Amanda Good
Amanda Good, Sr. Director, Marketing & Artist Development for Universal Music Group Nashville, has exited the company after 13 years. Good joined UMG Nashville in 2006 and has since worked with artists including Eric Church, Keith Urban, Chris Stapleton, Little Big Town, and more.
She can be reached at 615-426-3561 or at [email protected].
Wendy Pearl. Photo by Donn Jones Photography.
Wendy Pearl has exited Sony Music Nashville as part of a restructuring of their communication department, which resulted in the elimination of her position. Pearl, who joined the label as Vice President of Media Sept. 4, 2018, was instrumental in creating media strategies, national opportunities, and generating exposure for Sony Nashville’s emerging roster of artists, including Old Dominion, Matt Stell, and Ryan Hurd.
“Being an advocate of the artist has driven me for the last three decades,” Pearl said. “Being a journalist allows me to think about how the story develops an artist career, while sidestepping potential issues. But mostly, it allows me to give these creators the dimension and connection their music deserves. It’s been an honor to work with Randy Goodman, Ken Robold, as well as Allen Brown’s talented team. I am looking forward to finding the best way to use the things I know for the good of country music going forward. It’s an incredible time, and I feel like there are so many incredible stories ahead.”
Pearl began her career at The Miami Herald, where she was an active member the paper’s Pulitzer Prize-winning team for breaking news coverage. Before rejoining Sony Music Nashville, Pearl spent 17 years overseeing the Country Music Association’s communication operations. She has also led media departments for Sony Nashville, Asylum Records, and television networks, and her own hyper-focused corporate firm, consulting the Academy of Country Music, the Houston Livestock Show and Rodeo, and the state of Georgia’s Music Foundation, TJ Martell, and CMA.
Pearl and her editorial team also won the prestigious Award of Excellence from the International Association of Business Communicators for CMA’s quarterly CMA Close-Up. Her passion for community outreach garnered major national exposure for the CMA Foundation and its programs supporting music education for deserving children and increased national coverage for CMA Music Fest and the annual CMA Awards.
Pearl first joined Sony Nashville’s Media & Artist Development Department in 1992, where she oversaw campaigns for the Dolly Parton/Loretta Lynn/Tammy Wynette Honky Tonk Angels project, Mary Chapin Carpenter, Waylon Jennings, and Patty Loveless. As the head of Asylum Records’ Media & Artist Development Department, she spearheaded groundbreaking campaigns for Emmylou Harris, Mandy Barnett, Guy Clark, and Bryan White, before taking on new challenge of the Communications Directorship at TNN (then The Nashville Network).
A native of South Florida, Pearl has a BA in Communications from the University of Miami in Coral Gables.
Pearl can be reached at [email protected] and at 615-969-5126.
Bluegrass Underground has announced the lineup of artists for its upcoming 10th season today (Nov. 15), which will feature Asleep At The Wheel, Blind Boys of Alabama, Goose, the Black Pumas, Cam, Yola, Courtney Marie Andrews, Sam Lewis, Mandolin Orange, the Milk Carton Kids, Molly Tuttle, and a surprise act to be announced in the coming weeks.
This special 10th anniversary taping will take place from March 27-29, and will be captured for the 10th anniversary of the multiple Emmy Award-winning Bluegrass Underground series on PBS. The milestone Season X of Bluegrass Underground will premiere in the Fall of 2020 on PBS stations nationwide.
“It’s amazing that Bluegrass Underground is the second-longest music series on American Television,” says Todd Mayo, Bluegrass Underground creator and co-producer. “And we look forward to the next 10 years of partnering with PBS in presenting the quality and diversity of roots music from one of the most iconic music destinations in the world, The Caverns in Grundy County, Tennessee.”
Three-Day and single day tickets go on sale for the tapings on Friday, Nov. 22 at 11 a.m. at TheCaverns.com.
Photo credit: Alysse Gafkjen
The Secret Sisters are releasing a new album, Saturn Return, on Feb. 28. The New West Records project, produced by Brandi Carlile, Tim Hanseroth and Phil Hanseroth, is available now for pre-order and includes an immediate download of the first single, “Cabin.”
Recorded at Carlile’s home studio in Washington state, the album includes 10 songs written by Laura and Lydia Rogers and features the real-life sisters singing individually for the first time instead of relying solely on their trademark harmonies—something Carlile challenged them to do.
“As we age, we face obstacles that are beyond our control,” explain the sisters about the impetus for the new album. “Some forces are internal: insecurity, anxiety, fear. Some are external: the loss of loved ones, an unjust system and the fragility of time. Yet the mark of maturity is how you respond when you realize you’re not in control. Where do you find your resilience? This album is a reflection of us coming to terms with how to find our power in the face of an unfair world. These songs lead listeners past ‘where happy man searches, to a place only mad women know.’ We question our purpose, our relationships, our faith. Trading the fears of our youth for the dread that rages within us as mature women. With Saturn Return, our hope is that women can feel less alone in their journey through the modern world. We need each other more than we ever have; the less competition and the more inclusiveness and understanding, the better. We are southern women in the 21st century, convicted by our beliefs.”
In celebration of the new album, The Secret Sisters will embark on a tour in 2020, including shows at Brooklyn’s Murmrr Theatre on March 25, Philadelphia’s City Winery on March 28, Los Angeles’ Lodge Room on April 28 and Seattle’s Neptune Theatre on May 2, as well as dates across Europe.
The war of words continues between Taylor Swift‘s camp and Big Machine Label Group.
Taylor Swift publicist Tree Paine issued a statement on Friday (Nov. 15) denying Big Machine Label Group’s claim that the label did not try to block Swift from performing songs from her catalog of hits recorded during her time as a BMLG artist during the upcoming American Music Awards on Nov. 24, as well as from using the older material in an upcoming Netflix special.
Last night (Nov. 14), Swift spoke against SB Project’s Scooter Braun (manager of artists including Justin Bieber) and Big Machine Label Group’s Scott Borchetta, stating that the two music industry execs have refused to allow Swift to perform songs from her catalog of works recorded for Big Machine Label Group (Swift left Big Machine to join UMG in 2018) during an upcoming performance at the American Music Awards on Nov. 24, where Swift is slated to be honored as Artist of the Decade. Swift stated that Braun and Borchetta “claim that would be re-recording my music before I’m allowed to next year.” She also claimed that the two execs have declined her use of her older songs in an upcoming documentary on her life slated to be released by Netflix.
On Friday morning (Nov. 15), Big Machine Label Group issued a statement on its official site, saying, “we were shocked to see her tumblr statements yesterday based on false information. At no point did we say Taylor could not perform on the AMAs or block her Netflix special. In fact, we do not have the right to keep her from performing live anywhere. Since Taylor’s decision to leave Big Machine last fall, we have continued to honor all of her requests to license her catalog to third parties as she promotes her current record in which we do not financially participate.” The company also said “Taylor has admitted to contractually owing millions of dollars and multiple assets to our company…”
Paine issued a response to Big Machine Label Group’s statement, noting that “they never actually deny either claim Taylor said last night in her post.” Paine also says “an independent, professional auditor has determined that Big Machine owes Taylor $7.9 million dollars of unpaid royalties over several years.”
Paine writes, “The truth is, on October 28, 2019 at 5:17 p.m. the Vice President, Rights Management and Business Affairs from Big Machine label group sent Taylor Swift’s team the following: ‘Please be advised that BMLG will not agree to issue licenses for existing recordings or waivers of its re-recording restrictions in connection with these two projects: The Netflix documentary and The Alibaba ‘Double Eleven’ event.’ To avoid an argument over rights, Taylor performed three songs off her new album Lover at the Double Eleven event as it was clear that Big Machine Label Group felt any televised performance of catalog songs violated her agreement. In addition, yesterday Scott Borchetta, CEO and founder of Big Machine Label Group, flatly denied the request for both American Music Awards and Netflix.
“Please notice in Big Machine’s statement, they never actually deny either claim Taylor said last night in her post. Lastly, Big Machine is trying to deflect and make this about money by saying she owes them but, an independent, professional auditor has determined that Big Machine owes Taylor $7.9 million dollars of unpaid royalties over several years.”
In June, Braun’s Ithaca Holdings acquired Big Machine, including the master recordings to Swift’s albums recorded under BMLG. In 2018, Swift announced her exit from BMLG and a new recording contract with Universal Music Group’s Republic Records.
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Taylor Swift has been scheduled to perform a medley of her older hits as part of the celebration of her Artist of the Decade honor at the American Music Awards on Nov. 24, but now the superstar says that appearance is “a question mark.”
Swift penned an open letter titled “Don’t Know What Else To Do” to her fans on social media on Nov. 14, stating that SB Projects’ Scooter Braun and her former label head, Big Machine Label Group’s Scott Borchetta, are not allowing her to include her older hits from her six-album catalog recorded under BMLG in the performance. Swift states they have refused to allow her to perform her older songs “because they claim that would be re-recording my music before I’m allowed to next year.”
She also revealed that a documentary on her life has been in the works with Netflix, and claims that Braun and Borchetta are also prohibiting the use of her songs recorded during her time at BMLG to be used as part of the documentary. According to Swift’s message, she says she was told by Big Machine that the use of her older material would be allowed only if she agreed “to not re-record copycat versions of my songs next year (which is something I’m both legally allowed to do and looking forward to) and also told my team that I need to stop talking about him and Scooter Braun.”
In June, Braun’s Ithaca Holdings acquired Big Machine, including the master recordings to Swift’s albums recorded under BMLG. Approximately one year ago, Swift announced her exit from BMLG and a new recording contract with Universal Music Group’s Republic Records.
Swift’s message to her fans, in full, is below:
“Guys – It’s been announced recently that the American Music Awards will be honoring me with the Artist of the Decade Award at this year’s ceremony. I’ve been planning to perform a medley of my hits throughout the decade on the show. Scott Borchetta and Scooter Braun have now said that I’m not allowed to perform my old songs on television because they claim that would be re-recording my music before I’m allowed to next year. Additionally — and this isn’t the way I had planned on telling you this news — Netflix has created a documentary about my life for the past few years. Scott and Scooter have declined the use of my older music or performance footage for this project, even though there is no mention of either of them or Big Machine Records anywhere in the film.
“Scott Borchetta told my team that they’ll allow me to use my music only if I do these things: If I agree to not re-record copycat versions of my songs next year (which is something I’m both legally allowed to do and looking forward to) and also told my team that I need to stop talking about him and Scooter Braun.
I feel very strongly that sharing what is happening to me could change the awareness level for other artists and potentially help them avoid a similar fate. The message being sent to me is very clear. Basically, be a good little girl and shut up. Or you’ll be punished.
This is WRONG. Neither of these men had a hand in the writing of those songs. They did nothing to create the relationship I have with my fans. So this is where I’m asking for your help.
Please let Scott Borchetta and Scooter Braun know how you feel about this. Scooter also manages several artists who I really believe care about other artists and their work. Please ask them for help with this – I’m hoping that maybe they can talk some sense into the men who are exercising tyrannical control over someone who just wants to play the music she wrote. I’m especially asking for help from The Carlyle Group, who put up money for the sale of my music to these two men.
I just want to be able to perform MY OWN music. That’s it. I’ve tried to work this out privately through my team but have not been able to resolve anything. Right now my performance at the AMAs, the Netflix documentary and any other recorded events I am planning to play until November of 2020 are a question mark.
I love you guys and I thought you should know what’s been going on.”
Big Machine Label Group responded Friday morning (Nov. 15) via a blog on the label’s official site, denying Swift’s allegations regarding the use of her earlier recorded music on the American Music Awards and in the Netflix special. BMLG’s statement is below in full:
“As Taylor Swift’s partner for over a decade, we were shocked to see her tumblr statements yesterday based on false information. At no point did we say Taylor could not perform on the AMAs or block her Netflix special. In fact, we do not have the right to keep her from performing live anywhere. Since Taylor’s decision to leave Big Machine last fall, we have continued to honor all of her requests to license her catalog to third parties as she promotes her current record in which we do not financially participate.
The truth is, Taylor has admitted to contractually owing millions of dollars and multiple assets to our company, which is responsible for 120 hardworking employees who helped build her career. We have worked diligently to have a conversation about these matters with Taylor and her team to productively move forward. We started to see progress over the past two weeks and were optimistic as recently as yesterday that this may get resolved. However, despite our persistent efforts to find a private and mutually satisfactory solution, Taylor made a unilateral decision last night to enlist her fanbase in a calculated manner that greatly affects the safety of our employees and their families.
Taylor, the narrative you have created does not exist. All we ask is to have a direct and honest conversation. When that happens, you will see there is nothing but respect, kindness and support waiting for you on the other side. To date, not one of the invitations to speak with us and work through this has been accepted. Rumors fester in the absence of communication. Let’s not have that continue here. We share the collective goal of giving your fans the entertainment they both want and deserve.”
Carrie Underwood, with special guest hosts Dolly Parton and Reba McEntire, host “The 53rd Annual CMA Awards” live from Bridgestone Arena in Nashville Wednesday, November 13 on ABC. Photo: John Russell/CMA
In an evening brimming with strong performances from female artists, and hosted by a trio of country music’s queens—namely, Reba McEntire, Dolly Parton and Carrie Underwood—this year’s CMA Awards telecast on Nov. 13 saw a 12% increase in viewership over the previous year.
Last night’s awards show earned a 2.0 rating in the adults 18-49 demographic, and brought in 11.3 million viewers, according to zap2it.com (Live+SD ratings), marking a 12% increase from 2018’s 10.1 million viewers (and 2018’s comparable 2.1 rating in the 18-49 demo).
Garth Brooks was the evening’s top winner, taking home his seventh Entertainer of the Year honor. Kacey Musgraves was named Female Vocalist of the Year (and earned Music Video of the Year for “Rainbow”). Maren Morris‘ GIRL was Album of the Year, while Luke Combs was named Male Vocalist of the Year and earned Song of the Year for “Beautiful Crazy.” Blake Shelton‘s “God’s Country” was named Single of the Year. Dan+Shay was named Vocal Duo of the Year, while Old Dominion earned Vocal Group of the Year. Ashley McBryde was named New Artist of the Year, while Jenee Fleenor was named Musician of the Year. Lil Nas X and Billy Ray Cyrus‘ “Old Town Road” was named Musical Event of the Year.
The emphasis was on female country artists on this year’s CMA Awards show.
So I am happy to report that the women didn’t let us down in this week’s edition of DisClaimer. Kelsea Ballerini, Farewell Angelina, Henriette, Honey County and JaeLee Roberts all turned up with stellar performances.
Best of ‘em all is witty Hannah Dasher, who wins the Disc of the Day award. Right behind her is an equally deserving DisCovery Award winner, Kelsey Lamb. Listen to these ladies. Now.
FAREWELL ANGELINA/More Problems
Writers: none listed; Producer: none listed; Publisher: none listed; Farewell A
– Feisty and frisky, with a touch of sass and a lotta class. These ladies have it all going on with this uptempo, devil-may-care romp. Not a care in the world, because you know what they say, “more money, more problems.”
KELSEA BALLERINI/Club
Writers: none listed; Producer: none listed; Publisher: none listed; Black River
– Catchy and clever. The pop track is super rhythm happy, even though the lyric is downbeat. She’s particularly effective in her lower register here, as well as in the double-tracked choruses.
HONEY COUNTY & SPENCER CRANDALL/Under Your Influence
Writers: Dani Rose/JP Williams/Maks Gabriel; Producer: none listed; Publisher: none listed; 117Group
– They sing well, but the song meanders aimlessly. Tenor vocalist Spencer sounds especially promising here.
CHRIS STAPLETON/Second One To Know
Writers: none listed; Producer: none listed; Publisher: none listed; Mercury
-His Southern-rock influences are front and center on this rousing, bluesy, roaring outing. The video features Chris and the band as Lego figures battling evil ninjas and a dragon.
JAELEE ROBERTS/One’s Real Life
Writers: Jaelee Roberts; Producer: Deanie Richardson & Brandon Bostic; Publisher: none listed; Euphony
– This newcomer has a harmony-soaked approach to bluegrass. Liquid vocals and fiery picking. What’s not to like?
MORGAN EVANS/Diamonds
Writers: Morgan Evans/Chris DeStefano/Evans Bogart; Producers: Evans/DeStefano; Publisher: none listed; Warner Music
– The plinkety plunk rhythms and looped guitar notes tip you off that this is another gem from the one-man band. It ain’t very country, but it definitely gets your attention.
HENRIETTE/Dream Boy
Writers: none listed; Producer: none listed; Publisher: none listed; Dr. Music
– She is from Germany, but her recent sojourn in Music City has evidently paid off in songwriting chops. This lilting, charming tune comes wafting through the speakers like a summer breeze. An audio vacation trip to a lovely land.
MATT STELL/Everywhere But On
Writers: Lance Miller/Matt Stell/Paul Sikes; Producer: none listed; Publishers: W.B.M./Sony-ATV Accent/Pedal Down/Presley Jake, no performance rights listed; Arista
– Very cool. She’s left him, but he can’t stop thinking about her. “I’ve moved everywhere but on,” he sings. This “Prayed for You” fellow shows here he’s got more where that came from. There’s a soaring guitar solo in it that I really liked, too.
KELSEY LAMB/Girl at the Bar
Writers: Kelsey Lamb/Taylor Goyette/Jean Nolan; Producers: Matt McVaney/Josh Hoge; Publisher: none listed; Marco
– Best song of the listening session, hands down. The lyric is full of terrific details and emotional truths and poignant passages. Her performance is an arrow to the heart, and the production is a wonder of dynamics and power. A total winner.
HANNAH DASHER/Stoned Age
Writers: none listed; Producer: Jaren Johnston/Oscar Charles; Publisher: none listed; ASCAP; Sony
– Ya gotta love this lyric, with its echoes of ‘60s icons, references to Southern rockers and comments on getting high. Janis Joplin, Keith Richards, The Allman Brothers, Marshall Tucker and Burt Reynolds are all name dropped as she drawls with abundant personality and the beats lay funky on top of funky. Wildly imaginative, addictive listening.
The Zac Brown Band will extend The Owl Tour into Spring 2020. The new upcoming dates will feature support from Amos Lee and Jason ‘Poo Bear’ Boyd throughout the run, which takes its name from Zac Brown Band’s album The Owl. The Spring jaunt will include a stop at Nashville’s Bridgestone Arena on April 25.
Last summer, the group brought the 32-stop tour to some of the nation’s most iconic venues, such as Boston’s Fenway Park, where ZBB played two consecutive sold-out shows.
“The energy throughout ‘The Owl Tour’ has been electric at every stop,” said Zac Brown. “It’s been an unforgettable year and we’ve had so much fun sharing the new music with our fans. We can’t wait to get back on the road next spring.”
Tickets will go on sale to the general public beginning Friday, Nov. 22 at LiveNation.com. The Zamily Fan Club pre-sale will begin on Nov. 19. Citi is the official presale credit card of the Zac Brown Band The Owl Tour Spring 2020, and Citi cardmembers will have access to purchase presale tickets beginning November 20 through November 21 through CitiEntertainment.
“The Owl Tour” Spring 2020 Dates:
Feb 28, 2020 – Moline, IL – TaxSlayer Center *
Feb 29, 2020 – Lincoln, NE – Pinnacle Bank Arena *
Mar 04, 2020 – Raleigh, NC – PNC Arena *
Mar 05, 2020 – Knoxville, TN – Thompson Boling – Arena *
Mar 06, 2020 – Lexington, KY – Rupp Arena *
Mar 12, 2020 – St. Louis, MO – Enterprise Center *
Mar 13, 2020 – Columbus, OH – Nationwide Arena *
Mar 14, 2020 – Detroit, MI – Little Caesars Arena * (on-sale Monday, November 25)
Mar 15, 2020 – Toronto, ON – Scotiabank Arena *
Mar 26, 2020 – Salt Lake City, UT – Maverik Center *
Mar 27, 2020 – Las Vegas, NV – T-Mobile Arena *
Mar 28, 2020 – Phoenix, AZ – Ak-Chin Pavilion *
Apr 15, 2020 – Sioux Falls, SD – Denny Sanford PREMIER Center *
Apr 16, 2020 – Kansas City, MO – Sprint Center *
Apr 17, 2020 – Little Rock, AR – Simmons Bank Arena *
Apr 23, 2020 – Charlottesville, VA – John Paul Jones Arena *
Apr 24, 2020 – Greenville, SC – Bon Secours Wellness Arena *
Apr 25, 2020 – Nashville, TN – Bridgestone Arena *
July 24, 2020 Shakopee, MN Twin Cities Summer Jam+
July 25, 2020 Monticello, IA Great Jones County Fair+
* Denotes special guests Amos Lee and Poo Bear
+ Denotes festival stops