The 2019 iHeartRadio Music Awards offered up plenty of great music and moments at the Microsoft Theater in Los Angeles Thursday night (March 14) with artists like Garth Brooks, Taylor Swift, Alicia Keys and Halsey receiving special honors during the festivities. Among the big winners were “The Middle” for Song Of The Year by Maren Morris, Zedd, and Grey, “Meant To Be” by Bebe Rexha featuring Florida Georgia Line for Country Song Of The Year, Luke Combs as Country Artist Of The Year, Jason Aldean‘s Rearview Town for Country Album Of The Year, and Jordan Davis for Best New Country Artist.

Garth Brooks performed a medley of his hits and received the first-ever Artist of the Decade Award from actor Chris Pratt, Alicia Keys was honored during the show with the iHeartRadio Innovator Award, Halsey accepted the iHeartRadio Fangirls Award presented by L’Oréal Paris, and Taylor Swift was given the Tour of the Year Award during the star-studded night of music.

Broadcast live on FOX, on iHeartMedia radio stations nationwide, and on iHeartRadio and hosted by T-Pain, the fan-fueled awards featured performances and incredible collaborations including Alicia Keys, Ariana Grande, Backstreet Boys, Ella Mai, Garth Brooks, Halsey with special guests Yungblud and Travis Barker, John Legend, Kacey Musgraves backed on piano by special guest Chris Martin, lovelytheband and Marshmello with special guest Lauv.

For the first-time ever, the iHeartRadio Music Awards presented an AI (Artificial Intelligence) voice assistant with an award. The iHeartRadio Game Changer Tech Award, which honors the most innovative use of technology that brings fans closer to the music they love, was awarded to Amazon’s Alexa. Garth Brooks and Bobby Bones spoke to Alexa, who gave a tongue-in-cheek acceptance speech.

In addition, iHeartMedia partnered with leading short-form mobile video app TikTok to present seven awards in the seven days leading up to the telecast. Beginning Thursday, March 7, winning artists were presented their awards and gave acceptance speeches that aired exclusively on the TikTok app each morning at 8:00 AM ET.  Winners included Panic! At The Disco for Alternative Rock Album of the Year, Jason Aldean for Country Album of the Year, twenty one pilots for Rock Album of the Year, Marshmello for Dance Artist of the Year, Imagine Dragons for Most Thumbed Up Artist of the Year, the Chainsmokers for Dance Album of the Year and Lauren Jauregui’s dog, Gracie, for Cutest Musician’s Pet.

Song of the Year: “The Middle” – Zedd, Maren Morris, Grey
Artist of the Year: Ariana Grande
Female Artist of the Year: Ariana Grande
Male Artist of the Year:  Drake
Best Duo/Group of the Year: 5 Seconds Of Summer
Best Collaboration: “Finesse (Remix)” – Bruno Mars featuring Cardi B
Pop Album of the Year: Sweetener – Ariana Grande
Best New Pop Artist: Marshmello
Alternative Rock Song of the Year: “High Hopes” – Panic! At the Disco
Alternative Rock Artist of the Year: Imagine Dragons
Alternative Rock Album of the Year: Pray for the Wicked – Panic! At The Disco
Best New Rock/Alternative Rock Artist: lovelytheband
Rock Song of the Year: “Safari Song” – Greta Van Fleet
Rock Artist of the Year: Three Days Grace
Rock Album of the Year: Trench – twenty one pilots
Country Song of the Year: “Meant To Be” – Bebe Rexha featuring Florida Georgia Line
Country Artist of the Year: Luke Combs
Country Album of the Year: Rearview Town – Jason Aldean
Best New Country Artist: Jordan Davis
Dance Song of the Year: “The Middle” – Zedd, Maren Morris, Grey
Dance Artist of the Year: Marshmello
Dance Album of the Year: Sick Boy – The Chainsmokers

Sony/ATV Music Publishing CEO Martin Bandier has added his voice to those from the songwriting and publishing communities criticizing Spotify, Amazon, Google, and Pandora for their appeal of the recent rate ruling from the Copyright Royalty Board. Notably, Apple Music is not participating in the appeal. Bandier issued the following letter to Sony/ATV writers, expressing his disappointment “that Spotify and the other companies have chosen to attack songwriters by appealing the long-overdue rate increases.”

If the ruling goes forward, pay from such music services to songwriters would increase by 44 percent.

Bandier’s letter reads:

Dear Songwriter,

I am writing to update you about some important developments for songwriters in the U.S. regarding the mechanical royalty rates that the Copyright Royalty Board set last year.

As you may recall, in January 2018 the CRB set a series of new rates that include an increase to the statutory mechanical rate for on-demand streaming from 10.5 percent of revenue to 15.1 percent of revenue over the period 2018 to 2022. This was a significant victory for songwriters.

However, the hard-fought win is now under threat as Spotify, Amazon, Google and Pandora have filed notices to appeal these rates. Apple has decided not to appeal. If Spotify and the other streaming services are successful with this appeal, it may result in a reduction in the royalty payments that songwriters will receive from the streaming services. As a result, the National Music Publishers’ Association (NMPA) has announced that it will also file an appeal but will withdraw that appeal if the services do the same.

I am incredibly disappointed that Spotify and the other companies have chosen to attack songwriters by appealing the long-overdue rate increases. The move flies in the face of everything that I have fought for on behalf of songwriters for fair-market rates. Songwriters are unquestionably the most important contributors to the success of the streaming services and deserve the benefits of the new rates that we worked so hard to achieve.

While Sony/ATV will work diligently and closely with the NMPA to protect these new rates, there are no more important or effective voices on this issue than those of songwriters themselves. I therefore urge you to make yourselves heard and to speak out against this appeal. At the same time, we will be sure to update you as events develop.

Regards,

Martin Bandier
Chairman & CEO
Sony/ATV Music Publishing

Bandier’s comments follow those of NMPA chief David Israelite, who earlier this week issued a point-by-point “fact check” rebuttal specifically against Spotify’s blog post explaining their reasoning behind the appeal.

The city’s pop-rock community continues to flex its muscles as we wind up the first quarter of 2019.

The return of The Black Keys is certainly the most newsworthy event in this column. It is also the most musically delightful, and wins the Disc of the Day prize.

We have a plethora of other worthy spins here. Not the least of them belong to our bands Blank Range and Republican Hair, who share this week’s DisCovery Award.

SARAH POTENZA/Diamond
Writers: Sarah Potenza/Justin Wiseman; Producers: Jordan Brooke Hamlin; Publisher:Edamame Productions/Ball Park Drive Publishing; ASCAP/BMI; SP (track)
– This outspoken Nashville blues rocker first achieved national attention on The Voice. Her new album, Road to Rome, dropped last Friday. Its lead single is a feminist battle cry that vows to take no s–t from anyone. It roars in all the right places.

THE BLACK KEYS/ Lo/Hi
Writers: Dan Auerbach/Patrick Carney; Producers: Dan Auerbach/Patrick Carney; Publishers: none listed; Nonesuch
– Hooray! They’re back, and steaming hotter than ever. This is a neo-ZZ Top blues banger with a relentless beat that gets my body twitchin.’ These two have been producing super music independently with others, but their original sound is still the greatest. Can’t wait for the rest of the reunion album.

 

JASON RINGENBERG/God Bless The Ramones
Writers: Jason Ringenberg; Producers: Mike Lescelius/ Jason Ringenberg; Publisher: Jason Ringenberg Music (BMI); JR (track)
– This track from his comeback solo CD Stand Tall is an autobiographical rampage about opening for punk rock titans The Ramones back in the day. The tempo is furiously frothing and the lyrics are terrific, right down to the description of the audience throwing vile stuff at the then-innocent Scorchers as a rite of passage and quoting, “Gabba, gabba Hey!”

LILY & MADELEINE/Self Care
Writers: Lily Jurkiewicz/Madeleine Jurkiewicz; Producers: Daniel Tashian/Ian Fitchuk; Mad Lily Music; BMI; New West
– Wondering what the Tashian/Fitchuk production team has come up with since Kacey Musgraves’s pop masterpiece? Wonder no more. The opening track of this sister duo’s Canterbury Girls collection is awash in echo, electronic blips, acoustic piano and dreamy feminine vocals. I understand that the indiana-bred sisters have now departed Music City for Manhattan. Bon Voyage.

 

CAGE THE ELEPHANT/Ready To Let Go
Writers: none listed; Producer: John Hill; Publisher: none listed; RCA
– The breakup lyric is raw and forceful. As always, the band punches with both fists. Already Grammy winners, this outfit has moved to the forefront of the Nashville rock scene with a steady stream of addictive tracks. This one advances a collection to be titled Social Cues. I predict a monster.

BLANK RANGE/Radio
Writers: none listed; Producer: none listed; Publisher: none listed; BR
– This is the lead-off track from this Nashville band’s sophomore album, and you won’t find a purer rock performance. The boys kick serious tail with twangin’ guitar work, unstoppable drumming and a dry, deadpan-snark lead vocal. I love, love, love this.

 

SHANNON SANDERS & THE NASHVILLE URBAN CHOIR/Fight On
Writers: Shannon Sanders; Producer: Shannon Sanders; Publisher: Songs of Shannon/ Lilyjam; Blue Rose Music
– Empowering and inspirational. Released to coincide with Black History Month, this awesome anthem transcends any specific demographic and ascends to a spirit strengthening shout for all. Sanders is a Grammy winner who has worked with India.Arie, John Legend and Johnny Lang, among others. Check out this song’s video for its cool views of Music City settings.

 

LENNON STELLA/Bitch (It Takes One To Know One)
Writers: Lennon Stella/Erin McCarley; Producer: none listed; Publisher: none listed; Columbia
– This Nashville popster continues her march to stardom with this layered, ear-tickling delight. In the midst of a burbling, complex, polyrhythmic, swirly production, she delivers, “It takes a bitch to know a bitch” with disarming winsomeness. With every note she releases, I become a bigger and bigger fan. Listen and believe.

LUCIE SILVAS/I Want You All To Myself
Writers: Lucie Silvas/Erin McCarley/Aaron Wright; Producer: Jon Green; Publisher: none listed; Furthest Point
– You heard this languid, soulful track on Gray’s Anatomy. It comes from Lucie’s current E.G.O. collection. She’s headed for SXSW right now, but frequently showcases in Nashville. When she does, by all means go. Incidentally, one track on the CD is produced by her hubby, John Osborne, and he plays guitar on the rocking single, “Kite.”

REPUBLICAN HAIR/Fuck a Bomb
Writers: none listed; Producers: none listed; Publisher: none listed; Duckhaus
-This punk-new-wave outfit is representing Music City tonight (March 14) at SXSW. Expect some serious head bobbing and smiling faces as they proclaim the joys of making music instead of war. Taken from the act’s current Chaotic Good album. Buy it now.

 

An outdoor show would have been ideal for a welcomed 70-degree evening in Nashville on March 13 when Maren Morris took to the Ryman Auditorium stage for her Girl: The World Tour. Perhaps more to do with the fact that not every fan was able to get a ticket for the sold-out gig, and less to do with the climate, Morris announced she will return to Nashville, playing the two-time larger Ascend Amphitheater on Oct. 18.

Morris’ signature vocal intuition delivered live is likely the biggest pull for the attendance surge. She consistently delivers a more soulful variant of her album cuts on stage. As the second show in her Girl: The World Tour, there are now 14 new tracks to showcase.

“I don’t even think I know the words to these songs that well and I wrote them, so I’ll just look to you for guidance,” beamed Morris. “My new record came out Friday, so it’s only been a couple days.”

Morris walks a line in her musical journey. She blends the elaborately produced elegance that has carried her through pop breakout hits like “The Middle,” with honest and heart-felt stories behind the hits, most she co-wrote.

“I used to drive up and down these two blocks in Nashville,” recalled Morris of Nashville’s Music Row area. “That’s where I met most of my friends who are in this crowd, and wrote the songs we’re playing tonight with me.”

Morris brought her full production, complete with video walls, to the Ryman’s wood stage. Raising through the risers in a dramatic entrance, Morris cast aside a shimmering glitter coat after the first number to don a fringed bedazzled denim jumper for the remainder of the show.

She took the most vocal liberties on the songs she’s been performing for the past few years, off her debut, Hero. “80s Mercedes” welcomed the audience back to Morris’ world and the pop-flavored song that set her whole career into motion. “Rich” showed off her stage presence and delivered her comfort in energy and motion as she eased into her soulful ingenuity. And then there’s “Once,” where Morris just totally wails and reminds you her career still has an incredibly strong trajectory with the pairing of songs that showcase her vocal ease and extreme power and shoots for the heart.

A slew of guests surprised the audience, and even Morris herself.

With arguably the most memorable 2019 Grammy performance, roots/Americana winner Brandi Carlile joined Morris for a new duet off Girl, “Common.”

Show opener Cassadee Pope joined Morris for a radio-friendly duet off the new record, “All My Favorite People,” which is performed with Brothers Osborne on GIRL.

Most surprisingly, country star Miranda Lambert and hit songwriter Natalie Hemby joined Morris on the stage for a song Morris chose off Lambert’s 2009 album, “Virginia Bluebell.” While Morris did not share writing credits for the deep cut, she praised her fellow Texan as early inspiration to try her shot six years ago in Music City.

“I mean this is the girl tour,” said Morris. “I love Maren Morris, she’s a bad ass,” praised Lambert. Lambert and Hemby stayed to impeccably harmonize on Morris’ “I Wish I Was.”

“This is so fun, I wish I had a Springsteen-type catalog to play for four hours,” exclaimed Morris, who turned back to new music. She introduced “To Hell & Back,” the first song written for the album, saying, “I was going through this weird in-between breakup and single [stage]—where you’re not quite out of the tunnel yet.”

Probably the most appropriate and self-defining song on Girl, “Flavor,” offers Morris a chance to stand her ground. Original could take a while/I’m cooking up my own flavor. Morris is a trailblazer. Her appropriate Dixie Chicks reference was well accepted by the unabashed millennial crowd, singing every word.

Even sitting, or laying down on the stairs like in “Make Out With Me,” Morris’ voice packed a punch, and the glow of the staircase offered a distinguished flair, appropriate for the delivery.

Morris is on the right track—namely her own. She rides that wave of musical lineage many have caught before her on their path to becoming a legend. A catalog takes time, and with songs like “The Bones,” Morris is able to color outside the lines of a genre that, for perhaps the first time, is able to unconditionally accept an empowered female who lets her vocals loose.

As the show progressed there was less behind-the-scene anecdotes between songs, which became ballad heavy. Her first No. 1, “I Could Use A Love Song,” was one such title—but a stand-out regardless—for which Morris addressed critique. “A guy at a radio station that said people don’t want to hear women being sad on the radio,” recalled Morris. “I’m pretty sure sad songs are what built country music. I want to know I’m not alone in my broken heart, and I put this song out anyway, and it took 42 weeks to finally hit No. 1. And that guy doesn’t have his job anymore. The universe is funny that way.”

Of course the antithesis track, the pop commercial cut “The Middle,” concluded the whole evening in the encore, after her seated, casual delivery of another new title, “Shade.”

Morris was surprised by Pope, Lambert, Carlile and Hemby, who helped join on a larger-than-life, gospel-punched production of “My Church,” to conclude her set.

“2019 is going to be a turning point for a lot of key people, women, a lot of underdogs,” she concluded. “I’ve been fortunate to have my songs played on the radio the last couple years, but I know so many of my friends who are badasses and deserve to be on there, and are not. I’m going to continue to be the squeaky wheel until something gets some oil.”

Citi presale for the Ascend Amphitheater show begins Tuesday, March 21, with tickets on sale to the public Friday, March 22. Special guests to be announced.

Thompson Square’s Keifer and Shawna Thompson have inked recording and publishing deals with Reviver Entertainment Group.

The first conversations between the label and the duo were facilitated by Thompson Square manager Shawn Pennington.

“Shawn went to Reviver and had a discussion about what we were doing independently,” Keifer tells MusicRow. “Having people that are so excited about what you are doing musically is exciting. The deal was done pretty quickly.”

“Shawn Pennington and I worked together back in the day on Big & Rich,” says Gator Michaels of Reviver Entertainment Group. “He just sent me music. This Masterpiece album is beautiful and the video is gorgeous. The conversations—they refer to it as ‘like-minded people,’ and I think that is true. The chemistry was there on a human level and we shared vision of where they are trying to go with their career. I’m so impressed with their work ethic and their diversity—they have so many things coming out.”

“Gator and David [Ross, Reviver CEO]  are just such good people,” adds Shawna. “We sat down and talked with them for like four hours, just vibing off each other. It just felt right.”

In 2011, Thompson Square was a mainstay on country radio stations, thanks to their No. 1 breakthrough hit “Are You Gonna Kiss Me Or Not,” which went on to be certified 2x Platinum by the RIAA.  The duo’s self-titled debut album (which was released on Broken Bow’s Stoney Creek imprint) has since been certified Gold. However, a followup album, Just Feels Good, failed to produce a hit single on the level of their earlier radio smashes.

Thompson Square parted ways with BBR Music Group in mid-2017, but they continued creating and releasing music. Last year, the duo teamed with producers Nathan Chapman, Dann Huff and Ilya Toshinskiy, as they independently crafted and released the album Masterpiece, marking their first album release in five years. For the new project, they incorporated a technicolor of sounds, drawing on country, rock, R&B and hints of reggae.

“Shawna and I found ourselves in a place where we weren’t sure if we wanted another deal,” Keifer says. “We had found that our fans were showing up and buying our music. She and I found happiness in music again. Creating Masterpiece was so much fun and there is a creative freedom that comes along with that. We were in a happy place.”

With the new label deal, the duo is excited to get reacquainted with their friends at country radio.

“Without a label, it is impossible to get terrestrial radio,” Keifer said. “We miss our friends at radio and doing that whole thing. That was a really fun thing for quite a long time.”

In November, the duo ventured into other creative outlets, releasing the children’s book Time To Get Dressed, which was inspired by the duo’s three-year-old son, Rigney Cooper.

The duo also hint at a few more creative side projects that are in the works. While they are mum on details, Keifer acknowledges some of them are music-related.

“With Reviver, they are excited about all of our creative outlets. And with this deal, we get to be artists. And now we have this great team behind us,” Keifer says.

“They are excited about letting us be artists in every way possible,” Shawna adds.