The world continues to launch a relentless assault on my brain—especially when people are flat-out mean or just trying to tear you down. Trying to be a good, kind, helpful person feels like a daunting, almost impossible task in that headspace. But fortunately for me, total solace lives where the music plays and my camera is in hand. The second I look through that viewfinder, the worries fade away, and everything clicks right back into focus.
And right now, there is no better place to escape the noise and lock in. It is finally November, which means it’s time for the Frank Brown Songwriters Festival—ahhhhh, happy happy joy joy! Real talk: I will be insanely sleep-deprived and entirely fueled by black coffee, cherry-cola Celsius, and a steady supply of Clancy’s potato chips from Aldi for the next eight days—don’t judge me!
The 42nd annual festival is taking place November 5–15, with more than 200 songwriters and over 600 performances. These are easily some of the best days of the year along the Alabama-Florida Gulf Coast. Although the packed schedule can be taxing for a photographer, there is absolutely nothing better than Frank Brown. This marks my third year capturing the magic alongside the photographer who started it all for me, Shelley Patterson. It’s an experience I am so incredibly grateful for. There is truly nothing like being a part of the Frank Brown family, and while I always love my festival coverage schedule, this year I am completely over the moon about it!
I’m definitely not writing articles for every single second of my festival coverage—ain’t nobody got time for that text wall, ha! Which means your FOMO will be real—I’m sorry! Instead, I am going to paint you a beautiful Molly masterpiece of the amazing music, the incredible stories behind the songs, and all the wild behind-the-scenes magic that makes up the vibrant musical world of the Frank Brown Songwriters Festival. Trust me on this—what I am going to write about will have you booking a ticket for next year’s festival. You can thank me later.
So! Are you ready to jump into my head and see the tapestry of the Frank Brown Songwriters Festival through my lens and pen?
And a resounding “YES!” hit me right between my ears. There’s no turning back now—let’s get into it.
What do you get when you put a legendary hitmaker, a powerhouse songwriter, and a Shark Tank hustler in the same room? A masterclass in country music where the hooks are undeniably platinum, the guitar picks are patented, and Mark Cuban’s handshake is officially country-music certified. And I got to see the talent behind it all firsthand, alongside everyone else in attendance at Rolfs Music Hall.
Fasten your seatbelts, friends, because we are in for one wild ride!
Kevin MaC: Nashville’s mad scientist of country music
Meet Kevin MaC—Nashville’s ultimate musical Swiss Army knife and a 100% hustler! This guy completely refuses to stay in one lane. Mostly because he’s moving way too fast to care about the lines anyway, and honestly? Nobody wants him to hit the brakes.
Before making his way to Music City, MaC honed his craft in Virginia Beach, blending his country roots in the studio with hip-hop and R&B cats like Timbaland, Missy Elliott, and Teddy Riley. That musical blueprint transformed him into a gold-standard entertainer. He has become an absolute staple of the Music Row songwriting community, co-writing hits with heavyweights like Dan Tyminski and Ronnie Bowman. He has penned tracks for Darius Rucker and Edwin McCain, and shared stages with everyone from Kenny Chesney to—in the ultimate plot twist—REO Speedwagon.
But music is only half the story. MaC is the co-founder of Tik Pik, the “pick that sticks” that scored a huge deal on Shark Tank and exploded into a million-dollar business partnered with Fender. Who knew reinventing the guitar pick would be a super awesome cash cow? (Brb, going to try to reinvent the guitar strap and fail miserably, haha!) And if you need a stiff drink after processing that level of overachievement, he also launched Elsie Marshall “Shotgun Granny” Whiskey, a 100-proof bourbon named after his grandmother. Pardon me? A whiskey inspired by Grandma? Hell yeah! Please pour me a glass!
If you think MaC’s resume is wild, just wait until we look at the guy sitting next to him. For me, the man sitting next to MaC might be the biggest hidden name behind some of the most timeless songs in country music history.
Let’s pour that drink and dive into Keith Stegall.
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Keith Stegall: the mastermind behind your ultimate country playlist
Keith Stegall isn’t just country music royalty—he’s the guy who practically built the castle. Billboard ranks him as one of the top five country music producers of all time, an elite status backed up by a trophy room overflowing with Grammy, CMA, and ACM hardware.
We are talking about a total studio wizard with over 55 No. 1 hits just chillin’ in his back pocket. If you’ve ever lost your voice singing along to Alan Jackson, you have Stegall to thank; he’s the mastermind who crafted that legendary sound and helped move a staggering 60 million records. Oh, and if that wasn’t enough, he casually orchestrated the launch of the Zac Brown Band. I don’t know about you, but I’m over here trying to figure out what superpower I need to channel just to be a fraction more like Keith Stegall! Hashtag new life goals!
As a songwriter, his catalog is filled with absolute bangers. He’s the pen behind country anthems like Alan Jackson’s “Don’t Rock the Jukebox” and George Strait’s “I Hate Everything.” Then, not to be confined to country music, he crossed over into late-’90s pop by writing 98 Degrees’ massive wedding serenade “I Do (Cherish You).” And yes, I was absolutely that little 98 Degrees fangirl singing into a hairbrush in the mirror, dreaming of Prince Charming. Anyways! From trading lines with legends like George Jones and Keith Whitley to hunting for the next generation of superstars through his company, Dreamlined Entertainment Group, Stegall is still paving the way in Music City, anchoring Nashville’s ever-changing music scene.
D. Vincent Williams: Nashville’s most soulful secret
Tacked onto the night’s already stellar bill was a last-minute addition: the incredible D. Vincent Williams. Talk about an absolute game changer! I went in knowing absolutely nothing about him, but let me tell you, I got an education real quick. Follow me here.
First, and I mean this with total respect, this man low-key looks like Chris Farley pulling up to the piano. I was already grinning, but the second D struck the keys and opened his mouth, he absolutely shook me.
No matter what instrument he’s playing, this guy completely commands the room. His storytelling is the real deal, which makes sense when you look at his catalog—it’s a literal who’s who of the industry’s best. We’re talking hits cut by Jason Aldean, Reba McEntire, Randy Travis, and Lee Ann Womack, plus icons like Michael Bolton and Kenny Rogers. He’s a true songwriter’s songwriter with a soul-touching pen and a voice that hits you straight in the chest.
He doesn’t just write songs; he crafts career-defining and timeless anthems. He took home the 2002 ACM Song of the Year for Rascal Flatts’ hit “I’m Movin’ On.” Then, he completely flipped the script and co-wrote James Otto’s smash “Just Got Started Lovin’ You,” which dominated the top spot to become Billboard’s most-played country song of 2008.
The raw magic of Rolfs Music Hall
As a University of West Florida graduate (Go Argos!) with a B.S. in Exercise Science, I know what you’re thinking: how do fitness, writing, music, and photography all fit together? Andddddd honestly, it’s me welcoming my early midlife crisis with open arms. It’s fine! But jokes aside, it’s an absolute blast returning to my old stomping grounds and visiting Rolfs Music Hall on the campus of UWF for the first time.
I feel like the live music scene right now is all about huge stadium routines, heavy bass lines, and cellphone screens blocking your view. But stepping into Rolfs Music Hall at UWF flips that script upside down. It forces you to remember what live music actually feels like when it is stripped down to the bare bones. The room itself feels like the inside of a giant acoustic guitar. Towering wood paneling covers the walls and ceiling, trapping the sound and glowing under warm spotlights. The audience sits in pitch darkness while the stage is brightly lit, forcing everyone to focus on the performance.
The seating drops straight down toward the stage; there is nowhere to hide. You are close enough to hear every little detail onstage or see the musicians exchange a quick look before someone strikes a note. It is completely organic and intimate. In a world that is always loud and distracting, a space like Rolfs is a rare find—it’s a room where you actually sit still, shut up, and listen.
From church choirs to grocery aisles
Walking down the steep stairs toward the stage of Rolfs Music Hall, I tried to look like a serious photographer. Instead, gravity took over, and I looked more like a newborn giraffe trying to navigate a downward escalator. At the bottom of the stairs was Keith Stegall, casually setting up his guitar for soundcheck. Despite his extensive resume, he didn’t look like a mega industry giant, which was super cool; he just looked like an everyday guy messing with his guitar.
In my mind, striking up a conversation with someone like Keith requires some finesse, but instead, I completely bypassed cool and went straight to awkward. Like a certified weirdo, I walked right up to him, introduced myself, proceeded to tell him how I looked him up before I arrived, and blurted out how completely honored I was to meet him. He offered a politely taken-aback smile—the kind that disguises someone else’s sudden burst of super fandom. As soon as I walked away, the internal facepalm took place: Dang, Molly, why do you have to be so weird? Next time, just stick to “nice to meet you.”
The empty hall was totally still, and there was a serene quiet you only get in a venue before the doors open. Onstage, it was just three uberly talented songwriters casually messing around with their gear. D was bouncing between the keys and his acoustic guitar, getting his levels right. Next to him were Keith and Kevin, both just strumming their acoustics and tuning up, even whistling into the mic. Despite how many hits these guys have written, the vibe was super laid-back—especially Kevin, who was literally just chilling up there in flip-flops.
Corey McKern, director of the Dr. Grier Williams School of Music, kicked things off, welcoming a nearly full hall of music majors—which was purdy neat. He gave a big shout-out to Peggy Butler for being there. Peggy is a Frank Brown Songwriters Festival board member who set up UWF’s Larry Butler Memorial Music Scholarship in 2015 to honor her late husband, a Grammy-winning producer from Pensacola who worked with stars like Kenny Rogers. The fund raises money to help music students pursue their dreams.
Every bit of this round was exceptional, but these are the moments that stuck with me.
Kevin MaC’s “Carolina When I Die” was one of them. It’s a song he co-wrote that was recorded by artists like Darius Rucker and Edwin McCain and was literally signed into law as an official state song of South Carolina. MaC wasted no time putting that room full of music majors to work. He fired up a sing-along, and without missing a beat, the students jumped right in. It sounded like a massive, beautiful choir taking the entire hall to church, with everyone locking into perfect harmony on the chorus: “Take Me To Carolina When I Die.” Honestly? Absolute goosebumps.
Then, of course, he tossed his famous Coca-Cola jingle into the mix—an entire song he wrote about the unmatched vibe of a crispy Diet Coke from McDonald’s. This man literally just took us to church and then turned around and transported us to a completely different world over a McDonald’s fountain drink. Go ahead with your bad self—but if we’re going to that world, imma need a small fry for the trip!
Then came Keith Stegall. Obviously, judging from my weird fangirling at soundcheck, the man needs no introduction. He started talking about a song he wrote that was recorded by the Band of Heathens, giving off this vibe like he still couldn’t quite believe they cut it or that it became this massive track. Keith said he was gonna give it a shot, struck the opening guitar chords of “Hurricane,” and my mind was completely blown.
It’s one thing to remember he’s the mastermind behind Alan Jackson, Zac Brown Band, and the 98 Degrees hit “I Do (Cherish You)”—but then he just casually drops “Hurricane” on us? Well, damn. Let me just pick my jaw up off the floor and try to take some pictures. Sheesh.
Stegall’s performance of “Hurricane” returned to the raw, haunting foundation of the 1979 track he co-wrote, trading the heavy Southern-rock style of the Band of Heathens’ version for an intimate, front-porch acoustic feel. His guitar kept it simple with a steady, straightforward pulse that let the chords ring out dark but pure, while his vocals carried a relaxed, conversational rasp that leaned into weathered storytelling. It was a tough act to follow, but D. Vincent Williams was up next—someone Stegall praised as the most talented guy on the stage.
With an infectious smile, D. Vincent Williams recounted the hilarious beginnings of a track he co-wrote with Jim Femino for James Otto. D and Jim were wandering around a Kroger grocery store in Nashville when they got a random phone call from Otto. Which literally means the biggest country song of 2008 was birthed right there in a Kroger food aisle. So, the new plan is officially set: we are all going to grab a shopping cart, head straight to the nearest grocery store, and channel our inner songwriter next to the cereal display! Mind you, this thought was strongly encouraged by D before he performed “Just Got Started Lovin’ You.”
Stripping away the country twang, Williams delivered a deeply soulful performance that felt way more Motown than Music Row. Williams sang almost like a Sunday morning preacher, anchored by clean country undertones. Then Kevin MaC took off on guitar, delivering insanely rhythmic fills and melodic runs that complemented D’s vocals. Williams’ performance of “Just Got Started Lovin’ You” was nothing short of beautiful. It was raw, soulful, and he kept the song’s country roots front and center. It was a magnetic, heartfelt performance that literally stole my heart.
Afterglow
After every songwriter round during Frank Brown, I always carry the same thought... What happens here on the Gulf Coast during these 11 days stays with us forever.
Even though I am still right in the thick of it and already sleep-deprived, watching these rounds makes all the madness worth it. The world outside might still be loud and trying to get me, but Frank Brown is the ultimate retreat where the noise completely goes away. It’s a place where I can literally stumble down the stairs looking like a newborn giraffe, completely lose my cool to awkwardly fangirl over industry giants like Keith Stegall, and instead of feeling like a certified weirdo, I just feel right at home.
Looking through my lens at these performances, I’m not just capturing art pieces. I’m watching the magic of Kevin MaC turning a room full of music majors into a church choir with “Carolina When I Die”—right before making me crave a McDonald’s fountain drink and a small fry. I’m watching a legend like Keith Stegall casually drop a haunting, front-porch rendition of “Hurricane,” a song he wrote in 1979 that has blown up thanks to the Band of Heathens, leaving my jaw on the floor. And I’m watching D. Vincent Williams turn his song—the biggest country song of 2008, birthed in a Kroger grocery aisle—into a deeply soulful, country-rooted moment that completely steals my heart.
I may be out here capturing the magic through my lens, but it’s the songwriters who are truly creating it. My camera is still snapping, my headspace is completely full, and the festival is far from over—but my heart is already overflowing. I still might be a certified weirdo, but I’m a certified weirdo who is incredibly proud to be a part of the Frank Brown family.
I’ve still got a lot of festival left to shoot, but for now, I’m off to go find a grocery store cereal aisle and see if any more inspiration strikes. Thanks, D! Insert heart hands.
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