Alabama’s MOJO Roars: Jamey Johnson and Megan Moroney Raise $315K in Birmingham Night to Remember
- All Country News
- 3 hours ago
- 5 min read
On a cold Thursday night in Birmingham, that roar echoed through The Social at the Fennec as Jamey Johnson and Megan Moroney joined forces for a one-night-only acoustic fundraiser that felt less like a concert and more like a communion. By the time the final notes faded, the evening had raised an impressive $315,000 for their respective charities and cemented itself as one of those rare nights country music folks will still be talking about years from now.
The event’s clever title, MOJO, came from a mash-up of the first two letters of each artist’s last name, a small detail that perfectly captured the spirit of the night: two distinct worlds colliding with ease, humor, and heart. “If you like JOMO more, you can say that too!” Moroney laughed from the stage, setting the tone early.
Roughly 260 guests filled the room, escaping the chill outside for a spread that leaned Southern and indulgent: shrimp and grits, prime rib sliders, mac and cheese bites, bang bang shrimp, and cake pops. The guest list was as eclectic as the menu, with Mississippi Gov. Tate Reeves and his wife, Elee, mingling alongside songwriters Rob Hatch and Jeremy Popoff, and several state senators and representatives.
Inside the room, the generational divide between the artists’ fanbases played out in real time. Young women sang every word of Moroney’s songs while many of the men held their phones aloft to capture Johnson. Never one to miss a punchline, Johnson deadpanned, “We don’t really get a lot of little girls at my shows, but we sell a hell of a lot of beer.” Moroney fired back instantly: “We have a lot of little girls, but we don’t sell a lot of beer!”
Hosted by Storme Warren of The Big 615, the evening benefitted Jamey and Brittney Johnson’s Give It Away Foundation, which supports charities close to their hearts and communities facing hardship, as well as The Megan Moroney Foundation, focused on combating bullying and promoting mental health awareness. The generosity in the room was tangible, especially during the live auction.
Two alligator hunts fetched $9,000 apiece. Three hog hunts brought in a combined $21,000. Moroney’s personal autographed boots sold for $4,500. A custom hand-tooled saddle by renowned leather craftsman Cody Hixon went for $14,000, purchased by Jimmy John’s founder Jimmy John Liautaud, who then promptly donated it back to be auctioned again, raising another $14,000 to a chorus of applause.
“The Give It Away Foundation exists so that we can help people we see that are in need,” Johnson says, noting that the fund will also create scholarships. “Somebody’s house burns down and we need to find them a hotel to stay in for a few months, or someone has another hardship and they just need a helping hand. The reason for doing this was to raise money for the foundation.”
The night also celebrated a deeply personal connection between the two artists, one that had nothing to do with radio charts or record labels. Moroney’s father retired last year from O’Neal Steel, the Birmingham company where Johnson worked in the 1990s before his music career took off. O’Neal also owns The Fennec, making the venue itself part of the story.
“I worked for O’Neal Steel back in the nineties when I needed a second-shift job,” Johnson said. “I’ve kept up with the owner, Craft O’Neal, since then. It was a way for Megan and me to give back to Craft and O’Neal Steel as well.”
They discovered the connection outside the Grand Ole Opry, when Moroney’s father struck up a conversation with Johnson. “When we realized that connection, we thought it would be so fun to go down to Birmingham and do a show together,” Moroney said. “Here we are!”
Musically, the show was a masterclass in storytelling, humility, and self-aware humor. Johnson opened with “Honky Tonk Badonkadonk,” the Trace Adkins hit he co-wrote with Dallas Davidson and Randy Houser. “This is arguably one of the two worst songs in country music history,” he joked, drawing laughter before proving, once again, that even novelty hits have their place in the canon.
Moroney, accompanied by bandmate Alex Shernit on guitar, leaned into her sharp, self-deprecating wit. Before “Sleep on My Side” and “Lucky,” she jokingly warned against mistreating songwriters. “If you know anything about me, knowing I have questionable taste in men is one of the Top 5 things you know,” she said, earning knowing laughs. She explained that “Lucky” was inspired by an ex she knew she shouldn’t be answering texts from. “So I wrote a song about it.”
The charitable crowd also got an unexpected gift: the first live performance of Moroney’s then-unreleased new song, “Wish I Didn’t,” played just four hours before its national release. She also delivered fan favorites “Beautiful Things,” “Am I Okay?” and, of course, “Tennessee Orange.” When the audience erupted, Johnson couldn’t resist ribbing her: “Cut that out! This is Roll Tide territory!”
Two of the evening’s most powerful moments came when the artists joined voices. Their harmonies on Don Williams’ “Till the Rivers All Run Dry” felt reverent, while John Prine’s “Angel from Montgomery,” which references Johnson’s hometown, landed with quiet emotional weight.
Johnson rounded out his set with “High Cost of Living,” “Women,” and “The Dollar,” before closing the night with “In Color,” his CMA and ACM Song of the Year-winning classic. “This song is heartfelt, to say the least,” he said. “I miss my grandparents all the time, so here is one for the Greatest Generation.” In the hushed room, the song felt less like a performance and more like a shared memory.
After the final applause, Brittney Johnson summed up the night best. “We are overwhelmed by the outpouring of love and support we received,” she shared. “We were proud to team up with Megan for our first fundraising event and help support her mission of mental health awareness. It was a great night of music and fellowship in support of great causes.”
In an industry often driven by numbers, Alabama’s MOJO proved that when the heart leads, the impact follows.
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