Florida Georgia Line, Bebe Rexha’s “Meant To Be” Breaks Chart Record

Pictured: Bebe Rexha (C) performs with Brian Kelley (L) and Tyler Hubbard (R) of musical group Florida Georgia Line onstage during the 53rd Academy of Country Music Awards at MGM Grand Garden Arena on April 15, 2018 in Las Vegas, Nevada. Photo: Ethan Miller/Getty Images

Florida Georgia Line and Bebe Rexha now have the longest-running streak on the Billboard Hot Country Songs chart with their 3X Platinum-certified hit “Meant to Be,” released via Warner Bros. Records. The global entertainers premiered at the top of the chart on Dec. 16, 2017, and have controlled the chart pinnacle for an unprecedented 35 weeks straight.

“I’m so honored to be a writer and an artist on this song,” FGL’s Tyler Hubbard said. “I’m thankful to just be one of the many people who put so much energy and effort into making music history. Now, it’s time to get back in the studio and try to break the new record.”

FGL’s Brian Kelley adds, “The power of music continues to blow our minds, and we are extremely humbled and thankful that ‘Meant’ has spent the better part of a year at the top. The connection we feel with our fans through our music is extra special with this song. Bebe and her camp were a blast to work with.”

“I’m grateful to be able to create music that allows me to push limits and push myself,” Bebe Rexha said. “I’m grateful for all the love and warmth from the country community [and give] credit to country greats who influenced me: Johnny Cash, Dolly Parton, Dixie Chicks, Shania Twain, Taylor Swift, Carrie Underwood and so many more. Here’s to writing with your heart and breaking boundaries.”

Surpassing 1 billion total streams globally, “Meant to Be” became FGL’s first No. 1 1 Hot Country Songs debut and marked only the fourth No. 1 entrance in the chart’s history. Rexha also became the first solo female to launch in the top spot. Hubbard, Rexha, Josh Miller, and David Garcia penned the single, which has now surpassed FGL’s former record-breaking “Cruise” (24 weeks).

FGL has ruled Billboard’s Hot Country Songs for the most weeks – 91 cumulative – since it launched in 1958. The duo hit the top of the chart with six songs, including “Cruise”; “Stay”; “This Is How We Roll”; “Dirt”; “H.O.L.Y.”; “Meant to Be” (Bebe Rexha & FGL).

MCA Nashville’s Jordan Davis Celebrates Platinum, Chart-Topper Status For “Singles You Up”

Pictured (L-R): Songwriter Steven Dale Jones, songwriter-artist Jordan Davis and songwriter Justin Ebach. Photo: Peyton Hoge

Music Row members gathered in Nashville yesterday (July 30) to celebrate MCA Nashville artist Jordan Davis‘ first No. 1 song, his debut “Singles You Up,” penned by Davis alongside Steven Dale Jones and Justin Ebach.

Songwriter Paul DiGiovanni also celebrated his first No. 1 as a producer with the track.

“Thanks Jordan for being so talented and easy to work with, and also to Steven and Justin for writing such a great song,” DiGiovanni said. “Zach Sutton, thank you so much for everything you did. I’m happy to be here.”

The party, hosted by ASCAP and held at Nashville hot spot Fat Bottom Brewery, held a shoulder-to-shoulder crowd who cheered Davis as Universal Music Group Nashville Chairman and CEO Mike Dungan announced the track was recently certified Platinum by the RIAA. To celebrate, Davis has released a special acoustic version of “Singles You Up.”

Presentations and speeches celebrating the songwriters were made by publishers Curb/Word’s Janine Appleton Ebach and ole’s Ben Strain, and MusicRow‘s Sherod Robertson, Country Aircheck‘s Chuck Aly, and Country Radio Broadcasters’ Brooke Sanders were also on hand to celebrate the group.

Davis released his debut album, Home State, in March. Davis co-wrote all 12 tracks on the album, including his current Top 40 single, “Take It From Me.”

“First off, I want to thank my family,” said Davis, who thanked every major person that has been a part of his career thus far. He also noted his uncle Stan, who has been writing songs for years. “I remember the first demo I ever heard—I didn’t know what it was at the time—but it was Uncle Stan’s songs,” Davis continued. “He was the first Davis that made the trek to Nashville and I don’t know if we would be here doing that—me and my brother as well—if you hadn’t have done that a long time ago. Dad, thank you for playing John Prine and Kris Kristofferson records. Thank you to Steven Dale and Justin for getting in the room and writing with a new artist. My goal on that day was to get in and prove to Steven Dale Jones that I can write a song. We’ve all heard the songs this guy has written. Thank you for taking a chance and writing with me.

Mr. DiGiovanni can say this is easy all he wants but I’ve realized I’m not an easy guy to make an album with. I make a lot of tweaks, re-sing a lot of stuff, I’ll be honest, I could still go in right now and redo some vocals on some of those songs, but the cool thing about Paul is he always made time for it. Thank you for doing an incredible job.”

Davis also gave thanks to Robert Filhart for his early belief in Davis’ ability. “The initial move to Nashville was very very tough, and if it hadn’t been for Robert Filhart and a place to live rent-free until I could get on my feet…there’s not a lot of people who do stuff like that. I’m very grateful to Robert for not only giving me a place to live but introducing me to people like Michael and Mike Sistad and everybody as ASCAP. And Ben Strain at ole took a chance on me which led me to a lot of other great people. I can always call you guys and the support you show me has been pretty unreal. Thank you for letting me be part of the ole family.”

He also had words of thanks for UMG Nashville’s Mike Dungan, as well as VP, A&R Stephanie Wright. “Stephanie has been with me from day one and has been one of my biggest champions in town. Thank you for making Home State what it is.”

Pictured (L-R): (back) Curb/Word’s Janine Appleton Ebach, Warner/Chappell’s Ben Vaughn, ASCAP’s Beth Brinker, producer Paul DiGiovanni, ASCAP’s Michael Martin, Ole’s Ben Strain, Universal Music Group’s Mike Dungan, (front) Steven Dale Jones, Jordan Davis and Justin Ebach. Photo: Peyton Hoge

Pictured (Back Row, L-R): UMG’s Chris Schuler, UMG’s Royce Risser, SVP Promotion, Jordan Davis, UMG’s Donna Hughes, MCA Nashville’s Briana Galluccio, UMG’s Mike Dungan, Chairman & CEO. (Front Row): MCA Nashville’s Louie Newman, MCA Nashville’s Anna Johnson, MCA Nashville’s Miranda McDonald, MCA Nashville’s Donna Jo Passuntino, MCA Nashville’s Katie Dean, MCA Nashville’s Michelle Tyrrell, UMG’s David Friedman. Photo: Peyton Hoge

Pictured (L-R): UMG’s Royce Risser, SVP Promotion, UMG’s Brian Wright, EVP A&R, Zach Sutton, Jordan Davis, UMG’s Mike Dungan, Chairman & CEO, UMG’s Mike Harris, COO. Photo: Peyton Hoge

BMLG’s Riley Green Trades Sports Career For An Old-School Country Groove

Riley Green. Photo: MusicRow/Haley Crow

“The downfall of my football career was the rise of my music career,” said Riley Green during a recent visit to MusicRow‘s office. Green is the newest member of the BMLG Records family (an imprint of Big Machine Label Group).

The Jacksonville, Alabama native played quarterback at Jacksonville State, until his sports dreams were sidelined.

“I can throw pretty good, but I was real skinny,” he says. “When I got out of high school I was like 6’3″ and 165 pounds. When I was a starter at Jacksonville State, they signed a guy named Ryan Perrilloux from LSU’s national championship team. When the coach told me they signed Ryan, I was like, ‘I’ll go get my stuff out of my locker.’”

Football’s loss was music’s gain, as Green concentrated on his love of writing songs and performing.

Though Green is now a Nashville resident, his “There Was This Girl” single was crafted late last year, when Green was still making regular commutes from his home in Alabama to Music City. He co-wrote the track with Erik Dylan.

“We started talking about all the dumbest things we had done in our lives, and the one constant excuse we had was there was always this girl,” he says. “It was something we thought a lot of guys could relate to. It’s a really ‘90s country sounding song that’s kind of a refreshing sound for a lot of people.” Green is one of a number of artists, including recent releases from Cody Johnson, Florida Georgia Line, Jon Pardi and several others, to embrace throwback sounds reminiscent of the robust twang that ’90s country was known for.

“There Was This Girl” is from Riley’s four-song EP In A Truck Right Now, which released June 29. His traditional-leaning voice rumbles through songs including the title track, which traces the steadfast role a pickup plays in many of life’s most memorable stages.

Riley Green with MusicRow owner/publisher Sherod Robertson

During the MusicRow visit, Green also performed “Numbers On The Cars,” a song inspired by his grandfather.

“Granddaddy was a big NASCAR fan,” Green says. “I can remember going over to his house on Sundays and he would say, ‘Son, what is going on here is that black number three car goes around the track real fast and all the other cars try to catch him.’ I got to thinking about him getting Alzheimer’s, and about how, even going through that, he would still know who drove what numbered car.”

Green signed his publishing deal with Warner/Chappell Music in February, one week before he inked a recording contract with Big Machine Label Group.

“They offered me a record deal in Chicago at Joe’s Bar,” Green recalls. “Jimmy [Harnen] and them gave me a bottle of Crystal and we walked around the streets of Chicago. I didn’t sign that night, but we still drank the champagne.”

He’s recorded about eight songs for the album so far, and teamed with Dann Huff for the project. Green says he wasn’t aware of Huff’s legendary producer status until fellow label mate Reba told him.

“I met Reba in Vegas at the ACMs,” Green says. “Scott [Borchetta] introduced me to her and told her I was in the studio. When I told her my producer was Dann Huff, she slapped me in the face with her scarf. She said, ‘Here I was in the ‘90s trying to go through all these producers to find one that’s worth a shit and here you get Dann Huff right off the bat.’ So that told me he was pretty good.”

Prior to signing his deal with Warner/Chappell and BMLG, Green had already put out several EPs, and had three different tracks garner 3 million streams each. As is increasingly common in Nashville, early streaming success led to calls from several potential label and publishing suitors—an exhilarating but stressful prospect for any new artist.

“I had a few offers for publishing and label, and it was miserable to try to make a decision because everyone was great. They don’t put people that aren’t likeable in A&R positions at labels or publishing companies. I remember I was getting to eat a lot of steak and drink a lot of wine…”

Green says BMLG was the first label to offer him a deal, and in the end, was the place he felt most comfortable.

“Them giving me the first offer definitely came into play. I had a lot of songs recorded and ready, and I didn’t want them to be put on a shelf,” he says. “That was my big fear. Big Machine seemed to really like what I was already doing and just wanted to make it better.”

Green will offer live renditions of plenty of those songs on his headlining The Outlaws Like Us Tour, which launches in August with guests Troy Cartwright and Trea Landon. Green’s full-length album is set for a 2019 release.

Riley Green with MusicRow staffers.

Willie Nelson’s Outlaw Music Festival Headed To Hollywood Bowl In October

Willie Nelson & Family, Phil Lesh & Friends, Sturgill Simpson, Margo Price, Lukas Nelson & Promise of the Real, and Particle Kid will play a special Hollywood Bowl show as part of the Outlaw Music Festival Tour Oct. 21 in Los Angeles.

“I’m excited to play the Bowl with my old pal, Phil Lesh,” says Nelson. “I’m sure there will be some magical music moments for all the fans.”

Tickets for the general public go on sale Saturday, Aug. 4 via ticketmaster.com, by phone at 800-745-3000 or the Hollywood Bowl Box Office. American Express Card Members can purchase tickets before the general public beginning Wednesday, Aug. 1 through Friday, Aug. 3. VIP packages including great seats and exclusive festival merchandise will be available.

The incredible lineup of music stars already announced for the second leg of the Outlaw Music Festival Tour in fall 2018 includes Willie Nelson & Family, Van Morrison, Neil Young & Promise of the Real (Saratoga Springs), Tedeschi Trucks Band, Sturgill Simpson, Nathaniel Rateliff & The Night Sweats, Brandi Carlile, Margo Price, Greensky Bluegrass, Lukas Nelson & Promise of the Real, Terra Lightfoot, The Commonheart, and Particle Kid.

Jake Owen Earns Seventh No. 1 Single

Jake Owen’s hit single “I Was Jack (You Were Diane)” holds the No. 1 spot this week on Billboard and Country Aircheck/Mediabase country airplay charts. It went No. 1 on the MusicRow CountryBreakout Chart back in May. The song is the fastest-rising single of Owen’s career, and his seventh No. 1 hit. It is his first single release for Big Loud Records and currently has over 25 million streams.

The nostalgic No. 1 hit, which received John Mellencamp’s personal stamp of approval, comes at a time when Owen is reflecting on the journey from his first album release date to today. In his recent Instagram post, Jake said, “…I had no idea what was in store for me, but I was excited to just hop on this train of ‘life’ and see where it led me. Of course, I had dreams, goals, aspirations, but a man can only do so much on his own. I’ve been fortunate enough to work with some unbelievably talented people that worked tirelessly to help mold and guide my career…on this beautiful Sunday morning, I have the #1 song on country radio. It’s my 7th. Lucky number 7. Thank you @johnmellencamp for trusting us and allowing us to pay our respects to you and everything you’ve done to pave the way for so many of us in the music industry. I feel like I’m just getting started…”

Clay Hunnicutt, President of Big Loud Records, says, “This is a special week for the entire Jake Owen team and especially us at Big Loud. Everyone has poured their heart and soul into the making of ‘I Was Jack (You Were Diane),’ getting it played and streamed everywhere. We’re all true Jake Owen fans and this is the first step to making him a superstar in our format. Thanks to everyone who helped and believed. It’s only the beginning. Now, it’s time for us all to go down to the honky-tonk and celebrate!”

Owen continues his headlining Life’s Whatcha Make It Tour 2018 through September.

Sony To Acquire Michael Jackson Estate Interest In EMI Music Publishing

Michael Jackson. Photo: Facebook

Overnight, the Sony Corporation of America, Sony Corporation’s wholly-owned subsidiary, announced its acquisition of the 25.1 percent interest in Nile Acquisition LLC held by the Estate of Michael Jackson. (Nile owns an approximately 40 percent equity interest in D.H. Publishing, L.P., which owns and manages EMI Music Publishing.)

As a result of the acquisition, valued at $287.5 million, Nile will become a wholly-owned subsidiary of Sony, pending regulatory approval. Accordingly, EMI will also become a wholly-owned subsidiary of Sony upon the completion its acquisition of the approximately 60 percent equity interest in EMI owned by the investor consortium led by Mubadala Investment Company, as previously announced on May 22, 2018 and June 29, 2018.

In 2016, the Sony/ATV Music Publishing LLC acquired the 50 percent interest the Jackson Estate held since 1995 for $750 million. This brings the total return for the Jackson Estate’s publishing investments to over $1 billion.

Travis Carter Named VP, A&R At Warner/Chappell Music

Travis Carter

Warner/Chappell Music (WCM) has promoted Travis Carter to Vice President, A&R. This appointment will expand on Carter’s previous role as A&R Director, Country/Pop & Rock, focusing on his efforts to discover and collaborate with a diverse roster of talent.

“It’s an honor to get to work with our amazingly talented songwriters and help them bring out their best work,” said Carter. “I’m grateful for the support of Ben and the team, as well as Warner/Chappell’s global network. I’m also grateful to be in Nashville, where there’s no shortage of great talent.”

“We are so happy to announce Travis’ promotion,” said Ben Vaughn, President of Warner/Chappell Nashville. “He’s someone who understands how to communicate with writers and we look forward to his continued growth.”

Carter works with a wide variety of songwriters across genres—from emerging talents like Ben Burgess, Niko Moon, and Jamie Kenney, to signed acts like Brothers Osborne, Midland, Devin Dawson, Morgan Evans, Calynn Green, Cale Dodds, and A Thousand Horses.

Previously, he served as A&R Manager. Prior to Warner/Chappell, Carter worked at Love Monkey Music, Tom-Leis Music and Sony Music, and was a touring musician.

Brothers Doc and Scott McGhee End 25-Year McGhee Entertainment Partnership

Doc McGhee and Scott McGhee of McGhee Entertainment, Inc. have announced the windup of their 25-year business partnership.

With offices located in Los Angeles and Nashville, the 40-year-old McGhee Entertainment will remain “business as usual.” Doc McGhee will continue to oversee the McGhee roster of rock acts and corresponding live events and tours, as well as direct time and attention to film and television development/production ventures. A Doc McGhee autobiography is also in the works; during his career McGhee has worked with artists including Kiss, Bon Jovi, Motley Crue, and Hootie & The Blowfish.

Scott McGhee has launched his new artist management company, 1˚ Entertainment Music & Management Group. The company will also offer integrated brand development, digital and social media strategies, and content creation for alternative distribution. These synchronized services will be incorporated into every artist initiative.

McGhee Entertainment, Inc. (Nashville) and 1˚ Entertainment Music & Management Group offices will continue residency at 21 Music Square West in Nashville.

“We were a good team; our skill sets complemented one another,” said Doc McGhee. “Together, we led the way to expand international touring opportunities and lent assistance to piece the puzzle to celebrate Darius Rucker’s success in becoming the only solo artist with a No. 1 single in another format. I’m proud of the work we’ve done. Our separation is spawned merely by personal and professional objectives, maturity and growth.”

“Doc had established the management company as a frontrunner in the music industry. He had solidified a sound business model and was managing two of the biggest bands in the world…with great success…when I came in,” Scott McGhee added. “Our varied perspectives in marketing, branding, artist development and touring, combined with our commitment to our artists, is what made McGhee Entertainment work and we worked well together.”

“Our objective is to find new and innovative opportunities for our artists over the course of his or her entire career,” Scott McGhee says of his new 1˚ Entertainment Music & Management Group. “We don’t want to just provide a service; we will offer new business strategies tailored to suit each one of our clients. The goal is to canvas the artists’ careers through development in the early days to maintaining relevance, viability and longevity for years to come. Our team will incorporate our mutual experience into a business strategy that is in keeping with the ever-changing environment.”

Maggie Rose Plans New Album, Tour For Fall

Maggie Rose is gearing up for the release of her new album, Change The Whole Thing, on Sept. 21.

The full-length album will feature 12 songs and 12 live in-studio videos, with a full-access behind-the-scenes one-hour musical documentary which peels back the layers and allows the viewer an intimate look into the making of the album.

Leading up to the Fall album launch, Rose incrementally released four digital 45s from her forthcoming project beginning in October 2017. The initial 45 earned her a spot in the Top 10 on Sirius XM with the A-side, “Pull You Through.”

Rose has been named to YouTube’s Emerging Artist and Artist in Residence 2018 programs, and Pandora named her an Artist to Watch 2018. In July, she was tapped for an as-yet-named synchronization deal that lends her voice to a national ad campaign focusing on Women’s Empowerment. She will launch a new tour in support of the album on August 17, visiting Hollywood, Dallas, Atlanta, Nashville, and more through December 6.

Change The Whole Thing Tracklist:
1. Do Right By My Love
2. I’m Yours
3. Change The Whole Thing
4. Lazy Love
5. Long Way to Go
6. It’s You
7. Hey Blondie
8. Smooth
9. Magic Man
10. Just Getting By
11. Pull You Through
12. The Letter

Nashville Film Festival Announces Move to Fall in Anticipation of its 50th Year

The Nashville Film Festival is celebrating its 50th year with a move from Spring to the Fall, announcing the new dates for the 50th anniversary festival will take place from October 3-12, 2019.

The festival also announced the opening of the 2019 call for entries to films, screenplays and original songs. The competition offers over $85,000 in cash and prizes in dozens of categories, and in 2018, the film festival received more than 6,100 films and 1,500 screenplays, doubling the number of entries in just five years. More than 300 films were screened with nearly fifty percent of the films of international origin. Film and VR entries for the 2019 festival will close on May 31, 2019, and screenplay entries will close on May 30, 2019.

“As the Nashville Film Festival celebrates fifty years of engaging viewers with films of all kinds, we are excited to announce the festival’s move to a new time of year,” said Jim Scherer, Nashville Film Festival board president. “Not only is October the most beautiful time of year to visit Tennessee, the calendar move increases the opportunity for attendees to be the first to see what will be the year’s most talked about films at one of Nashville’s premier cultural events.”

In the last six years, the Nashville Film Festival has seen an increase in attendance of 45%, an increase in entries of 213% and an increase in revenue of 64%. The festival has also added a Screenwriting Competition, for which it received the Frist Foundation Revenue Development Award) and a pitch competition for filmmakers, screenwriters and book authors to pitch their ideas to agents, film buyers and distributors.