual ASCAP Country Music Awards.[13][14]

Kear has been credited for numerous chart-topping songs in the country music genre. Among his notable works, Lee Brice's "Drinking Class" was the most played country song on the Billboard Country Airplay chart in 2015.[15] He also penned Luke Bryan's "Most People Are Good," which held the number one spot on the same chart for three consecutive weeks,[16][17] as well as Dierks Bentley's "Woman, Amen"[18] and Runaway June's "Buy My Own Drinks."[19] Additionally, Kear has written or co-written several other number one songs, such as Florida Georgia Line's "God, Your Mama and Me,"[20] Tim McGraw's "Highway Don't Care,"[21] Dierks Bentley's "Drunk on a Plane,"[22] Blake Shelton's "Neon Light,"[23] Carrie Underwood's "Blown Away,"[3] Frankie Ballard's "Helluva Life,"[24] and Luke Bryan's "Drunk On You."[17]

His recent singles include "Ghost Story" by Carrie Underwood,[25] "No Body" by Blake Shelton,[26] and "Watermelon Moonshine" by Lainey Wilson.[27]

Kear has received over twenty ASCAP country airplay awards, two ASCAP pop airplay awards, and three ASCAP country Song of the Year awards for "Before He Cheats",[28] "Need You Now"[29] and "Drunk On You".[14][12]

Kear is an advocate for songwriter's rights. He has appeared before the Senate Judiciary Committee, together with Smokey Robinson, advocating for American songwriters and aiding in the passage of the Music Modernization Act.[7] In 2014, he participated in a performance for the Library of Congress as part of ASCAP's "We Write The Songs" series, joining the likes of Randy Newman, Carly Simon and Heart.[30] Additionally, Kear co-created the theme song for ASCAP's 100th Anniversary, "More Than The Stars", in collaboration with various songwriters including Ne-Yo, Dan Wilson, Stargate, and Bill Withers.[31]

In June 2020, Josh Kear entered into a global publishing agreement with Sony/ATV Publishing.[12]

Selected artists who have recorded Josh Kear's songs

[edit]

References

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Josh Kear

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Josh Kear (born October 11, 1974) is an American songwriter based in . He has co-written numerous hit songs, including the chart-topping singles "Need You Now" for Lady Antebellum, "" for , and "Blown Away" also for Underwood. Kear holds the distinction of being the first songwriter to win the Grammy Award for Best Country Song three times, for those same tracks, and additionally received the Grammy for Song of the Year for "Need You Now". His catalog includes 18 number-one hits on the country charts, recorded by artists such as , , and , reflecting his versatility across country subgenres. In addition to his creative output, Kear has testified before in support of legislation aimed at improving royalty payments for songwriters amid the rise of digital streaming services.

Early Life and Background

Childhood and Influences

Josh Kear developed an early affinity for music through his father, Gary Kear, who regularly played guitar and sang around the home, inspiring Kear to pursue songwriting and performance. His father's eclectic selections, encompassing , Rick Nelson, artists, the Eagles, and , formed the core of Kear's initial musical influences. Kear has described his parents as his most profound personal influences, with his father exemplifying qualities he admired deeply. At age 13, he penned his debut song, driven by a youthful , despite possessing no proficiency on guitar or other common songwriting instruments beyond the .

Entry into Music

Josh Kear composed his first song at age 13, focusing on and melodies about a personal crush despite lacking proficiency on instruments beyond the . His early exposure to music stemmed from his father's record collection, which included artists such as , Rick Nelson, performers, the Eagles, and , fostering Kear's initial songwriting habits. By age 16, Kear aspired to a songwriting career, self-educating through books on the craft and committing to daily writing. Kear attended , initially pursuing a music business degree before transferring to history, from which he graduated cum laude in 1996. During his college years, faculty members identified his potential; one professor published an early composition, and another secured writing appointments for him on Nashville's at age 19. These connections provided Kear's initial foothold in the professional Nashville songwriting community, transitioning him from amateur efforts to industry engagements near his university's location in .

Songwriting Career

Relocation to Nashville and Early Successes

After graduating from in 1996 with a degree in history, Josh Kear, originally from , established himself in the Nashville songwriting scene. He secured his first publishing deal with BMG at age 21 in 1995, marking an early entry into professional songwriting amid the competitive environment. Following the loss of his BMG deal, Kear faced significant challenges in the late and early , transitioning from a promising newcomer to a struggling whose eclectic style—blending , and folk—often failed to align with mainstream radio preferences. Publishers repeatedly rejected his demos, leaving him without a stable affiliation and prompting a period of reevaluation. In spring 2003, he signed with independent publisher Big Yellow Dog Music, co-founded by Carla Wallace and Kerry O'Neil, who recognized potential in his versatile demos during an informal meeting. This deal provided crucial support, allowing Kear to refocus on commercial songwriting. Kear's persistence yielded his breakthrough with "," co-written with in 2005 and recorded by for her debut album . Released as a single in January 2006, the song topped the chart for seven weeks, earned platinum certification, and won a Grammy for Best Country Song in 2007. This hit, drawing from themes of betrayal and , propelled Kear's visibility and affirmed Big Yellow Dog's strategy, setting the stage for subsequent successes while highlighting his ability to craft narrative-driven country anthems.

Breakthrough Hits and Collaborations

Kear achieved his first major breakthrough in 2007 with "," co-written with and recorded by on her debut album . The track topped the chart for five weeks, reached number eight on the Hot 100, and charted for 64 weeks, marking it as the most downloaded country song until 2009. This success earned Kear his initial Grammy Award for Best Country Song in 2008, establishing his reputation for crafting emotionally charged narratives in country music. Building on this, Kear's collaboration with Tompkins continued to yield hits for Underwood, including "Blown Away" from her 2012 album of the same name, which ascended to number one on the chart. The song secured Kear a second Grammy for Best Country Song in 2013, highlighting his ability to blend introspective with commercial appeal. Another Underwood co-write, "Two Black Cadillacs" from the same album, also reached number one on the country chart in 2013, further solidifying their productive partnership. A pivotal crossover collaboration came with "Need You Now," co-written with Lady Antebellum (now ) members , , and for their 2009 self-titled album. Released as the lead single in 2009, it topped the chart for five weeks, peaked at number two on the Hot 100, dominated Hot 100 Airplay, and held a Top 3 position on Hot A/C for 35 weeks, achieving 5x Platinum certification and driving over 3 million album sales. The track won Kear for both Song of the Year and Best Country Song in 2011, as well as the 2010 ASCAP Country Song of the Year. Additional co-writes with , such as "Dancin' Away with My Heart," reinforced this ongoing relationship. Kear's versatility extended to other artists, including co-writing "Highway Don't Care" with Tompkins for featuring in 2013, which hit number one on the chart, and "Drunk on You" for , also a two-week number one that same year and ASCAP Song of the Year. These collaborations underscored his role in propelling multiple artists to chart dominance during the early , contributing to his tally of 12 number-one singles.

Major Chart-Topping Songs

Josh Kear has co-written at least 15 songs that reached number one on the chart, with some sources citing up to 18 such hits across metrics. His breakthroughs include crossover successes that extended beyond , influencing pop and contemporary formats. One of Kear's earliest major hits, "Before He Cheats" recorded by , debuted in September 2005 and ascended to number one on the chart on January 28, 2006, holding the position for multiple weeks while peaking at number eight on the Hot 100. Co-written with , the track earned ASCAP Country Song of the Year honors and crossed over to and rotations, achieving top-five placements on both Adult Contemporary and Pop charts. "Need You Now," co-written with Lady Antebellum's Hillary Scott, Charles Kelley, and Dave Haywood, was released in November 2009 and topped the Hot Country Songs chart for five consecutive weeks starting in March 2010, also reaching number one on the Adult Contemporary chart. The song secured the Grammy Award for Best Country Song in 2011 and propelled the album of the same name to multi-platinum sales, marking Kear's first such Grammy win. Kear's collaboration with Underwood continued with "Blown Away" from her 2012 album, which hit number one on the chart in July 2012 and won the Grammy for Best Country Song the following year, making Kear the first songwriter to claim the award twice for Underwood recordings. Other significant chart-toppers include "" by featuring and , which reached number one in May 2013; "" by , topping charts in September 2014; and "Neon Light" by , achieving number one in March 2015. In later years, Kear notched additional number ones such as Luke Bryan's "Most People Are Good" in June 2018, his reported 13th chart-topper, and Little Big Town's "Woman, Amen" in October 2017, the 14th. These successes underscore Kear's versatility in crafting emotionally resonant narratives that dominate .

Evolution of Style and Later Works

Kear's early songwriting encompassed an eclectic range of genres, including , dark , and upbeat pop, reflecting his broad musical influences before fully committing to Nashville's industry. Upon signing with Big Yellow Dog Music in 2003, he refocused on mainstream , aligning his craft with commercial demands while retaining emotional depth in themes of heartache and passion. This pivot yielded breakthroughs like "" (2006) for , marking a stylistic emphasis on narrative-driven, radio-friendly anthems over experimental forms. In subsequent years, Kear maintained versatility within , co-writing hits that blended traditional with contemporary production, such as "Blown Away" (2012) and "Two Black Cadillacs" (2012) for Underwood, and "" (2013) for featuring . His output evolved to include introspective tracks like Lee Brice's "Drinking Class" (2014), which became the most-played country song on Billboard's chart in 2015. Later collaborations extended to crossover appeal, exemplified by "Most People Are Good" (2018) for , emphasizing optimism amid personal reflection. Into the 2020s, Kear's work sustained chart dominance with songs like Jordan Davis's "" featuring (2021), a meditative piece on life's priorities that topped charts, and Lainey Wilson's "" (2022), capturing rural romance in modern idiom. These later efforts demonstrate a refined consistency in crafting relatable, hit-oriented songs without departing from his core focus on emotional authenticity, amassing over a dozen No. 1 singles by the late .

Awards and Recognition

Grammy Awards

Josh Kear has received four Grammy Awards, all for songwriting contributions to country hits, making him the only songwriter to win the Best Country Song category three times. His first win came at the in 2008 for Best Country Song with "Before He Cheats," performed by and co-written with . This track, which peaked at number one on the chart, highlighted Kear's ability to craft narrative-driven songs blending revenge and emotional depth. In 2011, at the , Kear secured two awards for "Need You Now" by Lady Antebellum (now ): Best Country Song and the general Song of the Year. Co-written with the band's members and others, the song's introspective lyrics about late-night regret propelled it to number one on multiple charts and over 8 million U.S. sales. These victories underscored Kear's versatility beyond pure country tropes. Kear's third Best Country Song win occurred in 2013 at the for "Blown Away," again with Underwood and Tompkins, depicting a mother's fierce protection amid a . The topped the charts and earned for its vivid and structural . Kear has also received two additional Grammy nominations, though specifics remain tied to his broader catalog without further wins.
YearCategorySongPerformerCo-writers
2008Best Country Song""
2011Best Country Song"Need You Now"Lady AntebellumCharles Kelley, Dave Haywood, Hillary Scott, et al.
2011Song of the Year"Need You Now"Lady AntebellumCharles Kelley, Dave Haywood, Hillary Scott, et al.
2013Best Country Song"Blown Away"

ASCAP, ACM, and Other Honors

Kear received the ASCAP Country Songwriter of the Year award in 2013, recognizing his authorship of five of the year's most performed country songs. He also earned ASCAP Songwriter of the Year and Song of the Year honors for Luke Bryan's "," alongside additional ASCAP awards for "(Kissed You) Goodnight" by Lady Antebellum, "Blown Away" by , and other tracks. From the (ACM), Kear co-wrote the 2006 Song of the Year "Before He Cheats," performed by . In 2010, his co-writing on Lady Antebellum's "Need You Now" secured another ACM Song of the Year accolade. Among other honors, Kear was a recipient of the Country Music Association's (CMA) Triple Play Award in 2019, given to songwriters who achieve three number-one hits with a single collaborator within 12 months or a year; he shared this with collaborators including .

Publishing Deals and Industry Impact

Key Contracts and Affiliations

Josh Kear has maintained long-standing affiliations with major music entities, primarily through staff songwriter positions and catalog administration deals. He was initially signed to Big Yellow Dog Music, a Nashville-based independent publisher, where he developed many of his early hits. In January 2011, Big Yellow Dog re-signed Kear to an exclusive agreement, solidifying his role as a key writer amid rising success with songs like Carrie Underwood's "." In June 2016, Round Hill Music acquired interests in Kear's back catalog—covering all songs penned through 2014—in partnership with Big Yellow Dog Music, providing administration and royalty management for his pre-2015 works while retaining creative control for future output. Kear remained affiliated with Big Yellow Dog for over a decade, contributing to its roster alongside writers like , during which time the firm handled administration via deals such as one with Downtown Music Publishing in 2017. A pivotal shift occurred in June 2020, when Kear entered a worldwide publishing agreement with /ATV Music Publishing Nashville, encompassing administration of his entire catalog and future compositions. This deal, announced as global in scope, aligned him with one of the industry's largest publishers, leveraging /ATV's resources for international exploitation of hits like "Need You Now." Beyond publishing, Kear holds professional affiliations with key industry organizations. As an ASCAP member, he has received multiple awards from the society and participated in advocacy efforts, including Capitol Hill testimony in 2017 on fair online royalties. In 2019, he joined the for the Nashville Songwriters Association International (NSAI), influencing policy and education for emerging creators. These ties underscore his role in shaping songwriter rights and industry standards.

Contributions to Music Publishing

Kear's songwriting catalog, encompassing over a dozen number-one hits on country charts, has generated substantial royalties for affiliated publishers through mechanical, , and income. Hits such as "Before He Cheats" by , which charted for 64 weeks on the , and "Need You Now" by Lady Antebellum, certified 5x Platinum with over 3 million album sales, exemplify compositions that sustain long-term publishing revenue via radio airplay, streaming, and licensing. Following a period without a publisher after his initial BMG affiliation, Kear signed with independent firm Big Yellow Dog Music in spring 2003, where his versatile output across , and rock genres contributed to the company's rise, including a No. 9 ranking among publishers in Billboard's Q2 chart. This deal enabled breakthroughs like "," which not only earned a Grammy for Best Country Song in 2007 but also validated Big Yellow Dog's strategy of nurturing non-traditional songwriters, fostering catalog diversification beyond radio-focused material. In June 2016, Round Hill Music partnered with Big Yellow Dog to jointly administer Kear's back catalog, signaling investor confidence in its enduring value while Kear continued future writings under Big Yellow Dog, thereby enhancing liquidity and exploitation opportunities for established works. This arrangement preceded his 2020 global publishing agreement with (formerly Sony/ATV), which integrated his proven hits—including "Highway Don't Care" and "Women, Amen"—into a major portfolio, amplifying global administration and potential sync placements in media. Kear's compositions have secured placements in television and film, such as "Need You Now" in Glee and Zero Dark Thirty, bolstering publishing income through synchronization fees and expanding the reach of country material into broader markets. With 14 No. 1 singles overall, his work has exemplified how individual songwriter catalogs can drive publisher rankings and attract investment, particularly for independents navigating genre boundaries.

Advocacy for Creators' Rights

Criticism of Streaming Royalties

Josh Kear has criticized streaming services for providing inadequate royalties to songwriters, arguing that government-regulated rates undervalue their contributions compared to those received by record labels and artists. In his 2018 testimony before the , Kear highlighted that streaming payments amount to fractions of pennies per play, suppressed by outdated consent decrees and statutory standards dating back to the 1909 era, which prevent market-based negotiations. He noted that labels and recording artists can earn up to eight times more per stream than songwriters due to these disparities. Kear's advocacy, often alongside ASCAP, targeted specific platforms like , which he accused in a 2013 of allocating only 4% of its revenue to public performance rights for songwriters and composers, resulting in minimal per-stream earnings. For instance, his co-written hit "Need You Now" garnered nearly 72 million Pandora streams but yielded just $5,918.28 total for its four songwriters and publishers, with Kear receiving a fractional share. In 2017, despite royalties from Grammy-winning songs like "Before He Cheats" and "Need You Now," Kear earned only about $3,000 from streaming overall, illustrating the insufficiency for sustaining professional songwriters. These low payments, Kear testified, have contributed to an 80% decline in professional Nashville songwriters since 2000, as physical sales diminished without commensurate digital compensation, forcing many to abandon the profession. Unlike recording artists who supplement income via tours and merchandise, songwriters depend heavily on performance royalties, which streaming has eroded rather than replaced. Kear's efforts supported reforms like the , aiming to update mechanical licensing for interactive streams while advocating for rate courts to consider full market evidence, free from Section 114(i) restrictions that he viewed as biasing outcomes against creators.

Testimony and Legislative Efforts

In May 2018, Josh Kear provided testimony before the Committee on the Judiciary during a hearing titled "Protecting and Promoting Music Creation for the ." As a professional songwriter affiliated with ASCAP and reliant exclusively on royalties for his income, Kear emphasized the economic challenges facing songwriters amid the shift to digital streaming platforms. He highlighted how streaming services compensate creators with fractions of a penny per play, resulting in songwriters earning up to eight times less than record labels and performing artists for equivalent usage, due in part to government-regulated rates that undervalue musical compositions. Kear cited the obsolescence of traditional revenue from physical sales and radio, noting a reported 80 percent decline in the number of professional songwriters in Nashville over recent decades, attributing this erosion to below-market digital royalties that threaten the viability of full-time songwriting careers. Kear's testimony focused on structural flaws in copyright law, including Section 114(i) of the Copyright Act, which he argued restricted relevant evidence in rate-setting proceedings and perpetuated imbalances between publishers, songwriters, and digital service providers. He advocated for reforms to enable a "willing buyer, willing seller" standard for mechanical royalties and to address loopholes in notices of intent (NOIs) that allowed streaming services to bypass fair payments. Central to his remarks was strong endorsement of the Music Modernization Act (MMA), a bipartisan bill (S. 2823) co-sponsored by Senators , , , and , which had already passed the House. The MMA proposed creating a mechanical licensing collective controlled by songwriters and publishers, reforming rate courts through random judge assignment to reduce bias, and repealing restrictive provisions to align digital royalties more closely with market rates. Kear framed these changes as essential for sustaining music creation, warning that without updated laws, the professional songwriter class—responsible for cultural contributions like his Grammy-winning hits "Before He Cheats" and "Need You Now"—faced extinction. He urged the to act swiftly, stating, "The time is now and songwriters, both present and future, depend on it." His advocacy aligned with broader industry efforts, including prior visits in January 2017 alongside fellow ASCAP songwriter Dan Wilson to push for fair royalty rates free from constraints. The MMA advanced following the hearing, incorporating elements Kear supported, and was signed into law by President on October 11, 2018, establishing the envisioned licensing collective and royalty reforms while bundling provisions from the CLASSICS Act and ALLOCATE Act for pre-1972 recordings and producer payments.

Reception and Legacy

Critical and Commercial Success

Kear's compositions have garnered substantial commercial achievements, including multiple number-one singles on the Billboard Hot Country Songs chart. "Need You Now," co-written for Lady Antebellum and released in 2009, topped the chart for five weeks, held the number-one position on the adult contemporary chart for 14 weeks, and was certified Diamond (10 million units) by the RIAA in April 2023, marking it as one of the top-selling country singles. Similarly, "Before He Cheats," co-written for Carrie Underwood in 2006, reached number one on the country chart, sold over seven million units including streams and downloads, and received 7× Platinum certification from the RIAA on October 25, 2021, making it one of the most certified country songs by units sold. His catalog includes at least 15 number-one hits, such as "Blown Away" and "," contributing to billions of and across platforms. These tracks have appeared on albums certified multi-platinum by the RIAA, amplifying Kear's role in driving revenue for major artists and labels. Critically, Kear's work has been praised for capturing raw emotional narratives, with industry observers noting his versatility in blending vulnerability and intensity, as seen in hits that resonate across mainstream and audiences. While formal reviews of his songwriting as a whole are limited, the sustained chart dominance and certifications reflect broad market validation, though some analyses highlight the formulaic nature of commercial songcraft in the 2000s and 2010s.

Influence on Country Music

Kear's songwriting has shaped contemporary country music by producing crossover hits that blend emotional depth with commercial appeal, exemplified by "Before He Cheats" for Carrie Underwood, which reached No. 1 on the Billboard Hot Country Songs chart and marked the first country single to exceed two million digital sales, thereby amplifying themes of retribution and empowerment in female-led narratives. Similarly, "Need You Now" for Lady A topped charts and held the position of best-selling digital country song for over two years from 2011 to 2013, redefining romantic ballads in the genre through its late-night vulnerability and pop-infused production that broadened country's mainstream reach. These tracks, among others like "Blown Away" and "Drunk on a Plane," demonstrate Kear's ability to craft universally relatable stories of heartbreak and resilience, contributing to the evolution of song structures that prioritize raw passion over formulaic tropes. His impact is underscored by institutional recognition, including three Grammy Awards for Best Country Song—the only songwriter to win this category thrice—for "Before He Cheats" (2007), "Need You Now" (2011), and "Blown Away" (2013)—which highlight his role in setting benchmarks for lyrical craftsmanship and melodic innovation in Nashville. In 2013, ASCAP named him Country Songwriter of the Year, honoring works like "Drunk on You" for that further solidified his influence on airplay dominance and collaborative hit-making. Industry observers credit Kear with elevating genre standards, as Sony/ATV Nashville CEO Rusty Gaston noted that his songs "have elevated the standards of " through their conveyance of "genuine emotion that everyone can relate to" and rare emotional depth. As one of Nashville's most versatile writers, Kear unearths the pain and passion driving great music, influencing a generation of songwriters to prioritize authentic storytelling amid the commercialization of .

Criticisms of Song Themes in Modern Context

One of Josh Kear's most prominent songs, "Before He Cheats," co-written with Chris Tompkins and released by Carrie Underwood in 2005, has drawn criticism in contemporary discussions for its depiction of revenge through property destruction. The lyrics describe a woman keying the seats, slashing the tires, and smashing the headlights of her partner's truck with a baseball bat upon suspecting infidelity, actions framed as preemptive retaliation. Despite its chart-topping success—reaching number one on the Billboard Hot Country Songs chart in November 2006—and awards including the 2007 Grammy for Best Country Song and the 2006 CMA Single of the Year, recent analyses argue the song normalizes vigilantism and illegal vandalism without verified evidence of wrongdoing, as indicated by qualifiers like "probably" in the narrative. Critics contend that such themes reflect outdated approaches to relationship conflicts, portraying suspicion-driven aggression as empowering rather than encouraging evidence-based resolution, , or legal intervention, which could foster controlling or paranoid dynamics in listeners. This perspective aligns with broader cultural shifts since the song's release, where evolving standards on roles and view the endorsement of felonious acts—potentially costing thousands in —as problematic, even in fictional contexts of betrayal. For instance, legal commentary has highlighted how the track glosses over the criminal implications of , framing it as justified retribution rather than a offense. These critiques, often voiced in online music retrospectives and , emphasize a tension between the song's cathartic appeal in 2000s —where it resonated as an anthem of female agency—and modern emphases on and . However, defenders, including some country fans, maintain that the exaggerated scenario serves as hyperbolic storytelling, not literal advocacy, and its enduring popularity (over 1 billion streams as of 2023) underscores its role in highlighting emotional fallout from without prescribing real-world imitation.

References

  1. https://www.discogs.com/artist/935316-Josh-Kear
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  3. https://concord.com/publishing-roster/josh-kear/
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  5. https://www.thepaulleslie.com/episode-932-josh-kear/
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  8. https://www.tennessean.com/story/money/2018/08/31/big-yellow-dog-nashville-music-josh-kear-maren-morris-meghan-trainor/959330002/
  9. https://www.nashvillesongwriters.com/node/175
  10. https://www.songwritercity.com/post/songwriter-city-spotlight-josh-kear
  11. https://grammy.com/artists/josh-kear/9849
  12. https://bluebirdcafe.com/tm-attraction/josh-kear/
  13. https://musicrow.com/2016/08/josh-kear-collects-four-musicrow-no-1-challenge-coins/
  14. https://grammy.com/awards/50th-annual-grammy-awards
  15. https://www.musicvf.com/songs.php?page=artist&artist=Josh%2BKear&tab=songaswriterchartstab
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  25. https://www.musicbusinessworldwide.com/sony-atv-nashville-signs-grammy-winning-songwriter-josh-kear-to-worldwide-publishing-deal/
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  31. https://thetrichordist.com/2013/06/17/pandora-is-stiffing-artists-by-john-kear-the-hill/
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  38. https://www.congress.gov/bill/115th-congress/house-bill/5447
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  42. https://www.billboard.com/music/country/lady-antebellum-need-you-now-oral-history-8528711/
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  44. https://www.kunc.org/2013-06-06/country-musics-year-of-the-woman
  45. https://countryrebel.com/7-country-hits-from-the-2000s-that-are-now-considered-offensive-today/
  46. https://www.gklegal.com/blog/domestic-violence-as-portrayed-in-popular-music/
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