The Wife He Replaced On Tour (You Chose Her. Now Grovel. #13)

Savannah Holloway has stood two feet to her husband’s left for nine years. She wrote half of The Holloways’ forty-one songs. His name is listed first on all of them.

The trade alert reaches her at 3:41, backstage, mid-tuning:

Deacon is going solo.

Thirty-one cities, co-written with twenty-four-year-old Kinsley Wexler.

He never touched her. He gave her the writing room, the harmony line, and the two feet beside him, and let his manager tell the industry first.

His text arrives at 4:21, four words long.

The run-of-show sheet that morning already read Savannah Holloway not participating, in eight-point type.

Savannah takes the drawer of ten songs nobody has ever heard and plays them Thursdays in a listening room where the cover is ten dollars in a coffee can, under her own name, first-listed for the first time.

Then her lawyer finds the clause in the publishing agreement Deacon’s manager drafted as a wedding present: whoever’s name appears first gets sixty-five percent of the publishing income.

For nine years, Deacon’s name has appeared first.

What goes on the next marquee—and whether Deacon is standing beside her when it does—is hers to decide.

A country music second-chance romance with a betrayed wife, a groveling husband, and a hard-won HEA.