Mechanical Licensing Collective CEO Kris Ahrend Talks Serving Songwriters, Preparing The Industry’s Next Generation [Interview]

Mechanical Licensing Collective CEO Kris Ahrend.

In January, it was announced that Kris Ahrend had joined as CEO of the Mechanical Licensing Collective (MLC), which was formed following the passage of the Music Modernization Act in 2018. In 2019, the Register of Copyrights designated the MLC as the non-profit organization responsible for administering blanket mechanical licenses to digital services such as Amazon Music, Apple, Spotify and Tidal, and for distributing those royalties to publishers and self-administered songwriters.

The Nashville-based MLC recently announced a slate of executive hirings to help Ahrend lead the organization, which currently includes 20 employees, with plans to ultimately form a team of nearly 100 employees.

“The MLC represents one of those changes that transforms the music business, once every generation or two,” Ahrend says. “You have to go back to the passage of the Digital Millennium Copyright Act to see the last kind of moment where our industry changed. Sound Exchange later came into being as an organization that helped to really transform an aspect of the business. The MLC will be similarly transformative. I’m very privileged to be asked to lead an organization that is going to have the potential to drive that transformation for our industry and the next chance to do that might not come for another 15 or 20 years. I didn’t want to miss the chance to be part of that change.

“Every songwriter in the country and many songwriters around the world will ultimately be getting paid a portion of their revenue from an organization based in Nashville,” he says.

In November 2019, the MLC and the Digital Licensing Coordinator reached a funding deal, in which the MLC receives $33.5 million in startup costs and an initial annual assessment for 2021 of $28.5 million, with costs divided between the licensees. Beginning Jan. 1, 2021, the MLC will begin to issue and administer the blanket licenses. The collective has teamed with mechanical licensing administrator Harry Fox Agency, building upon the HFA’s database of musical works data to streamline the process of matching writer and publisher information with corresponding sound recording data to make sure songwriters and publishers are paid the full amount they are due. Songwriters can also receive unclaimed funds from the various DSPs. In order to collect royalties collected from DSPs by the MLC, music publishers and self-administered songwriters, composers and lyricists will need to register with the MLC in order to access their data via the MLC Portal.

Ahrend launched his career as a law clerk for the Western District of the Virginia District Court and the Second Circuit Court of Appeals, before joining the Intellectual Property & Litigation Group of Simpson Thacher & Bartlett LLP in New York. He entered the music industry working for Sony Music’s law department, and later in the business and legal affairs department at Sony BMG Music Entertainment, before joining Rhino Entertainment as Sr. VP, Business & Legal Affairs. In 2013, he joined Warner Music Group as Sr. VP, Recorded Music Rights Administration. In 2016, he was promoted to President of U.S. Shared Services and led the development and launch of Warner Music’s Center of Excellence for Shared Services in Nashville, coordinating operations for 15 functional teams for Warner Music’s United States-based publishing teams, labels and corporate divisions.

Ahrend spoke with MusicRow about the work the MLC is doing and what basing the organization in Nashville means for Music City.

MusicRow: The MLC is set to begin administering blanket mechanical license agreements, and the collection of royalties for independent writers and publishers, on January 1, 2021. Has the COVID-19 pandemic affected that timeline in any way?

Ahrend: It has changed the way we have done lots of things. But from the timing perspective, we are still on track to be ready for that January 2021 license availability date. We have not contemplated in any way seeking to change or push that back. We will be ready. We’ve made extraordinary progress in a short period of time, under circumstances that, by any definition, are not normal.

MR: In what ways have your previous roles at Sony, Rhino, and Warner prepared you to lead the MLC?

Ahrend: Every step of my career helped prepare me for the role that I now have at the MLC, in ways that I never could’ve imagined. Because up until a couple years ago the MLC wasn’t even an idea. My early career as a lawyer helped me understand the legal foundations of our business. We are in essence a copyright industry, and whether it’s on the publishing side, or on the sound recording side, everything we do is underpinned by that foundation of copyright. At Sony, I did publishing deals, new tech deals, considered trademark issues, record deals—the full panoply of legal issues that we face in our industry and got a good grounding in those.

At Rhino, the catalog business is all about understanding the economics of the deal. If you release a hits album or a box set, how much are you spending to create that product, and will it be profitable? So, that gave me a good understanding of the business process. Rhino helped me better understand the connection between what we as companies do, and the creators with whom we do that. The music business, regardless of what part you’re in, can be boiled down to companies making two promises to creators: The first is they will help to cultivate their creativity, and that’s the piece that gets the most attention. But the second is that we will pay those creators for their creative output under the terms of the deals we do with them. At Rhino, I saw first-hand the impact that we had on creators, when we do that well or not so well, and it’s ultimately something that enables those writers to continue to write. I got to deal with so many artists that had relationships with Warner over the years through our catalog, from Aretha Franklin to Led Zeppelin, and hundreds in between, and when you speak with artists you really appreciate how important that second promise is to them, and to their livelihoods.

MR: What attracted you to this role at the MLC?

Ahrend: The ability to work at a company where the sole mission is aligned with what I do was incredibly compelling. When you work in the industry, there is often an inherent tension between those two promises because in any company where resources are limited—as they always are—the company has to make choices. Do you invest in A&R or do you invest in a new royalty system? At MLC, our sole focus is on making sure that songwriters are paid. At Warner Music, I was able to envision what an organization will look like, to hire a team of people that deliver on the objectives that you’ve set out and, and to see how that can have an impact on the lives of creators. That experience of building something was incredibly compelling to me. I jumped at the chance to be able to do that again with the MLC.

MR: You are working with Harry Fox Agency, and building upon the database they have already established. How will that process work?

Ahrend: We are working closely with them in every facet of our operation. Data is something that can always be improved; data is rarely static. We are not only assembling a database of musical works and sound recordings that exist today and associating those works with the recordings, but also capturing data for all the new musical works that are being written and sound recordings being made, so there is a constant stream of data. The partnership with HFA helps us get to those starting lines of a race that never ends.

The MLC is unique in that our board that governs us consists entirely of people who represent the stakeholders we will serve. We are essentially an organization that is managed by songwriters for the benefit of songwriters, and managed by publishers for the benefit of publishers. It’s really important now for songwriters and publishers to understand that our success depends in part on each of them playing their part—looking at their own data and helping to make sure it is as accurate as it can be. We will ultimately be a small organization; it would be impossible for any organization of around 100 people to take on the task of managing that level of data. But if everyone is engaged, we will be far more successful.

MR: The onus is on the writers and publishers to make sure the information they send to the MLC is correct. How is the MLC Portal optimized for their use—particularly smaller or more independent writers and publishers?

Ahrend: We are looking at launching the portal in the third quarter of the year. That will give us all time to look at the data and work to improve it.

We want to get to the place where we can roll out the portal, and get people to register with the portal so they can set up in our system. In many ways the portal is designed to help the smallest publishers and those individual stakeholders, those individual songwriters to manage their data. We expect they will be the ones to interact most regularly with the portal, whereas with our larger publisher company partners, it will involve more interactions at a system level.

MR: The MLC has a training/educational program set up for new hires. Can you talk about the purpose of that program and how it is integrated into the work of the MLC?

Ahrend: For those new team member roles, we wanted to be really intentional in how we bring them into the organization. Everyone that we hire will participate in a training program that will last several weeks, which will give them a broad-based education in the fundamentals of the industry that will be relevant to the roles we will ask them to fill, so they are better prepared to start doing that work.

We also think that makes the MLC an appealing option for them. We are looking to hire the best and the brightest, but to do that we have to do our part by offering them a compelling experience from the beginning. Offering this level of training will be compelling for people who are looking not only for a job, but for an experience that gives them opportunities to grow and put them on a career path.

MR: What does it mean to you for the Mechanical Licensing Collective to be based in Nashville?

Ahrend: What’s so wonderful for Nashville is that it’s unquestioned that Nashville has been a hub for music for decades. In recent years, we’ve broadened to include far more than just the creative aspects of the business. The MLC is as much a technology and a data company as we are a music company, so for us to be able to play a big role in helping Nashville take that next step forward in this evolution to be the broadest possible version of a Music City we can be, is really exciting and really meaningful.

Small Business Administration Releases PPP Loan Forgiveness Application


On Friday, May 15, the Small Business Administration (SBA) released the Paycheck Protection Program (PPP) Loan Forgiveness Application and instructions.

The released documents instruct borrowers how to apply for forgiveness of their PPP loans, consistent with the Coronavirus Aid, Relief, and Economic Security Act (CARES Act). According to a statement, the SBA will also issue regulations and guidance in the near future to further assist borrowers as they complete their applications, and to provide lenders with guidance on their responsibilities.

The form and instructions include several measures to reduce compliance burdens and simplify the process, such as:
• Options for borrowers to calculate payroll costs using an “alternative payroll covered period”
• Flexibility to include eligible payroll and non-payroll expenses paid or incurred
• Step-by-step instructions on how to perform calculations
• Implementation of statutory exemptions from loan forgiveness reduction
• Addition of a new exemption from the loan forgiveness reduction for borrowers who have made a good-faith, written offer to rehire workers that was declined

The PPP was created by the CARES Act to provide forgivable loans to small businesses during the COVID-19 pandemic.

Click here to view the application and instructions on the SBA website.

Deluge Music Signs Johnny Gates

Pictured: Top Row: Emily Dryburgh, Creative Director; Mark Friedman, President. Bottom Row: David Robkin, Managing Member and Johnny Gates

Deluge Music has signed Johnny Gates to a global publishing deal.

The former frontman for Los Angeles rock band Runaway Saints (a trio that spent time working in Nashville early in their career), Gates appeared on NBC’s The Voice before returning to Nashville.
“Johnny is a global talent who deserves a chance for music lovers all over the world to hear what we fell in love with here at Deluge Music,” says Deluge Music President Mark Friedman.

“Johnny has the talent, experience and poise of both a star and a professional. His music defies genres and zip codes. I’m proud to work beside him – and excited to build this next era with him!” says Deluge Music’s Creative Director Emily Dryburgh.

“I can’t begin to describe my excitement to be back in Nashville and having this opportunity with Deluge Music,” Gates said. “I created some amazing memories in this town, but the story always felt a little unfinished. So, I’m beyond grateful to Mark, David [Robkin] and Emily for giving me this chance to finish what I started here in Nashville. Deluge has such a family vibe, and I’m just really pumped to be a part of the crew!”

Shore Fire Media Promotes Two

Evenson, Lefkowitz

Shore Fire Media has promoted Nashville’s Andrea Evenson and Brooklyn’s Max Lefkowitz to Senior Account Executives. Evenson and Lefkowitz have both been with the company since 2015 and were previously Account Executives.

“Andrea has been a driven publicist since she began her career at Shore Fire nearly five years ago,” says Shore Fire Senior Vice President Mark Satlof. “Her creativity and thorough, thoughtful approach to all of her campaigns make for a winning combination and we are happy to announce her promotion to Senior Account Executive.”

“In his time at Shore Fire, Max has proven equally adept at working with household name-level and developing artists, all of whom benefit from his pluck and resourcefulness,” says Shore Fire Senior Vice President Matt Hanks. “We’re so excited to see him continue to grow as he takes on a greater leadership position here.”

Shore Fire Media (a division of Dolphin Entertainment) has teams in New York, Los Angeles, and Nashville, representing recording artists, songwriters, music producers, record labels, music industry businesses, venues, trade organizations, authors, comedians, social media personalities and cultural institutions.

Kip Moore To Premiere New Documentary On Outside TV

Kip Moore‘s new documentary 7 Days At The Rock is set to premiere on Outside TV on May 28.

The short film offers an unfiltered glimpse into the weeks leading up to the release of his album Wild World, due out May 29, as Moore spent time in self-isolation at his remote rock climbing facility, BedRock, in Red River Gorge, Kentucky. Moore reflects on the current times, shifting gears in light of the pandemic while recording his In The Wild Sessions acoustic series and shares some personal reflection.

7 Days At The Rock will be available to watch on Outside TV on May 28 at 8 p.m. CT on all major streaming platforms and devices including The Roku Channel and Samsung TV Plus.

7 Days At The Rock came around really organically leading up to the release of this record,” said Moore. “This is a unique moment in time for all of us that none of us will ever forget and so it felt right to kind of reflect on everything that is going on, as well as shed some light into the process of releasing Wild World. I also really wanted ‘Red White Blue Jean American Dream’ to be the next look into the album.”

Moore also premiered a new track “Red White Blue Jean American Dream” today. The track, the only outside cut on the album, was penned by written by Jimi Bell, Barton Davies, Luke Dick, and Philip Lammonds.

Scott Stevens Inks With Verge Records

Pictured L to R: Jeff Tobias (ONErpm A&R), Ken Madson (ONErpm GM), Emmanuel Zunz (ONErpm Founder), Scott Stevens, Mickey Jack Cones (Verge Records President/COO), Pete Hartung (L3 Entertainment), Joey Gonzales (L3 Entertainment) and Cody Villalobos (L3 Entertainment) | Photo Credit: Cody Villalobos

Scott Stevens has signed with Verge Records. Stevens’ first single, “Country Soul Survivor,” will be released May 29 on all platforms.

Stevens is a self-declared “groovethusiast” who blends rhythm, soul and lyrics into one. His artistry recently caught the ear of Mickey Jack Cones, president and COO of Verge Records, who signed him immediately.

“Scott has that laid back ‘Matthew McConaughey meets Brad Pitt’ type of star swagger about him, personally and musically,” said Cones. “You pair that with his soulful, impassioned vision for who he is as an artist, and you get a legend in the making.”

Stevens is managed by Pete Hartung, president of L3 Entertainment. Stevens spent the last year creating and defining his sound, and L3 helped Stevens find a home with Verge.

“It’s time to show the world a style that’s being described as ‘Mick Jagger meets Eric Church,’” said Hartung, “through a sound Scott calls ‘Country Groove Rock.’”

“I can’t wait to release music with Verge and have my first single coming out at the end of this month,” Stevens declares. “These guys are all heart and sauce and that’s all I ever wanted to be a part of. They’re not afraid to push genres, and it’s more about the music. Watch us work!”

Travis Denning Drops Debut EP ‘Beer’s Better Cold’ Today

Travis Denning

Travis Denning’s debut EP Beer’s Better Cold, is out today. The project’s six tracks, five of which Denning co-wrote, were produced by Jeremy Stover and include Denning’s first Top 5- and-climbing single “After A Few,” the sleek anthem about a couple whose passion could erupt at any moment.

Denning will celebrate the project’s release this week with an acoustic performance on The Outdoor Channel tonight at 7 p.m. ET as part of their “Country Outdoors LIVE” series, and as a guest onCMT’sHot 20 Countdown” tomorrow at 8 a.m. ET. Denning marked his debut EP release last night will a full-band performance of the collection live streamed to fans at home.

He’ll also be performing and sharing more details about the project across multiple platforms throughout the week including Taste Of Country’s “Happy Hour” today (May 15), Facebook Live with Country Rebel on May 18, Instagram Live on Country NOW on May 19, American Songwriter’s “Behind The Mic” on May 20, Facebook live with One Country on May 21, an Instagram live with Sounds Like Nashville on May 22, and more.

“I’m so pumped to finally have this music out,” said Denning. “We’ve poured a lot of passion, hours and life into these songs. I hope when people turn these songs up they hear that.”

BEER’S BETTER COLD EP Track Listing:
1.    “Where That Beer’s Been”
(Rhett Akins, Travis Denning, Chris Stevens, Jeremy Stover)
2.    “After A Few”
(Kelly Archer, Travis Denning, Justin Weaver)
3.    “ABBY”
(Ashley Gorley, Matt Jenkins, Chase McGill)
4.    “Tank Of Gas And A Radio Song”
(Travis Denning, Nathan Spicer, Shane Minor)
5.    “Beer’s Better Cold”
(Scooter Carusoe, Travis Denning, Cole Taylor)
6.    “Sittin’ By A Fire”
(Rhett Akins, Travis Denning, Jeremy Stover)

Mark Bright Parts Ways With Foundry Records


Mark Bright has parted ways with Foundry Records. The Grammy-winning producer, songwriter and publisher had signed on to oversee A&R for the label when it launched last fall. In October 2019, Foundry Records announced it had signed deals with Shenandoah and Austin Merrill.

“My work with Foundry has come to an end, but I value the time spent shepherding the new venture,” Bright says. “The creative community is a constantly changing landscape, and I’m moving on to new endeavors.”

Bright is a Texas native who has been a creative force in Nashville for nearly four decades. His production credits include Sting, Shakira, Steven Tyler, Vince Gill, Keith Urban, Brad Paisley, Reba McEntire, Billy Ray Cyrus, Luke Bryan, Blackhawk and Sara Evans. He began working with Carrie Underwood fresh off her American Idol win in 2005 and produced her first five albums, yielding 21 No. 1 hits and sales in excess of 60 million.

As a publisher, his songwriters had 44 songs recorded by major label artists. A songwriter himself, Bright’s credits include George Strait’s 60th No. 1 hit “Give it All We Got Tonight” and songs recorded by Shakira, Whitney Duncan and others.

Chris Colston Signs With The AMG

Chris Colston

Chris Colston has signed with Artist Management Group (the AMG) for exclusive management representation.

The Texas-based country singer is releasing his new single “First Tattoo” today, which was penned by Morgan Wallen and AJ Pruis, and is from Colston’s debut full-length album Bombs Away that will be available June 26.

Colston started playing drums at 7, and by the time he was 17, he had picked up a guitar, formed his first band and was touring around Texas. He became a staple in the Texas music scene with his first EP Gone and has opened shows for Casey Donahew, Whiskey Myers and Parker McCollum, among others. He currently averages more than 130 tour dates a year, and has accumulated three million streams across all platforms for his songs, which include his 2018 debut single “Gone,” and the recently-released “First Dirt Road” and “Bombs Away.”

“Sometimes it just takes one listen to know ‘this guy is the real deal,’” said Rob Beckham, CEO of the AMG. “Chris is a hard-working, salt-of-the-earth talent, and the music is rooted in Texas tradition – but has no boundaries. The AMG is proud to add another undeniable hitmaker to our artist roster.”

Michael Gordon and Joe Lee at The AMG will jointly handle the day-to-day business for Colston.

“I’m very excited to be taking the next step in my career and working with AMG,” Colston said. “Becoming a national act is something I’ve always dreamed of, and I strongly believe this is the team that is going to make that dream a reality. Texas and Tennessee working together can make one hell of a punch. I can’t wait to see what the future holds.”

Natalie Stovall Joins Runaway June

Pictured: Jennifer Wayne, Naomi Cooke, Natalie Stovall. Photo: Runaway June/Instagram

Following Thursday’s (May 14) announcement that Hannah Mulholland would be leaving Runaway June, the BBR Music Group trio that Mulholland helped found in 2015, it has been revealed that vocalist, fiddle player and songwriter Natalie Stovall is joining the group, which also includes Naomi Cooke and Jennifer Wayne.

Runaway June announced the new group member via Instagram, saying, “Everyone meet the newest member of Runaway June, @nataliestovall!! We couldn’t be more excited for the future and we can’t wait to perform again soon. We love you all more than words could ever express and we thank you for the outpouring of kindness, love and support in these wild, crazy times. It has kept us going, kept us positive and motivated to give more, go further, push harder. We are ecstatic to share this new chapter with Natalie and cannot wait for you all to adore her as much as we do. See you all as soon as possible and in the meantime please stay home & healthy! We miss and love you!! ?”

Stovall previously fronted Natalie Stovall and the Drive, known for the 2014 single “Baby Come On With it.” The group released their self-titled EP in 2015, followed by the EP Heartbreak in 2016. Stovall began performing professionally at age 10, and made her Grand Ole Opry debut at age 12. Along the way, she also performed at the White House as part of a segment on the Oprah Winfrey Show. Stovall also competed on Season 13 of NBC’s The Voice, and was on Blake Shelton’s team.

Stovall added on her on Instagram account, “Let the adventure begin!!! ❤️? I am SO excited to finally let y’all in on what’s been going on!!! I am joining Runaway June!!! Y’all know I always keep you on your toes ? I think all of our lives looked a little different just a couple of months ago. But this has been one of the easiest and most obvious choices I’ve made thus far in my music journey. I LOVE making music in band setting and I’m so excited to get to create and perform and spread joy with @runawayjuneofficial !!! As soon as we can, we will be out there on the road coming your way. And in the meantime, we will be creating music for you to hear! Much love. ✨✨✨”

With Mulholland, Runaway June released the debut project Blue Roses last year and celebrated a hit single with “Buy My Own Drinks.” With that hit, they became the first all-female trio in more than 16 years to earn a Top 5 hit at country radio.

The trio spent much of 2019 on the road opening for Carrie Underwood’s Cry Pretty Tour 360 and in February, were part of CRS’ New Faces of Country Music class of 2020.