'MusicRow' No. 1 Song

Toby Keith joins staff members of KBEQ during a stop on his Hammer Down Tour in Kansas City, Mo. Pictured (L-R): Greg Sax (SDU); Mike Kennedy (KBEQ/PD); Keith; TJ McEntire (KBEQ MD); Joshua James (KBEQ On Air)

Toby Keith joins staff members of KBEQ during a stop on his Hammer Down Tour in Kansas City, Mo. Pictured (L-R): Greg Sax (SDU); Mike Kennedy (KBEQ/PD); Keith; TJ McEntire (KBEQ MD); Joshua James (KBEQ On Air)

Barry Dean, Natalie Hemby and Luke Laird, the same writers who brought you Little Big Town’s “Pontoon” last summer, teamed up to bring you this week’s No. 1 song, “Drinks After Work” by Show Dog-Universal’s Toby Keith.
We’ve all had one of those days: “long day, no break.” But Keith’s working man single has been asking for 15 weeks on our chart to let some hair down during an after-office happy hour with a particular someone.
Hopefully they said yes, because Keith knows how to have a good time. He’s been around the country this summer for the Hammer Down Tour with dates scheduled through October 2013, so it’s not too late to join the singer while he works on stage!

In the meantime, we can all raise our glass to toast the single with a drink this evening…can’t you get 2-for-1s on Friday? On second thought, we might have to go another week with this song!

No. 1 Celebration: Carrie Underwood's "See You Again"

Pictured (back row L-R): EMI’s Josh Van Valkenburg, producer Mark Bright, Sony Music Nashville’s Gary Overton and Lesly Tyson and BMG Chrysalis’ Kos Weaver. (front row L-R): BMI’s Jody Williams, David Hodges, Underwood, Hillary Lindsey and ASCAP’s LeAnn Phelan. Photo: Rick Diamond

Pictured (back row L-R): EMI’s Josh Van Valkenburg, producer Mark Bright, Sony Music Nashville’s Gary Overton and Lesly Tyson and BMG Chrysalis’ Kos Weaver. (front row L-R): BMI’s Jody Williams, David Hodges, Underwood, Hillary Lindsey and ASCAP’s LeAnn Phelan. Photo: Rick Diamond

Carrie Underwood, Hillary Lindsey and David Hodges were honored for their chart-topping single, “See You Again,” yesterday (Sept. 19) at the Country Music Association offices in Nashville. The song marks Underwood’s ninth No. 1 as a songwriter and ASCAP writer Hillary Lindsey’s 12th time at the top of the charts. Hodges, a former member of the rock band Evanescence, was gifted with a guitar from BMI to commemorate his first Country chart-topping song. It was the 29th chart-t0pper for Underwood’s producer Mark Bright.
Country Radio Broadcasters’ Bradford Hollingsworth, the Country Music Association’s Brandy Simms, Josh Van Valkenburg of Sony/ATV, and representatives from ASCAP’s LeAnn Phelan and BMI’s Jody Williams were among the many to offer congratulations to the songwriters, radio promotion staff and publishers. Sony/ATV made a donation to the Humane Society on behalf of the writers, while Avenue Bank offered a donation to Underwood’s C.A.T.S. Foundation.
“I’ve been nervous the whole week because I’ve never been to a No. 1 party here,” said Hodges. He expressed thankfulness that he was able to not only co-write the song, but sing on it. “I got a call from Mark [Bright] saying Carrie really wanted Hillary and myself to sing background on the song because we wrote it with her,” says Hodges. “I loved that because it is so different from what most artists do and Carrie is so involved in the song.”
The song was one of three originally penned by the trio for possible inclusion on the Chronicles of Narnia: The Voyage of the Dawn Treader soundtrack. “I thank the Chronicles of Narnia people for asking Carrie to write for the movie and Carrie for asking us to write songs with her for it,” said Lindsey. “Almost three years later [after “There’s A Place For Us” was chosen for the movie], I thought ‘See You Again’ was done because we didn’t use it in the movie, then we found out she’s putting it on her album.”

For Underwood, it was a song she felt still had a future and deserved to be heard. “I had so much fun writing with these two. It’s so fun writing with people you like to be around because you know that whatever happens, you had a great time. I knew this song had a place–some place–and that I would find it,” said Underwood, who also spoke about hearing numerous stories of how the song has brought comfort and hope to the lives of those who listened to it. “No. 1 parties are awesome, but the biggest reward is hearing how the song affects people.”

Producer's Chair: Mark Bright

By James Rea

Mark Bright.

Mark Bright

Shortly after Mark Bright left his position as Pres./CEO of Word in 2010, I quoted Mark in my 2011 P.C. interview as saying: “The more time I spent in the studio, the more I felt like I might be jeopardizing the jobs of all the people I was responsible for. My resignation was like a new lease on life.”
Clearly it has been. In two short years, Bright’s body of work with engineer Derek Bason has been remarkable. In 2011 Carrie Underwood was nominated for ACM Top Female Vocalist and Sara Evans’ “A Little Bit Stronger” was nominated for CMA Single of the Year. 2012 brought a CMA Album of the Year nomination, Carrie was nominated for ACM Vocalist of the Year, and Carrie & Brad Paisley were nominated for ACM Vocal Event of the Year for “Remind Me.” Carrie also received a Grammy nomination for Best Country Solo Performance in 2012 and Scotty McCreery won ACM Best New Artist. This year, Mark received nominations for CMA & ACM Album of the Year, Carrie earned another ACM nomination for Female Vocalist of the Year and Bright’s production on “Blown Away” did just that when it won a Grammy for Best Country Song of the Year for writers Josh Kear and Chris Tompkins.
And the hits just keep on coming.
Mark and co-writer Tim James received an ASCAP “Most Played” Award for co-penning George Strait’s 60th No. 1, “Give It All We Got Tonight.” Bright’s new publishing deal is with Delbert’s Boy Music. Bright and Kirsten Wines at Chatterbox Music have already had cuts with Tim McGraw, Little Big Town and others since the name change. Staff Writers include Jason Saenz, Mallary Hope, April Geesbreght, Clark Kelly and others. 
There’s more…Along with Carrie’s new album, Mark produced a record on the Texas-based group The Wagoneers this year and signed New York-based Allison Veltz to a publishing deal, a development deal and a record deal on Blaster Records out of Cleveland – distributed by Warner Bros. He also signed pop artist Clark Kelly and is currently producing Spanish/English, singer-songwriter/dancer/producer/choreographer/model/The Voice coach: Shakira. I must remember to ask Mark how he finds time to go fishing with Luke Bryan.
How did you wind up producing Shakira?
Bright: Since she was a judge on The Voice, Shakira has been around Blake & Miranda and really seeing where the genesis of a Country song starts and becoming inspired by that on her end. So she started checking out country records and she like the ones I was producing. So her A&R guy from New York called me when I was in England and said, Shakira wants to write and record with you.
Is the creative process different from artist to artist?
Yes, and what makes it different is the relationship that the producer has with the artist. Carrie has such an incredible handle on who she is as an artist. She’s very savvy in the studio but she had to learn how to get there. On her first album she had a lot of people around her and she did a lot of listening so she could get her feet under her. She goes out and she sells a gazillion records but more importantly, she learned a lot in the process. The second record comes out, all of a sudden she knew what snare drums make what kinds of sounds, she knew what kind of guitars made those particular sounds and she had an utter command of the types of songs that she wanted to record. She’s always said publicly: “Mark doesn’t tell me how to sing and I don’t tell Mark how to produce.” And it’s been a magnificent relationship.
An artist who has had hit-or-miss with their career will clearly have a little bit of insecurity about how there are perceived in the studio, so you have to just read it in the moment. And where an artist wants to assert himself or herself, you make sure that the players – the engineer and the producer –  are listening because it’s their record.
When pitching a new artist for a deal, do you have a better shot with a label who already has someone you produce, on the label or, one who doesn’t?
I don’t think I could perceive it as having a better shot. I just have special relationships with certain labels that are going to think Mark Bright is doing this; we should give this a special listen. That doesn’t mean however that, Mark Bright is doing this, so let’s sign it. That’s a big distinction.
Do you ever go out on the road with your artists?
With Carrie, it’s such a big tour with so many moving parts that I only take care of the music aspect. I rehearse the show with the band here in Nashville including sound designs for some of the segways between songs, for instance with the show opener, I produced that and it’s my arrangement. Then I’ll go out and we’ll rent out an arena for two weeks and put the show together. When this tour with Carrie started, I was out for two months. But in my world, I’m just taking care of the music part and Raj Kapoor takes care of how the sets come together and how they work, etc. But it’s a lot of fun and then I’ll go back out and make sure that, as we make subtle changes with the tour, maybe a song here and a song there, and check to see if we’re getting the right kind of response. 
Does an artist’s road band ever have difficulty with the song arrangements that were established in the studio?
I think it happens, but it’s rare. What’s more common is that we encourage and particularly in the Carrie camp, you’re going to be playing these songs every night and hopefully the way they play it, by the middle of the tour, is going to be better than the record. I want people to say, That show is better than the record. I love that comment.
If a great song comes in at the last minute, does the lack of time with that song require a different approach in the studio?
That’s a complex question. It happens fairly frequently but in every case that it has happened with me, we have all of those resources in place to be able to handle that. In that event, we already have 4 or 5 drum kits and twenty guitars on hand, so we’re prepared for it. Generally when a new song is that important, we’re excited that we had one come in here that’s going to be a game changer.
In our last interview, you said: Producers are working 5-6 times harder to make the same money. Has your method of doing business changed?
Dramatically, everything in our lives can be scaled and this is no different. We have to scale it to meet the market’s expectation. On a new artist, you can no longer spend anywhere close to the money you used to spend making a record. You’ve got to make it as good but you’ve got to do it with half the money and sometimes less than half the money. And that means, where we used to spread the mix out on the console, a lot of times we’re mixing the whole thing inside the box meaning, in Pro Tools because it’s just so expensive to spread it out. Maybe we’re using more players on the session, so we get a more complete picture of a song. After the date, instead of having to think, let’s get a bunch of these overdubs and sort of build an actual tracking date. In my world, there’s a lot less of that going on.
We try to get the artist to sing one or two or three songs in one session during the day, instead of one song per day. But the idea is, you can’t let the quality compromise. We’re under the same constraints that labels are and how much they can spend going to radio. I love the good old days, but this is what we’re in now and to me it’s all about making great music. It is what it is and we’re going to be happy with it and maybe do a lot more pre-production before we ever go into the studio.
Why is it that many producers and engineers in LA, NY and England have representatives and in Nashville they don’t?
Culturally, we just don’t do that here. We speak for ourselves if we need to talk. And I’m telling ya, that’s one of the biggest attributes of our culture in this town. Producers and engineers don’t have reps, because we don’t need them here.
Are the big studios still dwindling?
It hasn’t changed as much here for Starstruck. Over the past twelve years, I’ve been the primary user of the rooms. I keep one room booked out probably 85% of the time. Other large studios have shut down. It’s tougher for the multi-room studio owner to make a living at this point.
You are on the NARAS and Leadership Music Boards. What have they been up to in the past couple of years?
The Recording Academy has a tremendous amount of programs for high school and college students. We have a thing called GRAMMY U. in colleges. People like me talk to college students in an up-front and honest way to look at what their odds are of getting a music-related job. We’re being honest with them. We also have GRAMMY CAMP, which has high school students going in and getting really concentrated instruction at a very high level from the greatest musicians, engineers and producers in the world. The fruit of that was on the last American Country Awards, when Keith Urban came out and performed with these kids. It was unbelievable how talented these kids were.
The other significant thing that we’re doing at the Academy is building a fully functioning studio at Pearl Cohn High School here in Nashville. They also have a fully-functioning record label that is mentored by John Esposito and Warner Bros. That warms my heart. Now they have a program that is second to none as far as getting a recording education at the high school level.
Leadership Music quietly goes about teaching young and sometimes not-so-young people what the lay of the land looks like, in minutia. Leadership Music does the best job I’ve ever seen in equipping a music professional to understand how to navigate these rather muddy waters that is the music business today, and it does it brilliantly.
Does the direction of a new album generally revolve around what is going on, in the artist’s personal life?
Yes, a lot of times either directly or psychologically. With Carrie, she’s in a very happy place because got married a couple of years ago, so her life looks different. So she typically wants to do songs about happiness and family instead of old boyfriends.
Carrie has had a lot of award nominations. How important is it to her, to win?
Greatly. She’s one of the most competitive people I’ve ever known. You can’t be a successful artist and not have that competitive spirit.
For more, visit theproducerschair.com

LifeNotes: R&B Musician DeFord Bailey Jr. Passes

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DeFord Bailey Jr.

DeFord Bailey Jr. died last Sunday, Sept. 15, in his hometown of Nashville. He was 81 years old.
Bailey was a Nashville r&b music mainstay for decades. He was a regular on the nationally syndicated soul TV show Night Train in 1963-68. His backing band on the show included the guitarist who later became known as Jimi Hendrix. The latter’s guitar style was reportedly influenced by Bailey’s.
DeFord Bailey Jr.’s band also became popular in local nightspots such as The Jolly Roger in Printer’s Alley. He continued to perform regionally throughout the 1970s, 1980s and 1990s. He was a musician at the Opryland USA theme park for a time. DeFord Bailey Jr. was the son of early Grand Ole Opry star and Country Music Hall of Fame member DeFord Bailey (1899-1982). His father was known as “The Harmonica Wizard.” “Junior” was frequently called upon by the media to speak about his legendary father. Junior’s son Carlos Bailey is also a professional musician in Nashville.
DeFord Bailey Jr. is survived by sisters Dezoral and Christine, 10 children, 26 grandchildren and 29 great grandchildren.
Visitation with the family is this afternoon (Sept. 20) until 6 p.m. and on Saturday from 11 a.m. to noon at Terrell Broady Funeral Home, 3855 Clarksville Pike. The funeral will follow tomorrow’s visitation. It will be held at Greater Bethel A.M.E. Church, 1300 South Street. Interment will be in Greenwood Cemetery, which is also where his father is buried.

Nielsen To Add Smartphone, Tablet Viewership To Ratings Tabulation

nielsenNielsen is announcing a plan to incorporate smart phone and tablet viewing into its TV ratings beginning in the Fall of 2014, according to the New York Times. The move is reportedly a response to pleas from the networks to give a more complete accounting of viewership.
With more people watching TV in less conventional ways now, the networks have reportedly been pressuring Nielsen to include that viewership in its reports that measure advertising rates and often influence perceptions of program success or failure.
Since Nielsen ratings are mainly used for buying and selling TV advertising air time, the expansion plan will not include services like Netflix, which airs previous seasons of shows, or Hulu, which is jointly owned by the parent companies of ABC, Fox, and NBC, because ads streamed on that service are different from the ones on network TV. The company will however measure online streams of programs that have the same ads in the same order as regular broadcasts.
The company plans to formally announce the move next week at New York’s Advertising Week conference.

Sounds Australia Hosts 17 Artists At Bluebird Showcase

L to R: Jeff Walker (AristoMedia President/CEO), Glenn Dickie (Sounds Australia), Sam Hawksley, Katie Brianna, Emma Swift, Gena Rose Bruce, Andrew Wriggleswoth and Laura Coates (The Weeping Willows), Jen Mize, Dobe Newton, Mike David (Breaking Hart Benton), Donna Dean, Bill Page (Mushroom Music), Lee Fielding (Breaking Hart Benton), and Erika Wollam Nichols (Bluebird, COO/President)

Pictured (L-R): Jeff Walker (AristoMedia President/CEO), Glenn Dickie (Sounds Australia), Sam Hawksley, Katie Brianna, Emma Swift, Gena Rose Bruce, Andrew Wriggleswoth and Laura Coates (The Weeping Willows), Jen Mize, Dobe Newton, Mike David (Breaking Hart Benton), Donna Dean, Bill Page (Mushroom Music), Lee Fielding (Breaking Hart Benton), and Erika Wollam Nichols (Bluebird, COO/President).

Aussies got the week rolling in a big way for the Americana Festival this week with a huge Tamworth Presents “Australiana At Americana” showcase at the Bluebird Café presented by Sounds Australia. Seventeen artists from Down Under showcased during the event, which kicked off the festival week in Music City. Performers at two different shows included Breaking Hart Benton, Katie Brianna, Tracey Bunn, Donna Dean, Melody Feder & Michael Muchow, Sam Hawksley, Paul Kelly, Anne McCue, Cameron Milford, Jen Mize, Kelly Menhennett, Gena Rose Bruce, Tamara Stewart, Emma Swift, and The Weeping Willows.
“Regulars at the Bluebird are privileged to see a seemingly never-ending stream of incredibly gifted songwriters – most of whom they know,” said Dobe Newton of Sounds Australia.  “So it’s always exciting to present a bunch of new Australian talent and watch the response. We’ve been sold-out for the last two years, and it’s become a favorite, for our artists as well as the locals.  A great night for artists and fans alike.”
Sounds Australia is a marketing initiative designed by the country to provide a cohesive platform to aid the Australian music industry in accessing domestic and international career opportunities.
L to R: Dobe Newton (Sounds Australia), Anne McCue, Cameron Milford, Gena Rose Bruce, Paul Kelly, Tamara Stewart, Michael Muchow, Melody Feder, and Tracey Bunn

Pictured (L-R): Dobe Newton (Sounds Australia), Anne McCue, Cameron Milford, Gena Rose Bruce, Paul Kelly, Tamara Stewart, Michael Muchow, Melody Feder, Tracey Bunn, Glenn Dickie and Kelly Menhennett.

Lifenotes: Teresa L. "Tuttie" Jackson

candle lifenotes11Teresa L. “Tuttie” Jackson, 52, passed away on Sept. 18. She worked in the music business for 35 years, including time at High Seas Music and Bigger Picture Group.
Jackson is survived by sister, Sherry (Bobby) Oakley; brother, Jack (Renee) Jackson; nieces, Amanda Oakley Badacour and Jamie Jackson; nephew, Cody Jackson; great nephews, Logan Badacour and Blaine Jackson, according to Jackson’s obituary.
Funeral services will be conducted Friday (Sept. 20) at 4 p.m., at Woodbine Funeral Home, Hickory Chapel, 5852 Nolensville Road. Visitation will be held Friday (Sept. 20) from 2-4 p.m. at Woodbine Funeral Home, Hickory Chapel.

Swift's Spectacular RED Tour

Taylor Swift RED Tour

Taylor Swift RED Tour

“It’s going to blow your mind. I dare you not to like this show,” proclaimed Scott Borchetta during last night’s (Sept. 19) VIP reception before Taylor Swift took the stage in Nashville for her RED Tour. Media and industry elite gathered backstage at Bridgestone Arena to toast Swift’s recent successes with six plaque presentations. “She is fearless. She is about striving for greatness,” continued Borchetta.
Joining him to do the honors was David Joseph, Chairman & CEO of Universal Music Group UK. Swift was saluted with awards for four million sales each of the No. 1s “We Are Never Ever Getting Back Together” and “I Knew You Were Trouble,” one million downloads of “Begin Again,” and the chart topping status of “The Highway Don’t Care,” her duet with labelmate Tim McGraw. Joseph celebrated Swift’s four million UK sales of her latest album Red, and another plaque honored her six million U.S. sales. Recalling early meetings with the superstar and her team, Joseph said there was never a doubt about her success, “the only question was how big. The story has just begun.”
Mingling at the party were BMLG execs Jimmy Harnen and John Zarling, as well as many others, including Troy Tomlinson, Jody Williams, Pete Fisher, Kyle Young, Sherod Robertson, Bob Doerschuk and representatives from every media outlet in town.

(L-R): Universal Music Group UK/Ireland CEO & Chairman David Joseph, Taylor Swift, Big Machine Label Group President/CEO Scott Borchetta. Photo: by Larry Busacca/TAS/Getty Images for TAS

Nashville is the final stop on the Red North American tour. Swift choose to wrap the run in her hometown because she says it brings out some of her wildest followers. On the first of a three-night stand, she even saluted Nashville by sporting a blinged-out Opry T-shirt. The fan connection is one of the most amazing aspects of her spectacular show. In a huge arena she expertly cultivates an intimate connection with the crowd through open, honest dialog. Her relationship and respect for her fans remains one of Swift’s strongest ties to her country music roots. And just like she grew up listening to Shania Twain and other ‘90s stalwarts, there could be a young girl in the audience who will become the next Taylor Swift.
“I didn’t always have 13,000 people wanting to hang out with me on a Thursday night, that’s, like, a recent development,” the performer admitted as she discussed the importance of treating people kindly and feeling good about yourself before launching into “Mean.”
“I want to thank you for making my music the soundtrack to your crazy emotions,” she shared while explaining that the color red is an analogy for many of her feelings.
The audience was a vibrant sea of red clothing and pulsating lights—creating the biggest party to hit Nashville this year. The theatrical production was mind boggling, venturing from an old Hollywood set for “The Lucky One,” to wind-up toy ballet dancers for “Love Story.” Elaborate sets and wardrobes are Swift’s hallmarks; choreography and her acting prowess add up to unstoppable perfection.
When performing songs from her previous albums, the scene was reminiscent of a fairy tale. For the trip down memory lane she re-imagined some of her biggest hits, including a doo-wop version of “You Belong With Me” backed by Supremes-style girl group. She went old school with just an acoustic guitar to perform “Our Song” on the secondary stage and recalled penning it for her 9th grade talent show at Hendersonville High School. Today songwriting is still the bedrock of her career. She performed the expertly crafted “All Too Well” on a piano which was, of course, painted red.
During “Sparks Fly,” a platform carried her through the air above the audience. Known for welcoming surprise guests, Luke Bryan appeared for a fun duet of his mega-hit “I Don’t Want This Night to End.”
The finale was a trippy Alice In Wonderland scene commanded by a high-flying Swift in a red ringmaster costume. It was a stellar combination of the evening’s best elements: sparkle, glitter and dazzling excitement in a swarm of confetti.

NAB's Marconi Awards Recognize Outstanding Country Stations

images-2The 2013 Marconi Awards were handed out last night in Orlando at the NAB’s Marconi Radio Awards Dinner & Show. Finalists were selected by a committee of broadcasters, and winners were voted on by the NAB Marconi Radio Awards Selection Academy. The Marconi Radio Awards were established in 1989 and named after inventor and Nobel Prize winner Guglielmo Marconi. The Mavericks performed at this year’s event, which recognized some of radio’s outstanding players over the last year.
MusicRow reporting station WKDZ-FM Cadiz, Ky. has been crowned the Small Market Station of the Year at the 2013 National Association of Broadcasters’ Marconi Radio Awards. The distinguished awards recognize radio’s outstanding personalities and stations. To offer congratulations and learn more about WKDZ, contact the station’s general manager Beth Mann at [email protected].
Winners of the 2013 NAB Marconi Radio Awards:
Small Market Station of the Year: Ham Broadcasting WKDZ – Cadiz, KY
Small Market Personality of the Year: Monk & Kelly, Cookeville Communications WGSQ-FM  – Cookeville, Tenn.
Large Market Personality of the Year: Cornbread, Hubbard Wil-FM – St. Louis, Mo.
Country Station of the Year: Cox Media Group KKQB – Houston

A full list of winners from the evening can be found at nab.org.

Charlie Cook On Air: America's Second Most-Popular Sport

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Charlie Cook

For years we have heard that if you don’t vote, you cannot complain. Of course that is not true. Next to the NFL, complaining is the second most-popular sport in America.
Well, I voted and I am going to complain. The problem is I don’t know who to complain to or what exactly to complain about.
The CMA final nominations were announced last week for the Awards show, which will be broadcast Wednesday, Nov. 6 on ABC-TV at 8 p.m. ET, 7 p.m. CT. (No one can accuse me of missing an opportunity to promote.)
I am not going to dispute any of the nominated artists. If they were nominated then they deserve to be on the list. And this is where I am confused about how to complain and who actually I should complain to.
How can Brad Paisley and Kenny Chesney NOT be nominated? I mean not nominated in any categories.
Really? Kenny played in front of well over one million fans this year. Every one of his shows were citywide events. Brad’s show is one of the most high tech, produced, entertaining and well attended shows of the year. This wasn’t his best radio year but he still had three songs chart in 2013 and so far “Beat This Summer” is a Top 20 song.
I count five charted songs for Kenny this year, which would indicate the CD Life on a Rock is a rousing success.
Again, the five male vocalists are all deserving and I am not suggesting any of them should not have been nominated but what is happening to the format when we have to stretch to come up with five finalists in the Female category and we leave two of the format’s biggest stars off the nominations list because there are already five males? And let’s be honest here, the five males are INCREDIBLY strong. I would not move one of them off the list. Dang!
Like I said, I don’t know who to complain to. I am a CMA member. In fact, I’m a board member so you would think I can find someone to complain to but not really. The rules are laid out and everyone followed the rules but I cannot get over one of the hosts of the show is not in the running for any of the awards.
Brad is a bigger man than me so I am sure there will be some self-deprecating humor and there may also be a jab or two from his co-host but I think it is a shame not have him nominated.
In Kenny’s case, his tour had three opening acts and all three got nominations. The headliner did not?
I don’t have a solution to this issue. I was going to say problem, but maybe it is not really a problem, just a situation for me to complain. But, like I said, I voted and I already watch NFL football every Thursday, Sunday and Monday.
(The views expressed in this article are those of the author and do not necessarily reflect those of MusicRow.)