Gibson Temporarily Closes US Offices, Offers Financial Assistance To Workers

Guitar maker Gibson has closed its facilities until further notice, in an attempt to help stop the spread of coronavirus.

Gibson’s Headquarters Team, based in Nashville, will work remotely for the foreseeable future. The company also took the preventative step to temporarily close their Bozeman, Montana facility as well.

The company will provide all Gibson hourly factory workers with $1,000 in support payments. Gibson’s staff includes nearly 400 factory workers, in addition to more than 100 employees in its custom guitar shop in Nashville.

The closure was announced following Nashville Mayor John Cooper‘s order on Sunday, March 22, that all non-essential businesses should close as part of the 14-day “Safer At Home Order.”
The company noted there have been no reported cases of coronavirus among the Gibson employee base.

“At the early stages of this unfortunate and ever-evolving situation, we took a proactive approach to monitoring and prioritizing the health and safety of our entire team around the world,” states James ‘JC’ Curleigh, CEO of Gibson. “I am proud of the way our teams have responded and we now shift our focus to supporting each other to get through this together.”

Within the past year, the company moved its headquarters to Cummins Station in downtown Nashville. Curleigh joined the company as CEO in 2018, after Gibson reemerged from bankruptcy protection.

BREAKING: ACM Awards Set New Air Date For Sept. 16


The 55th annual Academy of Country Music Awards has set a new air date, now slated for Wednesday, Sept. 16, airing live on CBS from 8:00 p.m. – 11:00 p.m. ET. The show will also stream live and on demand on CBS All Access.

As previously announced, Keith Urban, a 15-time ACM Award winner and reigning ACM Entertainer of the Year, will host the event.

A venue for the newly-rescheduled awards show, as well as a performer lineup, will be announced soon.

The Academy of Country Music will broadcast the two-hour special ACM Presents: Our Country during the ACM Awards’s original April 5 timeslot at 8:00 p.m. ET on CBS. The special will include at-home acoustic performances from top country artists, as well as clips of their favorite ACM Awards moments from previous years.

BREAKING: Kenny Rogers Passes Away At 81

Kenny Rogers. Photo: John Russell/CMA

Kenny Rogers, a Country Music Hall of Fame member and legendary artist who delivered classic hits as “The Gambler,” “Lady,” “Islands In The Stream,” “Lucille,” and “She Believes In Me,” passed away on Friday, March 20. He was 81.

Rogers garnered 20 No. 1 country hits between 1977 and 1987, many of which climbed the pop charts. During his lengthy career the international star sold more than 50 million albums in the United States alone. Rogers was a five-time CMA Award-winner and entered the Country Music Hall of Fame in 2013.

Growing up in public housing in Houston, he was exposed to R&B, pop, and jazz as well as country. His first professional group was a late-1950s vocal act called the Scholars, which had local hits in Houston. “That Crazy Feeling,” a 1958 solo hit on Carlton Records, earned him an appearance on “American Bandstand.”

During the early 1960s, Rogers played bass, and occasionally sang, in a Houston jazz trio. Membership in the New Christy Minstrels folk group spurred the founding of the First Edition, in which Rogers and other former Minstrels mixed folk, rock and country sounds. The new group went to No. 5 on the pop chart in 1967 with Mickey Newbury’s psychedelic “Just Dropped In (To See What Condition My Condition Was In)” and gained several additional pop hits on Reprise Records.

After the group’s breakup in 1974, producer/executive Larry Butler signed Rogers to United Artists Records, on which he had modest hits until the stunning success of the mournfully catchy, Grammy-winning “Lucille” in 1977, which reached No. 1 on the country chart and No. 5 on the pop chart. For the next dozen years Rogers logged hit after hit, including “The Gambler” (1978-79), penned by Don Schlitz, “She Believes in Me” (1979) and “Coward of the County” (1979-80).

In 1980, on Liberty Records, Rogers’ No. 1 hit “Lady,” a romantic ballad written by pop star Lionel Richie, ruled the pop charts for six weeks. Successful duets included “Every Time Two Fools Collide” with Dottie West (1978) and the crossover smash “Don’t Fall in Love with a Dreamer” with Kim Carnes (1980). In addition to his five CMA Awards wins, Rogers piled up three Grammys as the country-pop era reached a peak, adding to his stature as one of country’s first artists to sell out arena shows.

Already a veteran TV performer, Rogers gained further exposure through acting in made-for-television movies, including a series of five treatments of “The Gambler.” His hit “Love the World Away” was a theme song in the era-defining 1980 film Urban Cowboy. The 1980s also saw hits on Liberty and RCA, including “Love Will Turn You Around” (1982), the Sheena Easton duet “We’ve Got Tonight” (1983), and the memorable Dolly Parton duet “Islands in the Stream” (1983), all country No. 1 songs that made the pop charts. Rogers appeared front and center in the megastar collaboration “We Are the World” (1985), scoring additional chart-toppers such as “Crazy,” “Real Love,” and the sensual George Martin-produced “Morning Desire.” But the solo hit “Tomb of the Unknown Love” (1986) and the Ronnie Milsap duet “Make No Mistake, She’s Mine” (1986) were Rogers’s last No. 1 country records until “Buy Me a Rose” (1999-2000), recorded with Alison Krauss and Billy Dean.

Later in life, Rogers invested in Branson, Miss., ventures, published several well-received photography books, authored two children’s books, engaged in major philanthropic endeavors, and launched a chain of restaurants. Though his chart success slipped in the late 1980s and 1990s through stints with Giant, Atlantic, Reprise and Magnatone, “Buy Me a Rose” (on Dreamcatcher) gave him a boost at the outset of the 21st century. He continued to tour and released hits collections and albums of new material, the latter including Water & Bridges (Capitol Nashville, 2006), which yielded the Top 20 hit “I Can’t Unlove You.”

Grand Ole Opry Launches Livestream Initiative To Connect Artists, Fans

The Grand Ole Opry has developed a guide to help fans around the world discover upcoming livestream events as artists turn to the medium to stay connected to during the COVID-19 pandemic.

Developed with industry partners, the Opry’s guide to livestreams will be updated daily as new information becomes available.

Opry Entertainment Director of Artist Relations and Programming Strategy Jordan Pettit said, “With an abundance of livestreamed events happening daily, the Opry is excited to offer this resource to help fans continue to engage with their favorite artists and discover new music during this time where artists and fans are following recommendations to practice social distancing to reduce the spread of COVID-19.”

View the guide here: opry.com/livestreamguide. Online submissions.to be considered for inclusion can be made at opry.com/livestreamsubmit

Music Companies Petition Congress For Financial Assistance

Several music organizations and companies came together on Friday (March 20) to send a message to Washington, D.C. More than two dozen companies sent a letter to members of U.S. Congress, seeking financial relief for the greater music community as the coronavirus spread forces numerous venues of all capacities to close down for the foreseeable future, halting tours and concerts both in the U.S. and internationally.

The letter is addressed to Nancy Pelosi, Mitch McConnell, Kevin McCarthy and Chuck Schumer, and signed by organizations including ASCAP, Americana Music Association, Country Music Association, Creative Artists Agency, Gospel Music Association, Global Music Rights, Live Nation, International Bluegrass Music Association, Recording Industry Association of America, WME, and more.

Read the letter in full below:
Dear Speaker Pelosi, Leader McConnell, Leader McCarthy, and Leader Schumer:

As united representatives of the large and diverse American entertainment community, we offer our sincere gratitude for your immense efforts to address the COVID-19 pandemic and to provide much needed aid.

We understand the sacrifices our country is making and appreciate our shared responsibility. We will make the necessary adjustments to our lives but, unfortunately, there is no option for many in the entertainment community to work from home. Our home is on the road, on the

studio lot or in the theater, in venues across the country that must close during the pandemic, in front of live audiences or with cast members who cannot gather. For now, those performances – and our jobs – have vanished, along with the costly and personally devastating

investments we can never recover. Without help, we know that many in our community will find themselves homeless, hungry, and unable to tend to their medical needs.

The economic pain cuts even deeper, touching not only performers and musicians, but also managers, producers, promoters, stagehands, drivers, and countless others who are feeling the immediate repercussions of this new reality. This unprecedented economic loss caused by canceled performances and production shutdowns is being played out in bars, nightclubs, theaters, stadiums, concert halls, studios, and festivals in every state, sidelining thousands of workers.

The entertainment community will do what it can to support its members, but this moment calls for the unmatched capabilities of Congress. As you navigate the difficult path to providing necessary aid to distinct sectors of our economy, we ask that you specifically address the unique nature of our work. Payroll tax holidays, paid leave, and other typical assistance may never reach many in the entertainment community; in fact, direct financial aid remains one hopeful – and perhaps best – solution to replacing lost income and offering some semblance of
economic sustainability.

We propose a similar benefit to the Emergency Paid Leave in Division C of HR 6201, along with emergency unemployment insurance access, available to those who cannot work due to a canceled performance or a production shut down. This fund and expanded unemployment insurance access and benefits would ensure that hundreds of thousands of families across the country can continue to pay rent, put food on the table, and care for their children during this public health emergency. In addition, we encourage you to be as inclusive as possible when crafting emergency paid leave, tax credits, and other programs – the unique nature of our industry means rules that require beneficiaries to have had a single, long-term employer will  simplyleave our entire workforce behind.

We all look forward to the end of this crisis. Certainly, entertainment will help us get through it. But we must take care of the many people in the American entertainment community who will help us heal, rebuild, and bring us back together, in public and in spirit. Thank you very much.

Sincerely,
Actors’ Equity
Alliance for Recorded Music (ARM)
American Association of Independent Music (A2IM)
American Federation of Musicians (AFM)
Americana Music Association
Artist Rights Alliance (ARA)
ASCAP
The Azoff Company
The Broadway League
California IATSE Council
Christian Music Trade Association (CMTA)
Church Music Publishers Association (CMPA)
Country Music Association (CMA)
Gospel Music Association (GMA)
CreativeFuture
Creative Artists Agency (CAA)
Department for Professional Employees, AFL-CIO (DPE)
Digital Media Association (DiMA)
Directors Guild of America (DGA)
Entertainment Union Coalition
Full Stop Management
Global Music Rights (GMR)
Gospel Music Association
Independent Music Professionals United (IMPU)
International Alliance of Theatrical Stage Employees (IATSE)
International Bluegrass Music Association (IBMA)
Live Nation
Music Artists Coalition (MAC)
Music Business Association (MusicBiz)
Music Managers Forum – US
Nashville Songwriters Association International (NSAI)
National Music Publishers’ Association (NMPA)
Paradigm Talent Agency
Recording Academy
Recording Industry Association of America (RIAA)
Screen Actors Guild – American Federation of Television and Radio Artists (SAG-AFTRA)
SESAC
Songwriters of North America (SONA)
SoundExchange
Southern Gospel Music Guild
United Talent Agency (UTA)
William Morris Endeavor (WME)
Writers’ Guild of America, East

The Onsite Foundation’s Triumph Over Tragedy Program Brings Community, Healing To Mass Shooting Survivors

Laura Hutfless

On Aug. 31, songwriter/producer Shane McAnally will join actress and activist Sophia Bush at Nashville’s Schermerhorn Symphony Center, as hosts for The Onsite Foundation’s Hope Rising gala, which will raise funds to help provide mental and emotional health services to vulnerable communities, particularly veterans and first responders, bereaved parents, and survivors of mass shootings from around the country.

One of the programs that will benefit from the upcoming soiree is The Onsite Foundation’s Triumph Over Tragedy workshop, which launched earlier this week in Nashville as a source of community, education and most importantly, hope for survivors of mass shootings.

As a Partner and co-founder at Nashville-based entertainment agency FlyteVu, Laura Hutfless has worked with many in Nashville’s music industry and fan community, including some who were impacted by the mass shooting that took place at Las Vegas’ Route 91 Harvest Festival in 2017, when a gunman fired on a crowd of concertgoers, killing 58 attendees and injuring more than 500.

Hutfless has seen firsthand the long-term struggles that survivors of mass shootings have to face, ongoing struggles that inspired her to help create an avenue for survivors in need of healing.

“For me, it was being in the music community, and those affected by Route 91, knowing artists and managers who were there, and seeing them really struggle with coming back and going back into what you would consider a normal life, or, what for them is a new normal, and some people struggle with that—for weeks, for months, and even still.”

For Hutfless, the impetus is both professional and personal. Hutfless’ boyfriend Austin Eubanks was a survivor of the 1999 mass shooting at Columbine High School, in Littleton, Colorado, which left 12 students and one teacher dead. Eubanks, who was 17 at the time of the Columbine shootings, was shot in the hand and the knee, and witnessed the death of his friend.

In the years following. Eubanks struggled with addiction to opioids, due to drugs he had been prescribed to treat physical pain, but did little to help him cope with the emotional pain. The addiction later included alcohol and other drugs. By 2016, Eubanks had celebrated five years of sobriety, and worked as a motivational speaker and leader for the Foundry Treatment Center, openly sharing his story to help others struggling with addiction. Last year, his story took an abrupt turn. Eubanks died of an accidental heroin overdose. He was 37.

“When I met Austin, I learned about his story and saw the struggles he had, even 20 years later,” Hutfless shares. “After he passed away, I received calls from other survivors. They had lost hope and he had been such an advocate for them, such a role model, that they didn’t know where to turn. I looked up places that could help and there weren’t many, so I decided we had to do something.”

Determined to carry on with the work Eubanks had started, Hutfless turned to friends at The Onsite Foundation, to help create the six-day Triumph Over Tragedy workshop, which earlier this week welcomed nearly 60 survivors from across the country to Onsite’s 250-acre campus outside of Nashville. All participants received a full scholarship to attend the program.

“There are so many incidents now, it’s become commonplace,” she says. “And unfortunately, we often forget about the survivors.”

No cell phones or computers are allowed during the program, giving attendees the space to fully focus on education and community. They work with therapists throughout the week and find community in others who have had similar experiences.

To make certain the program would successfully meet the needs of those attending the program, The Onsite Foundation formed a Survivor Advisory Council, a six-person group that includes mass shooting survivors from Columbine, Charleston, Parkland, Thurston, Las Vegas and Aurora. The program address various phases of trauma a survivor goes through, from the acute phase (within three months of an incident), intermediate (within the first year following an incident) and long-term management.

“They learn about fight and flight response, why they have anxiety or nightmares, or hyper-vigilance, all of those things. It’s about education and creating a safe environment,” says Hutfless. “It’s also about community. We know the only way to offload pain is community and so many survivors feel alone. They isolate, they don’t want to talk about what they are going through.”

In situations such as Route 91, attendees who congregated at the music festival then dispersed back to hometowns across the nation to begin the healing process—often returning to communities where they are the only people who have experienced such a tragedy.

“Just being in a room with people who have experienced the same thing is healing in and of itself.”

The program also addressed unhealthy coping mechanisms, such as drugs, alcohol, pornography, even the overuse of technology.

“There are so many options to medicate and numb the pain,” Hutfless says. “To quote Austin, he always said his drug of choice was more, more of whatever would numb that pain. So they talk about all of the ways people self-medicate and how that blocks healing from taking place.”

The program has been working to integrate aftercare for those attending the Nashville program, as many survivors go back to small towns where therapy may not be adequate, or even available.
“We’ll have coaches checking in with each person and digital portals where everyone can continue to connect. If they have a therapist when they are coming into the program, we’ll transition them back to their therapist and if they don’t, we’ll work to find one in their community.”

The Onsite Foundation aims to bring other variations of the workshop to additional locations, to service those who are not able to make the trip to Nashville, while Hutfless says she is proud the program is being held in Music City.

“Especially with what Nashville’s music industry and fans went through [during Route 91] that’s part of why we’re so proud to live in this community, because you see this community come together in ways that you don’t in other cities.”

Scotty McCreery Postpones Tour In UK, Ireland Until October


Scotty McCreery has announced he’s postponing his upcoming May concerts in the U.K. and Ireland out of caution due to the COVID-19 outbreak and rescheduling them for October.

“I’ve really been looking forward to coming over this Spring, but my first priority is the health and safety of my fans, venue owners and staff, and my band and crew,” said McCreery. “It may be a few months later than we had originally planned, but I can’t wait to come over to the U.K. and Ireland in October and see everyone. We will all get through this together.”

All shows except for Bristol, England (originally set for May 19) will be rescheduled to the new dates listed below, and original tickets remain valid. The Bristol show unfortunately could not be rescheduled, so tickets for that date will be refunded, and ticketholders should contact their point of purchase for refund information.

“I’m so sorry Bristol,” said McCreery. “I am very disappointed that I’m not able to perform in your city on the rescheduled tour. I hope to be there on a future U.K. tour, and I hope some of you are able to come to our London show since it is now on a Saturday.”

Rescheduled dates:
10/1/20-Manchester, England-O2 Ritz
10/3/20-London, England-O2 Shepherd’s Bush Empire
10/5/20-Glasgow, Scotland-Old Fruitmarket
10/6/20-Belfast, Northern Ireland -The Limelight  (Sold Out)
10/7/20-Dublin, Ireland-Academy Dublin

John Prine’s Wife/Manager Fiona Whelan Prine Reveals Coronavirus Diagnosis

John Prine

Fiona Whelan Prine, the wife and manager of singer-songwriter John Prine, has announced she has contracted COVID-19.

In a video posted to her socials, the Nashville resident revealed she was diagnosed with COVID-19 earlier this week, and that John was also tested but results came back indeterminate. She says she is doing fine and also stated they are taking measures to protect John from catching the virus, which is especially serious to those who are older or with compromised health conditions.

“So many people have reached out to ask how we are and especially how John is, because many of you know that he’s had a lot of different health issues over the years, and he is definitely in that vulnerable population they’ve been talking about,” she shared. “So far, he’s fine. He’s always got a little something going on, but he’s 73 years old and he may have some issues, but he may not have this virus and I want to keep it that way.”

The couple is now self-quarantined and isolated from each other, as well as from other family members.

She also urged people to stay home to help prevent the virus from spreading.

“Please stay home. I think we will get through this if we do it together…I have all of you in my prayers. I absolutely do, and I know that I’m in yours. And we will get through this. Please stay well. Stay home.”

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Brad Paisley, Vince Gill, Marty Stuart To Play Saturday Night Opry Show

Brad Paisley. Photo credit: Justin Kaicles

Brad Paisley, Vince Gill and Marty Stuart will perform together on Saturday night’s (March 21) Grand Ole Opry, offering an acoustic set on the Opry stage—with no in-house audience—as the Opry hosts its 4,916th consecutive Saturday night broadcast.

 The Circle network will broadcast the show live on-air in their local markets for the first time since debuting Opry, a new weekly, live-recorded, one-hour TV program earlier this year. Opry fans can also stream it online at Circle All Access on Facebook or at Circle All Access on YouTube starting at 7 p.m. CT / 8 p.m. ET.
Last week, amid the concerns of the COVID-19 virus, the Opry paused all shows with a live audience through April 4 but vowed to continue its nearly-100-year radio broadcast history. Nearly half a million fans last Saturday were able to video stream or listen to Opry members Bill Anderson, Jeannie Seely, Connie Smith, Sam Williams and others perform acoustically from the Opry Circle. With today’s technology, the Opry can now be broadcast and streamed with a very small production team of people and very limited number of artists performing acoustically on the Opry stage.

Johnny McGuire Extends Publishing Deal With Combustion Music and COR Entertainment

Photo L to R: Kenley Flynn (Combustion Music), Chris Farren (Combustion Music), Johnny McGuire, Mickey Jack Cones (COR Entertainment), Chris Van Belkom (Combustion Music)

Johnny McGuire has extended his publishing deal with Combustion Music, in conjunction with Mickey Jack Cones’ COR Entertainment.

As a recording artist, McGuire recently signed as a solo artist to BBR Music Group’s Wheelhouse Records. His debut single, “I Can’t Even,” is currently climbing the charts, and appears on McGuire’s debut EP, Neon Nights, which was released in late 2019.

“Johnny is a unique voice in a very crowded field of similarity,” said Combustion Music President Chris Farren. “His honesty and passion for his music is refreshing, and we couldn’t be happier to be continuing this relationship.”

As a writer, McGuire co-wrote “Chevys and Fords,” a duet with Billy Ray Cyrus which the two performed at Nissan Stadium during 2019’s CMA Fest. McGuire also co-wrote multiple songs as half of the Stoney Creek Records duo Walker McGuire, including their debut single “Til Tomorrow” and streaming hit “Mysteries of the Worlds.”

“COR Entertainment is thrilled to be continuing our publishing partnership with Johnny and Combustion Music. We couldn’t ask for a better team and are extremely excited for Johnny and the next chapter in his career,” said COR Entertainment’s Mickey Jack Cones.

“I couldn’t be more happy to sign with Combustion,” said McGuire. “It’s exciting that I’m able to work on my new direction with the people who have been with me since day one.”