Long before they were sitting side by side at Match Records, Madeline Whisenant and Drew Sears were stagehands working the same Birmingham shows. They didn’t know then that they would end up at the same university, in the same program and eventually in the same leadership pipeline — one handing the reins to the other.

What started as high school coworkers has become one of Match’s most personal transitions of responsibility as Whisenant steps down as head of A&R, and Sears takes over.

A&R stands for artists and repertoire, meaning the division of a record label in charge of scouting, signing and developing artists.

Whisenant spent the last year shaping A&R into a collaborative, student-centered department. For her, work was about building systems that supported artists, connected departments and gave students hands-on experience without overwhelming them in the process.

“A&R is really about facilitating relationships,” Whisenant said. “We’re connecting artists to songwriters, helping them get into co-writes and making sure they have what they need to succeed.”

Her tenure included helping expand Match’s co-writing opportunities, overseeing “Are You a Match?” and running the submission process that determines which artists the label signs each year. She also emphasized that Match doesn’t look for talent alone — professionalism, communication and follow-through matter just as much.

But even as she shaped the present department, she kept an eye on its future. Early in the fall semester, Whisenant asked Sears to shadow her and learn the ins and outs of running A&R. She had already seen signs that he was built for leadership at Match.

During Sears’ first semester, he arrived at Match’s “Are You a Match?” meeting fully prepared.

“Drew came to that meeting, computer up, Google spreadsheet, had notes, and nobody had prepared that well,” Whisenant said.

“Most people just kind of pick who they like, but can’t really articulate why. And Drew had really specific, well-thought-out notes on every single person … that really stood out.”

Sears and Whisenant’s long-running connection made the transition even more natural. The two met working the same stagehand job in high school, and when Whisenant returned home after her first year at MTSU, she encouraged him to consider the program.

She “couldn’t stop talking about MTSU,” Sears said. She insisted the program would fit his way of working and his style of connecting with people. He toured the campus, then enrolled.

After one semester in A&R, he recognized the role suited him more than he expected.

“I realized I’m not someone who wants to sit alone at a computer all day,” Sears said. “I like working with people. A&R just clicked.”

Sears began co-writing with artists, getting his first real glimpse into the creative process behind the label’s work. The experience cemented what he loved most: watching artists transform ideas into something real.

By the time Whisenant asked him to step into a trainee role, he was all in. Last semester, he had been learning the less visible responsibilities — managing auditions, running meetings and balancing the department’s workload. 

Whisenant’s advice for him as he transitions into the role is straightforward: learn to navigate the extra layers that come with leadership.

“Once you become a head, you start having to work with all the execs, all of the board, the faculty advisors,” Whisenant said. “Balancing all of the things and learning how to work with all of those people is one of the hardest things.”

Sears hopes to start a developmental pipeline he and Whisenant contrived: giving artists who don’t get signed more structure, guidance and opportunities to grow. He also said collaboration and supporting artists beyond auditions will remain a priority.

As for the department’s future, Whisenant said she hopes to see A&R eventually split into two branches — one focused on co-writing, the other on “Are You a Match?” She also envisions auditions expanding into a larger Nashville venue one day. 

This semester, Sears has stepped into the role she helped prepare him for, making this a full-circle moment neither of them saw coming back when they were working stagehand shifts together.