Morgan Evans is heading overseas for a set of six shows in Europe in September. The Australia native will play five headlining dates across multiple cities as well as a festival appearance at The Long Road in Lutterworth, U.K. The performances mark a return to the U.K. for Evans, who has built a fan base across the pond with previous headlining shows and a 2018 appearance at the C2C Festival in both London and Glasgow.

Tickets will be available starting Friday (March 29), and can be purchased via morganevansmusic.com.

This European run adds to Evans’ packed tour schedule for the year as he’ll join Rascal Flatts’ Summer Playlist Tour and make several festival performances including Tortuga Music Festival, Country Thunder, Off The Rails Festival, Carolina Country Music Festival, Country LakeShake and more.

Evans’ latest single “Day Drunk” spent 25 consecutive weeks at No. 1 on country radio in Australia, and two weeks at No. 1 on the TMN Hot 100 airplay chart, making him the first country artist to achieve the feat since 2009 when Taylor Swift reached the top of the chart with “Love Story.”

Dates for Morgan Evans’ World Tour:
Sept. 3 – Dublin, Ireland – Green Room at The Academy
Sept. 4 – Glasgow, Scotland – Oran Mor
Sept. 5 – Liverpool, U.K. – Arts Club Loft
Sept. 6 – London, U.K. – Borderline
Sept. 7 – Lutterworth, U.K. – The Long Road Festival
Sept. 9 – Berlin, Germany – Frannz Club

Over the past seven years, Nashville-based pop artist Lennon Stella’s career would give most newcomers envy.

In 2012, Lennon (then 12 years old) and her sister Maisy (then 8) uploaded a video of the duo offering startling sibling harmonies on a cover of Robyn’s “Call Your Girlfriend.” The duo Lennon & Maisy then went viral (earning more than 30 million views to date), and soon, the sisters joined the television show Nashville, with Lennon portraying Maddie Conrad, the musically talented, tough-minded eldest daughter of country superstar Rayna Jaymes, while Maisy portrayed younger sister Daphne. The series, which aired first on ABC then on CMT, concluded in 2018. During the show’s run, the sisters grew up before a worldwide audience.

Even in the midst of filming for Nashville, Stella began working her own music, and her own perspectives, into the show, including “Saved” and “Without Warning.”

Now 19, Stella has one solo EP to her credit, titled Love, Me, which released in 2018. The release signaled that Stella had grown into her own, both as a person and an artist.

“It’s amazing having that freedom,” she says of creating the EP. “There’s no boundaries and there’s no one telling you what you can and can’t do. You can just create with amazing people. It’s the best feeling. With the show, I was on that for six years and that gave me the time to explore and not have any pressure of ‘Oh I have to put something out,’ because I was putting music out through the show or I was filming and didn’t have time.”

Stella launched her first headlining outing, the Love, Me Tour, earlier this week with two sold-out shows in Toronto, and performs her first stateside show tonight in Boston.

“We just did all the rehearsals so I feel a little pressure, but I think it’s more the pressure I put on myself,” Stella told musicrow.com, before launching the tour. “I feel so comfortable in the people that are coming to the show. I feel accepted for who I am, and with social media I feel connected to them all already. I’ll read their DMs and know how they feel about the music so in that sense I don’t feel pressure from others as I do myself. The thing for me is to find the dynamic of the show. I’m so comfortable just playing my guitar but I also want songs where I can jump around and have fun.”

In anticipation of the run of shows, Stella just released a new track, “Bitch (takes one to know one),” which she penned with co-writers Erin McCarley, Thomas Troelsen, and Kate York, and produced by Rob Knox.

“Usually I always write from something I’m feeling or an experience, but Erin came up with the idea of the concept and brought it to me. It was the idea of a guy calling a girl a bitch and having the response of ‘It takes a bitch to know a bitch.’ It was a bit of girl power thing, and we painted a picture and made a story around that. It’s a cool message if it’s said correctly.”

The vocals for “Bitch (takes one to know one)” were recorded in Nashville, with the production via Los Angeles. Though being so well-known for her work on Nashville, when it came time to create her own solo album, Stella opted to keep her creative home in Nashville’s ever-diversifying music scene, instead of decamping for other music hotspots.

“I love the creativity that comes from here and that everyone is so loving and supportive of each other,” she says. “That’s so rare and inspiring to be around. I’ll always be in Nashville. I love to go to New York or L.A., and be able to come back and have my base here.”

Later this year, she will open shows for The Chainsmokers and 5 Seconds of Summer on their North American tour–including a show at Nashville’s Bridgestone Arena.

“I’m so excited. I remember when my manager told me I got the opening slot, it was my sister’s birthday and I was on the plane and I was about to take off. I was hysterically bawling and I freaked out. At that point, I’ve never toured before, so it’s crazy that my first tour is happening the same year that I will be opening for them.”

She looks at her own headlining shows as somewhat of a warmup for those opening slots.

“After I finish my tour, I feel like I’ll have ideas of what I want to change or improve on. The Chainsmokers are a totally different genre than me, so I think that’s why they asked me to do it. So hopefully what I do with my set now, it’ll just get better for those shows.”

And yes, with all of those high-profile collaborations with the likes of Halsey and Kelsea Ballerini that The Chainsmokers are known for, it’s probable that we might see Stella making a cameo during The Chainsmokers’ set.

“That’s definitely something that’s been talked about, for sure. I can imagine that happening.”

 

 

MusicRow Magazine’s eighth annual Rising Women on the Row event will be held Tuesday, March 26, at Omni Hotel Nashville.

This year’s honorees include Sandi Spika Borchetta (Big Machine Label Group, Sr. VP Creative), Janine Ebach (Curb|Word Music Publishing, VP), Kelly Janson (Kelly Janson Management, Manager), Meredith Jones (Creative Artists Agency, Agent), Lenore Kinder (Paradigm Talent Agency, Agent), and Jennifer Turnbow (NSAI, Sr. Director of Operations).

Leading up to the event, MusicRow is spotlighting each honoree with a brief Q&A.

As Sr. Director of Operations at Nashville Songwriters Association International (NSAI), the world’s largest not-for-profit songwriters trade organization, Jennifer Turnbow oversees day-to-day operations and finances for the 50-year-old organization and its 2008 acquired entity, The Bluebird Cafe. Turnbow serves as co-director of NSAI’s annual fundraiser, Tin Pan South Songwriters Festival, which has become the largest songwriter-only festival in the U.S. over the past decade. At NSAI, she plays an integral role in advocacy for American songwriters, including on Capitol Hill for the passage of the Music Modernization Act. Since its victory, Turnbow has overseen the selection of songwriters for the board of the Mechanical Licensing Collective and Dispute Resolution and Unclaimed Funds Committees. Additionally, Turnbow staffed the Copyright Royalty Board trial for NSAI, which won songwriters the largest pay raise in digital mechanical royalty history. Her service extends to Nashville women’s organization SOURCE, where she is serving as Secretary of the Board of Directors. She is also a 2016 graduate of Leadership Music. Following her graduation from Vanderbilt University in 2005, she launched her career at NSAI as the organization’s Finance Director.

MusicRow: What is the biggest lesson on leadership you have learned in your career?
The only way to lead is by setting the example. I will never ask any of my staff members to do anything I wouldn’t gladly do alongside them and often I will, even when unnecessary, because I want them to know how much I value their work and their time.

MR: Who has been one of your biggest mentors, and what have they taught you?
Bart Herbison, NSAI’s Executive Director, is obviously my biggest mentor. Bart took a chance on me when I was 21, straight out of college and couldn’t tell you how to navigate to Music Row from my sorority house at Vanderbilt University. He has taught me so much, it’s hard to narrow it down from matters of broad scope like songwriter advocacy policy and politics and how to run a trade association, to more practical lessons like to trust my gut.

MR: Describe a time that you took a big risk in your career, and how did it pay off?
Funnily enough, probably the biggest risk in my career happened before I was even employed. When I was interviewed for the Finance Director position at NSAI, my very first real job, I was asked if I was familiar with Quickbooks, to which I answered “yes” even though I had never worked in Quickbooks in my life. It wasn’t exactly a lie…I was “familiar” that there was a product called Quickbooks, but had Bart known at the time that I had never worked in Quickbooks, I don’t think I would have been hired. I ended up being offered the job on a Friday, went to the bookstore and bought Quickbooks for Dummies that afternoon, and taught myself enough by Monday morning to not get caught in my “little white lie.”

Since I’ve been at NSAI, my biggest risk was probably advocating for producing NSAI’s 50^th Anniversary show at the Ryman Auditorium in 2017, which was a huge financial risk and I had no experience producing a show of that size. We pulled it off and it led to now doing our annual awards show at the Ryman, which has really allowed us to honor songwriters in a grander way – and I’ve learned to produce a live show of that size! I’m realizing that apparently self-teaching is my preferred form of risk management!

MR: As Nashville continues to grow and evolve, what changes in the music industry excite you the most?
My work on the Music Modernization Act makes its implementation and the formation of the Mechanical Licensing Collective (MLC) the most exciting change for me right now. I was sitting in the room engaged in the conversation when the structure for the MLC was envisioned. Getting to witness it develop into a physical entity that will completely change the way we license digital mechanicals is pretty amazing.

MR: Favorite Nashville place to hold a business meeting/lunch?
Midtown Café and Tavern have never let me down and they are walking distance from my office.

(City National Bank, Tri Star Sports and Entertainment Group, and Loeb & Loeb are again the Presenting Sponsors for the 2019 Rising Women on the Row.)

Rising songwriter-artist Chris Housman has received the inaugural Todd Givens Memorial Scholarship from the Nashville Songwriters Association International.

Originally from Hanston, Kansas (population: 200), Housman taught himself to play the fiddle at age seven. Singing followed, which led to the formation of a traveling family Bluegrass/Gospel band, opening for major country acts, and fronting a punk rock band. Since attending Belmont University, he has been actively writing songs and performing (upright bass and vocals) around the country while touring colleges.

“Chris is already making a name for himself in the industry,” said NSAI membership representative Erin Kidd. “With instinctive writing intuition and a voice that can melt hearts, he’s one of our most signable artist/writers. From our first meeting, his talent, passion, and likability has been obvious and undeniable.”

Todd Givens was the head of NSAI’s tech department and unexpectedly passed away on Feb. 27, 2018.  Givens was involved with the Screamin’ Cheetah Wheelies, and the Eric Hamilton Band for many years. Band members and front men Mike Farris of the Wheelies and Eric Hamilton have agreed to help mentor Housman and future scholarship recipients.

Midland, Old Dominion, Cole Swindell, Ingrid Andress, Deana Carter, Adam Craig, Jessie James Decker, Lindsay Ell, Carolyn Dawn Johnson, Locash, Hillary Scott, Tenille Townes and Storme Warren have all been added to the lineup of events at the ACM’s upcoming 7th Annual Party for a Cause, taking place April 5 -7 in Vegas.

The Academy-hosted marquee events slated for this year’s Party for a Cause leading up to and immediately following the 54th Academy of Country Music Awards include ACM Stories, Songs & Stars, ACM Lifting Lives Topgolf Tee-Off, ACM Decades and the ACM Awards Official After Party presented by Security Benefit. Each event will feature performances by country’s biggest names and hottest new talent, and portions of all event proceeds will benefit ACM Lifting Lives, the philanthropic arm of the Academy of Country Music which works to lift lives through the power of music.

Friday, April 5, 2019
8 p.m.: ACM Stories, Songs & Stars
Talent: Hosted by Hillary Scott and Storme Warren; performances by Rhett Akins, Ross Copperman, Ashley Gorley, Shane McAnally, Lori McKenna, Chase McGill, and Josh Osborne, plus special guest appearances by Brantley Gilbert, Midland, Old Dominion and more.

Saturday, April 6, 2019
10 a.m.: ACM Lifting Lives Topgolf Tee-Off
Talent: Hosted by Darius Rucker and Scotty McCreery; performances by Ingrid Andress, Adam Craig, Morgan Evans, Chris Lane and Scotty McCreery

7 p.m.: ACM Decades
Concert celebrating the hits of today and yesterday with your favorite country hit-makers and rising country stars
Talent: Performances by Lauren Alaina, Carlton Anderson, Rodney Atkins, Deana Carter, Easton Corbin, Jordan Davis, Carolyn Dawn Johnson, Tracy Lawrence, Maddie & Tae, Jamie O’Neal, Carly Pearce, Michael Ray, Cole Swindell, Mitchell Tenpenny and Tenille Townes

Sunday, April 7, 2019
8 p.m.: ACM Awards Official After Party presented by Security Benefit
Talent: Hosted by Shawn Parr and Big Kenny, plus performances by Jimmie Allen, Big Kenny, Jessie James Decker, Lindsay Ell, Brantley Gilbert, Adam Hambrick, Caylee Hammack, Walker Hayes, LOCASH, AJ McLean, Cassadee Pope, Runaway June, Dylan Scott and Brett Young