Bobby Karl Works The Room: 2016 ASCAP Country Awards

Publisher and Song of the Year honoree Warner Chappell's Ben Vaughn, Songwriter of the Year Ashley Gorley, Publisher and Song of the Year honoree Warner Chappell's Jon Platt

Publisher and Song of the Year honoree Warner Chappell’s Ben Vaughn, Songwriter of the Year Ashley Gorley, Publisher and Song of the Year honoree Warner Chappell’s Jon Platt. Photo: Ed Rode

BOBBY KARL WORKS THE ROOM

Chapter 548

It was “Kentucky Night” at the 54th annual ASCAP Country Awards.

Staged at the Ryman Auditorium on Monday (Oct. 31), the gala honored Ashley Gorley as its Songwriter of the Year, Ricky Skaggs with its ASCAP Founders Award and Chris Stapleton with its ASCAP Vanguard Award. All are sons of the Blue Grass State.

“This has been amazing,” said Gorley. “I just want to thank my co-writers and this whole community.” He explained that Nashville’s music folks rallied to his side during this past year when both his mother and his wife battled cancer.

The songwriter is such a Kentuckian that he has a blue University of Kentucky basketball court in his backyard. Accordingly, UK Wildcats basketball coach John Calipari presented Gorley with his award. This was Gorley’s fourth time to win ASCAP’s top country songwriting prize.

“I’m proud to present to a member of the Big Blue Nation,” said Calipari. “If you’re named songwriter of the year four years, you are a champion,” he added. Trace Adkins sang Gorley’s co-written 2008 goldie “You’re Gonna Miss This” in his honor. The songwriter’s new ASCAP award was due to the seven No. 1 hits he co-wrote in 2015.

Kelsea Ballerini opens the ASCAP Country Music Awards with "Love Me Like You Mean It"

Kelsea Ballerini opens the ASCAP Country Music Awards with “Love Me Like You Mean It.” Photo: Ed Rode

John & TJ Osborne had just performed a blistering version of their hit “Stay a Little Longer” with Sam Bush and Dave Pomeroy when it was suddenly announced as the ASCAP Country Song of the Year. Both brothers seemed stunned.

“I was over the moon just to be up here playing with Sam Bush,” said TJ. “I can’t believe this just happened.” John offered advice to those aspiring to become successful songwriters: “Keep f—king going! Keep doing it, and it will happen.”

Skaggs was saluted by Gordon Kennedy and Peter Frampton with a rocking “My Cup Runneth Over.” The close-harmony quartet of Alison Krauss, Jamey Johnson, Sydney Cox and Suzanne Cox offered a sublime “Waiting for the Sun to Shine.” Both of these performances drew standing ovations. Garth Brooks rounded out the Skaggs tribute with “Highway 40 Blues,” accompanied by Bush and Justin Moses.

Marty Stuart made the Founders Award presentation, saying, “I followed him as a guiding light. He inspired multiple generations of songwriters and singers. A statesman has evolved. For more than four decades, Ricky Skaggs has been an undeniable force in bluegrass and country music. Give him a hand.”

“Not being a real known, famous songwriter, I never dreamed that I could get an ASCAP award,” said Skaggs. “What an awesome thing. You know, I’m still making music. I came to this town to make music, not to win awards.”

ASCAP's Michael Martin and President and Chairman Paul Williams, ASCAP Vanguard Award honoree Chris Stapleton, ASCAP's CEO Elizabeth Matthews, EVP of Membership John Titta and Mike Sistad

ASCAP’s Michael Martin and President and Chairman Paul Williams, ASCAP Vanguard Award honoree Chris Stapleton, ASCAP’s CEO Elizabeth Matthews, EVP of Membership John Titta and Mike Sistad. Photo: Peyton Hoge

Stapleton apologized in advance for not being good at acceptance speeches. “I don’t know what to say about everything that’s happened over the last year and a half or so,” he began. “When I found out you could have a job being a songwriter, I thought, ‘That’s the greatest job in the world. I gotta figure out how to do it.’

“I’ve learned so much from so many people in this room. It’s an amazing honor to get this award tonight,” added the Visionary winner.

Warner/Chappell won the country Publisher of the Year for the fourth consecutive time. Radio personality Bobby Bones was given the Partners in Music Award for helping to make stars of Stapleton, Kelsea Ballerini and Cam, among others.

“All I do is show people what we already know is fantastic …and give people a place to shine,” said Bones.

The ceremony was embellished with plenty of performances. In addition to Adkins, Brooks and the others cited above, Ballerini offered “Love Me Like You Mean It” to open the show.

Song of the Year honorees Brothers Osborne perform "Stay a Little Longer"

Song of the Year honorees Brothers Osborne perform “Stay a Little Longer.” Photo: Ed Rode

Brothers Osborne’s “Stay a Little Longer” was one of the five top ASCAP country songs of the year. The other four were also performed at various points throughout the gala.

Corey Crowder and Chris Young tore into “I’m Coming Over.” Craig Wiseman and Luke Laird offered a lively “Gonna.” Dan + Shay wore outfits meant to imitate Gorley and Chris DeStefano as all four performed “Nothin’ Like You.” That one drew a standing ovation. Old Dominion band mates Matthew Ramsey and Brad Tursi did “Save It for a Rainy Day.” Their band spent most of the year touring with “Save It” singer Kenny Chesney.

A number of record makers took the stage as either presenters or award winners. These included Kip Moore, Canaan Smith, Scotty McCreery, Jonathan Singleton, Frankie Ballard, Billy Currington, John Rich, Randy Goodrum, Maddie & Tae, Cam, William Michael Morgan, Brett Young, Ryan Hurd, J.T. Harding, Matthew West, Brett James, Jaren Johnston of The Cadillac Three and Old Dominion’s Geoff Sprung and Trevor Rosen.

These Country Music Week activities are not for amateurs. They are endurance marathons. We arrived around 7 p.m. and didn’t stumble out of there until after 11:30 p.m. Those who don’t have deadlines go off into the night for after-parties.

The cocktail supper featured mini chicken pot pies, brisket mac & cheese, beef short ribs & mashed potatoes, quinua & kale salad, shrimp cocktail and blue-cheese asparagus. Schmoozers included Mike Dekle, Mike Vaden, Mike Milom, Mike Sistad, Michael Martin, Chris DuBois, Chris Farren, Chris Oglesby, Josh Kear, Josh Osborne, Dan Hodges, Dan Keen, John Ozier, John King, Jon Nite, John Titta, Dave Berg, Dave Pahonek, David M. Ross, Marc Beeson, Mark Ford, Paul Williams, Paul Pointius, Gary Nicholson, Gary Burr & Georgia Middleman, Glen Middleworth, Bill Velez and Billy Paul.

ASCAP's Michael Martin and President and Chairman Paul Williams, ASCAP Founders Award honoree Ricky Skaggs, and ASCAP EVP of Membership John Titta

ASCAP’s Michael Martin and President and Chairman Paul Williams, ASCAP Founders Award honoree Ricky Skaggs, and ASCAP EVP of Membership John Titta. Photo: Ed Rode

It was Halloween night, so a few folks donned costumes for the occasion. I spotted a can-can girl, a Santa elf, two riverboat dandies, a ladybug with spotted wings, some cowboys (of course) and several witch hats, including one on Ree Guyer-Buchanan. Erika Wollam Nichols wore a sheath with black and orange sequins in a jack-o-lantern pattern.

There were other looks we liked. Celia Froelig was a dish in a white sequined sheath. Mark Bright sported deluxe red leather sneakers. Carla Wallace wore a flowing, floral patterned, floor-length gown. Byron Hill was in a black velvet jacket. Cam’s outfit included a sparkling, multi-colored bodice and a vivid green skirt with a long train. Bones matched the Ryman ushers in his red blazer.

Working the room were Liz Rose, Elizabeth Matthews, Matt Rogers, Frank Rogers, Robert Ott, Bobby Rymer, Terry Wakefield, Teresa George. Pat Alger, Doug Howard, Jewel Coburn & Jason Morris. Wayland Holyfield, Ron Cox, Hank Adam Locklin, Walter Campbell, Tom Long and Buddy Cannon.

Plus, Garth Fundis, Tinti Moffatt, Tony Brown, Kerry O’Neill, Stewart Dill, Vincent Candilora, Herkie Williams, Ralph Murphy, Cheryl White, Desmond Child, Ron Stuve, Lon Helton, Cyndi Forman, Jimmy Robbins, Zach Crowell, Derek George and Hillary Lindsey.

Country Music Week activities continue with the BMI Awards on Tuesday and the CMA Awards on Wednesday. Rock on, fabulons.

Ashley Gorley, Dan + Shay and Chris DeStefano perform "Nothin' Like You" in costume as each other. Photo: Ed Rode

Ashley Gorley, Dan + Shay and Chris DeStefano perform “Nothin’ Like You” in costume as each other. Photo: Ed Rode

ASCAP's Michael Martin, Robert Filhart, ASCAP Partners In Music Award honoree Bobby Bones, ASCAP CEO Elizabeth Matthews and ASCAP President and Chairman Paul Williams. Photo: Ed Rode

ASCAP’s Michael Martin, Robert Filhart, ASCAP Partners In Music Award honoree Bobby Bones, ASCAP CEO Elizabeth Matthews and ASCAP President and Chairman Paul Williams. Photo: Ed Rode

NMPA, NSAI Submit Streaming Rates Proposal to Copyright Royalty Board

NMPA

The National Music Publishers’ Association and the Nashville Songwriters Association International submitted a proposal today (Nov. 1) to the Copyright Royalty Board to determine the interactive streaming services rates payable by services like Pandora, Spotify, and others for 2018-2022. NMPA’s full brief can be seen here and proposed rates and terms here.

“Interactive streaming is becoming the dominant way in which consumers listen to music,” said NMPA President and CEO David Israelite. “This trend will continue, therefore it is imperative that we improve the rates paid by streaming services like Spotify to ensure that the songwriters who create the songs on which these platforms are built, are paid fairly.  The current licensing model is structured as a percentage of revenue, and we must change this to a structure where songwriters are paid in accordance with the inherent value – and popularity – of their work instead of the success of a given service’s business model. We are laser-focused on achieving royalty rates that are set on a per-play and per-user basis. While we remain open to achieving a settlement with the digital services to avoid a trial as we have done in the past, we are ready to fight for exactly what songwriters deserve.”

 

Ryman Auditorium Plans Six-Show Residency With Little Big Town

little-big-town-fall-2016

The Ryman Auditorium will host its first residency in 2017, with Little Big Town slated for a six-show series beginning Feb. 24, the same day their seventh studio album, The Breaker, will release. Additional shows will be held on Feb. 25, May 19-20, and Sept. 15-16.

Little Big Town’s members Karen Fairchild, Kimberly Schlapman, Phillip Sweet, and Jimi Westbrook made the announcement during a press conference at the Ryman Auditorium, with Nashville Mayor Megan Barry and Ryman Auditorium general manager Sally Williams.

“To launch our 125th-anniversary celebration we wanted to do something new – a Ryman residency,” said Williams. “Little Big Town consistently bring to the table fresh, exciting creations.  ‘Little Big Town at the Mother Church’ will be no exception.  We’re honored to celebrate this major milestone with them and to cement their place in Ryman history moving forward.”
Pictured (L-R): Jimi Westbrook, Nashville mayor Megan Barry, Karen Fairchild, Ryman Auditorium GM Sally Williams, Kimberly Schlapman, Phillip Sweet, and Sandbox Management's Jason Owen.

Pictured (L-R): Jimi Westbrook, Nashville mayor Megan Barry, Karen Fairchild, Ryman Auditorium GM Sally Williams, Kimberly Schlapman, Phillip Sweet, and Sandbox Management’s Jason Owen.

Fairchild said that the residency’s first shows will center around new album The Breaker, and hinted that the residency could include performances from legendary performers who have never played the Ryman stage, with the group providing harmonies.

The Breaker includes the group’s current single, “Better Man,” which was a solo write penned by Taylor Swift. The group said the song was the first time Swift had ever pitched a song.

“We said, ‘We are not just going to blab that you wrote this immediately,'” Fairchild recalled of their conversation with Swift. “She said, ‘That’s the greatest honor as a songwriter that you could ever give me is that you don’t want anyone to know I wrote it.’ We knew we would tell eventually and it was a hard question to dodge for a while and the only reason we didn’t say is because we wanted for you to hear it for what it’s worth and it’s a beautiful song. At her heart, she is the biggest pop star in the world, but she’s a songwriter from Nashville, Tennessee, and she likes to tell a story and we didn’t want you to have any subtext there other than to hear the song, and we did that. It had the biggest add day in our history with our guys at Universal that we’ve ever had.”

Tickets for the Ryman Auditorium residency will go on sale at 10 a.m. Friday.

 

Rolling Stone Country Co-Founder Beville Dunkerley Joins Pandora

Beville Dunkerley

Beville Dunkerley

Beville Dunkerley has exited her role at Rolling Stone Country to join Pandora as its Industry Relations Director. She will be based in Nashville and will utilize her experience to help Pandora serve the country community.

Dunkerley co-founded Rolling Stone Country, the magazine’s first genre-specific website, in 2014. Prior to her work with Rolling Stone, she co-founded two websites for AOL, including Spinner (rock/alternative) and The Boot (country/Americana). Her career also includes time programming country stations for AOL radio and working at WSM Radio.

Earlier this year, former Billboard Sr. Editorial Analyst Glenn Peoples also exited his role at the music industry trade publication to join Pandora, working in Music Insights and Analytics.

Ain’t No Stopping Kane Brown on This Tour

kane-brown-chattanooga-2016f

Kane Brown kicks off his headlining Ain’t No Stopping Us Now Tour this Thursday (Nov. 3) in Kalamazoo, Michigan. The 2,000-seat venue is the first stop on a 27-city major tour supported by Monster Energy and Outbreak Presents. Outbreak has featured some of the biggest breakthrough artists in music early in their careers, including Kendrick Lamar, Macklemore, Iggy Azalea, Cole Swindell, and Fetty Wap, and hand-selected Brown as their discovery-worthy artist for 2016.

“I’ve learned so much from being out on the road most of this year, and I really can’t wait to bring my fans an entirely new show. Many of my fans have been with me since day one – the first time I ever posted a song on Facebook – and it has been the most amazing feeling to share my new music from the upcoming album and hear their reaction to the new songs live,” said Brown.

Brown’s debut album is scheduled for release Dec. 2. His current single “Thunder In The Rain” is Brown’s fifth song to reach No. 1 on the iTunes Country Charts prior to any radio airplay.

Kane Brown Ain’t No Stopping Us Now Tour Dates:
Nov. 3: Kalamazoo, Mich.; Kalamazoo State Theater
Nov. 4: Detroit; Fillmore
Nov. 5: Cincinnati; Bogart’s
Nov. 10: New Orleans; House of Blues
Nov. 18: Myrtle Beach, S.C.; House of Blues
Nov. 25: Orlando, Fla.; House of Blues
Dec. 1: Philadelphia; TLA
Dec. 2: Asbury Park, N.J.; Stone Pony
Dec. 3: New York; Irving Plaza
Dec. 4: Washington, D.C.; Fillmore
Dec. 11: Charlotte, N.C.; Fillmore
Dec. 15: Indianapolis; Egyptian Room
Dec. 17: Chicago; House of Blues
Dec. 18: Minneapolis; Varsity
Dec. 29: Cleveland; House of Blues
Dec. 30: Jackson, Mich.; Michigan Theater
Jan. 5: Anaheim, Calif.; House of Blues
Jan. 6: Los Angeles; Belasco
Jan. 7: Sacramento, Calif.; Ace of Spades
Jan. 11: San Diego; House of Blues
Jan. 12: Las Vegas; House of Blues
Jan. 13: Salt Lake City; The Depot
Jan. 14: Denver, Colo.; Summit Music Hall
Jan. 16: Lawrence, Kan.; Granada Theater
Jan. 19: Dallas; House of Blues
Jan. 20: San Antonio; The Aztec
Jan. 21: Houston; House of Blues

 

Mark Your Calendar — November 2016

Single Add Dates

tuckerbeathardmommaandjesusNovember 7
Tucker Beathard/Momma And Jesus/Dot Records

November 14
Dierks Bentley/Black/Capitol Nashville
Aaron Watson/Outta Style/Big Label Records
Donica Knight/Acting Like A Lady/Donica Knight Music-DKI
William Michael Morgan/Missing/Warner Bros.
LOCASH/Ring On Every Finger/Reviver Records

 

Industry Events

cmalogoNovember 1
64th annual BMI Country Awards at BMI’s Nashville office (invitation-only)

November 2
50th annual CMA Awards on ABC

November 4
First Grammy ballot due

November 8
CMA Country Christmas tapes at the Grand Ole Opry House in Nashville

November 9
6th Annual NATD Honors Gala at the Hermitage Hotel

November 28
CMA Country Christmas airs on ABC

 

Album Releases

Ronnie Dunn Tattooed HeartNovember 4
Eric Church/Mr. Misunderstood On the Rocks Live & (Mostly) Unplugged [Walmart exclusive]/EMI Records Nashville
Various/A Chrisley Christmas/Warner Music Nashville-Holy Graffiti
Christy Nockels/The Thrill Of Hope/Keepers Branch Records

November 11
Ronnie Dunn/Tattooed Heart/Nash Icon
Ty Herndon/House On Fire/BFD-Sony-RED Distribution
Garth Brooks/Garth Brooks: The Ultimate Collection [10-disc boxed set]/Target-Pearl Records
Hillary Scott/Love Remains (Vinyl)/EMI Nashville
Home Free/Full Of (Even More) Cheer [Walmart exclusive]

November 18
Miranda Lambert/The Weight Of These Wings/Vanner Records-Sony Music Nashville
Kacey Musgraves/A Very Kacey Christmas (Vinyl)/Mercury Nashville
George Strait/Strait Out of the Box: Part 2 [Walmart exclusive]/MCA Nashville
Travis Tritt/A Man and His Guitar – Live From The Franklin Theatre [two-disc CD and DVD]
Hugh Prestwood/I Used To Be The Real Me/Wildflower-Cleopatra Records

November 25
Garth Brooks/Gunslinger/Pearl Records

Exclusive: Betsy McHugh Launches Tech Venture To Connect Artists, Audiences

Betsy McHugh

Betsy McHugh

While artists including Taylor Swift and Coldplay have experimented in recent years with the use of light-up wristbands during concerts, Betsy McHugh’s new wearable technology venture, Hurdl, aims to help bridge the gap between artist and audience, while being both accessible and affordable.

Having worked for more than a decade marketing tours for CAA acts including John Mayer and Bon Jovi, as well as in management roles for artists including Keith Urban and Hunter Hayes, McHugh was discontent with an all too common touring experience: artists’ music connected with an audience brimming with listeners, but there was no way to further engage with every single person who had attended.

“I would get so frustrated that we couldn’t send a message to everyone in the audience to say thank you for coming,” says McHugh. “So many people don’t go to the merchandise stand immediately following a show, because maybe they need to get home or skip traffic. It really came around to my simple frustration that I couldn’t send a message to every single person in the audience.”

Two more traditional ways of connecting with or obtaining information for concert attendees have included targeted social media blasts, or securing ticket purchase information.

“With ticket information, that’s a small portion of the audience. The average ticket purchase is 2.7 tickets. Round that up to three, and you’re only getting 33 percent of the audience, so I really wanted to find that ‘trojan horse’ that drives the ability to communicate with every person in the audience.”

With Hurdl’s wearable technology, audience members receive a wristband upon entering the venue. The wristband is then activated via text message. Each audience member then receives a customizable set of questions.

“We can ‘light up’ people based on the answers to those questions,” McHugh says. “We can light up all the ladies or all guys or everyone with a birthday today or all the veterans in the audience.”

Though the wearable technology market has healthy competition—Hurdl’s competitors include PixMob, Xyloband, and fellow Nashville-based Glow Motion Technologies—McHugh saw an opportunity to improve on the concept.

McHugh, a graduate of Vanderbilt University’s Business Psychology program, teamed with Hurdl co-founder Zach Shunk. Hurdl’s Nashville team also includes UX designer Andy Hubright, VP Growth and Strategy Thomas Griffin, Executive/research services’ Delaney Brannigan, and Account Services provider Ali McCowan.

Zach Shunk

Zach Shunk

McHugh’s early research found that the price for wearable technology was too costly for some artists’ production budgets. “The cost was always so astronomical, that I really took it under my wing. It had to be scalable, something we could take to all live events and also see something that people wanted to activate.”

Traditional activation setup also proved to be a barrier. “Initially, we wanted people to download a mobile app, but that was difficult, or they would download it only for a little bit and then delete it. But everybody has a phone and texting, regardless of age group. Ninety percent of people are likely to activate across age groups. Some people do it after the opening act, some do it right away, and some do it in the middle of the show.”

The wristbands seem a win-win for artist and fans. They collect data from each audience member, which can then be used to directly market ticket upgrades, concession stands discounts, meet-and-greet opportunities and more.

“It’s a really holistic approach. We brought this as a marketing concept and not just a hardware company. We will continue to R&D around one singular concept–building a one-to-one communication network with every single person in the audience.”

So far, Hurdl has attracted a following not only in music entertainment, but in live sporting events that are eager to drive attendance. Hurdl now boasts clients including Disney, Major League Soccer, NBA, and NHL.

“People have an innate desire to be part of something bigger,” McHugh says. “What we saw in our beta test, no matter the age of the people in the audience, people want to be part of the experience.”