Mitch Glazier has been promoted to President of The Recording Industry Association of America (RIAA), and will ascend to the role of Chairman and CEO in January 2019.

Cary Sherman, the RIAA’s Chairman and CEO, will retire from the organization at the end of 2018 after a storied 40-plus year career as one of the music industry’s most respected and knowledgeable business and policy experts.

Glazier, currently Senior Executive Vice President, will become Chairman and CEO on Jan. 1, 2019, after 18-plus years with the organization. During that time Glazier managed the organization’s public policy and industry relations teams, helping advance a variety of initiatives that helped the American music business transition to a fully digital industry with a stronger set of basic property rights protections. Before joining the RIAA, Glazier served as Chief Counsel for intellectual property to the Judiciary Committee of the U.S. House of Representatives. He also serves as Chairman of the Board of the charity Musicians on Call, which brings the healing power of music to the bedsides of patients in hospitals and healthcare facilities across the nation.

Since 1974 – first as outside counsel to RIAA at Arnold & Porter, and then as General Counsel, President and ultimately Chairman and CEO of RIAA – Sherman has been immersed in every legislative, regulatory and policy issue affecting the recorded music industry, from the comprehensive revision of U.S. copyright law in 1976 to the current debate about the effectiveness of laws which provide “safe harbors” for copyright infringement.

Sherman was instrumental in the enactment of the Digital Performance Right in Sound Recordings Act in 1995, which along with his work on the Digital Millennium Copyright Act in 1998, established a new right for artists and labels to be compensated by digital music services. That right has since become the core legal foundation obligating streaming services to pay royalties for their subscription services – services that have become the primary catalyst for growth in the business.

Sherman also helped the music community collaborate on multiple issues, from anti-piracy and technology initiatives to litigations such as MGM Studios, Inc. v. Grokster in 2005. At a time when piracy was rampant and the authorized music marketplace was in its infancy, that case reshaped the legal landscape for actions against pirate sites and helped level the playing field for licensed music services.

The 52nd Academy of Country Music Awards were packed with high-energy performances, surprise wins, and standing ovations from the in-house crowd at Las Vegas’ T-Mobile arena on Sunday night (April 2).

Entertainer of the Year nominees Jason Aldean, Luke Bryan, Florida Georgia Line, Carrie Underwood and Keith Urban opened the show with a medley that surely captured the attention of viewers at home, roping them in for the three-hour rodeo that ended with Aldean capturing his second consecutive Entertainer trophy.

Among the most surprised winners were Brothers Osborne and Thomas Rhett, who took home honors for Vocal Duo, and Male Vocalist, respectively. Thomas Rhett offered a sincere thank-you to the Academy, God and his fellow nominees. “Everyone in this category are my idols… and shaped the artist that I am,” he said. “This is a very humbling experience.” He also won Song of the Year with co-writers Sean Douglas and Joe Spargur for “Die A Happy Man.” Pregnant wife Lauren Akins beamed in the audience.

The entire show exemplified first-rate stage production. Urban’s performance of “Blue Ain’t Your Color” was displayed in black and white with blue lighting for television viewers. Bryan’s take on “Fast” was an eye-catching display of Edison bulbs. And proving that sometimes less is more, Miranda Lambert’s stripped-down offering of “Tin Man” was slow, steady and pure. Stepping onstage alone, she showcased her undeniable talent as a singer-songwriter while wearing a black dress with cascading fringe.

The song is from The Weight of These Wings, which was awarded Album of the Year. Longtime producer Frank Liddell joined her onstage to accept. “I just want to thank Miranda for being willing to look deep in her soul and bringing her life into her art,” he said. “And [to] any young songwriters out there: tell the truth. It’s more interesting.”

Lambert, who was also named Female Vocalist, saluted fellow nominee Underwood then continued, “I’m just glad to see females kicking ass these days. I’m so proud to be part of that. So cheers to all of us girls out there dreaming.”

Another female showing off her songwriter chops was six-time nominee and New Female Vocalist winner Maren Morris. Draped in a stunning floor-length white gown with a white guitar, she brought old Hollywood glam to new single “I Could Use A Love Song.” She also teamed with Thomas Rhett to perform their upbeat new duet “Craving You.”

It was one of several male-female duets which punctuated the show, including Urban and Underwood bringing disco vibes with “The Fighter.” On the other end of the spectrum, Tim McGraw and Faith Hill’s serious “Speak To A Girl” ended with an excited Hill hugging her husband.

Indeed the varied styles of today’s country were on display. Sam Hunt gave a groovy rendition of the playful “Body Like A Back Road.” Reba and CCM artist Lauren Daigle moved the audience with the powerful faith-anthem “Back To God.” The horns section on Lady Antebellum’s “You Look Good” kept the crowd bopping. Chris Stapleton stuck to his traditional-leaning sound on new country rocker “Second One To Know.” ACM Group of the Year Little Big Town brought the vibrant “Happy People” amidst a colorful background and wardrobe. LBT’s Karen Fairchild also spoke on behalf of Video of the Year winner “Forever Country,” which is a multi-artist effort led by the Country Music Association. This may be the only time the CMA receives an ACM Award.

A major highlight of the show was the consistent offering of new songs from the performers. While many awards shows prefer artists sing their biggest hits in order to attract viewership, the ACMs opted to give fans a plethora of new music. In addition to the aforementioned songs, Rascal Flatts proved their lasting relevance with new single “Yours If You Want It.” Brett Eldredge sang “Somethin’ I’m Good At”—complete with an appearance by a contortionist. Cole Swindell and Dierks Bentley made hearts race with cool new tune “Flatliner.” And Old Dominion previewed killer track, “No Such Thing As A Broken Heart,” from their upcoming album.

Some of country’s biggest stars (Garth Brooks, Blake Shelton and Eric Church), were noticeably absent from the festivities. Brooks and Shelton were shut out of the nominations, while Church received a nod for Song of the Year (“Kill A Word”).

Florida Georgia Line and Backstreet Boys closed the show with a supercharged performance. They sang “God, Your Mama and Me” and then rocked every body in the house and at home with the hand-swaying ‘90s pop anthem “Everybody (Backstreet’s Back).”

 

Country artists and several of country radio’s top stations converged on T-Mobile Arena’s Lucky Live Lounge in Las Vegas recently, leading up Sunday evening’s 52nd annual Academy of Country Music Awards.

Top country superstars and new emerging talent – including Keith Urban, Miranda Lambert, Florida Georgia Line, Michael Ray, Jason Aldean, Maren Morris, Kelsea Ballerini, Little Big Town, Rascal Flatts, Trace Adkins, and more – plus pop group Backstreet Boys — engaged with 30 of America’s top Country stations, TuneIn, and Radio Disney and more.

In addition, Westwood One Backstage at the ACM Awards featured exclusive private backstage performances from Curb Records artists Lee Brice, Mo Pitney, and Jerrod Niemann, who performed Saturday evening, Broken Bow duo Walker McGuire, who performed Friday evening, and Valory Music’s Delta Rae, who kicked off backstage orientation Thursday night.

“Not only will those artists have their music exposed and heard, but for the stations, it creates more of a showbiz atmosphere,” Cumulus/Westwood One Sr. VP/Content & Programming Mike McVay recently told MusicRow of the radio remotes. “If you are a station and you are recording live back to your stations, you want the audience to have a feel for what is going on at the ACMs. You want almost that circus-like feeling, so having an artist perform at the end, so that the loud music is not interfering with everybody doing their local broadcasts, I think rewards the stations. It enables them to share with the audience what it feels like to be backstage at the ACMs.”

Big Machine Label Group celebrated multiple wins and performances following the 52nd Annual Academy of Country Music Awards in Las Vegas, during an afterparty at Sake Rok Las Vegas, with plenty of sushi and cocktails.

The live broadcast on CBS featured Florida Georgia Line, who shared the stage with Backstreet Boys for a show-stopping mashup of the duo’s current single “God, Your Mama, And Me” and Backstreet Boys’ “Everybody.” Prior to the telecast, the duo won Single of the Year (“H.O.L.Y.”) and Vocal Event of the Year (“May We All” featuring Tim McGraw).

It was a big night for Thomas Rhett as he took home a pair of awards for Male Vocalist of the Year as well as Song of the Year for his three-time platinum, six-week No.1 hit “Die A Happy Man” alongside co-writers Sean Douglas and Joe Spargur. Later in the telecast, Thomas Rhett debuted his new single “Craving You” featuring Maren Morris, who joined him on stage.

Ronnie Dunn introduced Reba‘s collaboration with CCM artist Lauren Daigle on Reba’s latest single “Back To God.” A special version of the duet is out now.

Rascal Flatts also performed their single “Yours If You Want It.”