Dolly Parton To Release ‘Songteller: My Life in Lyrics’ Audiobook

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RBmedia has inked a deal with Dolly Parton to release the audiobook production Dolly Parton, Songteller: My Life in Lyrics, as a companion to the previously-announced book by the same title, which Parton penned alongside author and journalist Robert K. Oermann.

The audiobook production Songteller features Parton in her own words, telling personal stories, sharing memories, and revealing insights into the creative process behind her music and lyrics. The audiobook includes Parton’s stories alongside samples of nearly 100 of her songs.

“Across my life, I’ve written thousands of songs. This fall, for the first time ever, we’re spotlighting a hundred of my favorites in my new audiobook, Dolly Parton, Songteller. Not only will you be able to revisit my life in lyrics, but I’ll tell you never-before-heard stories behind the songs. I am so thrilled to announce my collaboration with Recorded Books to create this unique audio experience.”

“Above all else, Dolly Parton truly is a Songteller,” says Troy Juliar, Chief Content Officer for RBmedia. “In this unique audio experience, she carries fans with her on a journey behind the scenes of her legendary music career. We are honored to be the publisher that shares these remarkable stories and memories with everyone who loves music history, country music, and Dolly Parton.”

Dolly Parton, Songteller: My Life in Lyrics will be available on Nov. 17, 2020 in both CD and digital audiobook form, and is currently available for preorder on Amazon.

Lightning 100’s Live On The Green Music Festival Pivots To FM Music Festival For 2020

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Lightning 100 has announced the 2020 Live On My Green FM Music Festival coming to WRLT Lightning 100.1 FM over Labor Day weekend, Thursday, Sept. 3 through Sunday, Sept. 6, 2020.

Fans can tune in all weekend to hear recorded live festival performances, including exclusive never before heard content and interviews with the artists including Amos Lee, Black Pumas, Bruce Hornsby, Dawes, Devon Gilfillian, Jack Johnson & Friends, Jason Isbell & The 400 Unit, Larkin Poe, Liza Anne, Marcus King, Moon Taxi, My Morning Jacket, Rainbow Kitten Surprise, St. Paul & The Broken Bones, Wood Brothers and many more.

“Live music looks much different this year,” said Lester Turner, President of Tuned in Broadcasting, Lightning 100 and the Executive Producer for Live On The Green. “We cannot have an on-site event this year, but we want to be the soundtrack for your on-site event – in your backyard, on the water or wherever you may be all weekend long. As Nashville’s Independent Radio Station, we have been engaging the community at Live On The Green since 2009. Just because we can’t be together in Public Square Park this year, doesn’t mean we cannot still share the spirit of Live On The Green.”

Live On My Green will also feature the finalists of the Music City Mayhem contest with exclusive, recorded performances. Live On My Green can be heard via 100.1 FM, Lightning100.com, a smartspeaker, or the Lightning 100 app.

Circle’s Drew Reifenberger On Launching A Network—Then Revamping—During A Pandemic

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Circle Network GM Drew Reifenberger

On Jan. 1, television network Circle celebrated the New Year by launching with a hefty slate of country music programming, including “Bluebird Café Sessions,” “Craig’s World,” “Phil Vassar’s Songs from the Cellar,” and “Opry Live,” a two-hour program featuring performance highlights from the Grand Ole Opry’s week of shows.

However, just 2 ½ months into the network’s launch, everything from live concerts to television productions shut down as states began implementing stay-at-home orders and banned gatherings to help slow the spread of the COVID-19 pandemic.

On Thursday, March 12, Nashville’s leaders began implementing shutdowns throughout the city. Within approximately 36 hours, the Grand Ole Opry and the CIRCLE network pivoted. Even as the Opry had to close its doors to in-house audiences, the show continued its 95-year tradition of broadcasts, airing on Saturday, March 14, with a revamped, one-hour live broadcast from the Grand Ole Opry House, featuring Jeannie Seely, Connie Smith, Bill Anderson, Many Barnettand more.

Since March, CIRCLE has helped to bring viewers the live, one-hour broadcast each Saturday night—bolstered by performances from Vince Gill, Reba McEntire, Garth Brooks, Trisha Yearwood, Luke Combs, Keith Urban, Darius Rucker, Brad Paisley, Keb’ Mo’, and more. In the process, the show has become the only show of its kind during the ongoing pandemic, offering a weekly, high-quality production of live music from a public venue. The show is broadcast live on Circle and Gray TV stations, DISH Studio Channel 102, Sling TV and other TV affiliates, as well as live streams via Circle All Access Facebook and YouTube channels, and aired on Nashville’s WSM-AM and SiriusXM.

“There was no planning for this,” says CIRCLE General Manager Drew Reifenberger. “But we were able to shift pretty dramatically, namely with the Opry itself, but also with a number of other programs that we’ve been able to produce in this limited sort of way. We have “Circle Sessions.” We’ve been able to maintain our morning show, “Coffee, Country & Cody,” obviously a lot more remote and with fewer artists in the studio, and then a series of live stream shows. So it was an adjustment for sure, but our mission and mandate never changed, how we do it just changed a little bit.”

Those decisions have paid off. A recent SmithGeiger research study from April 2020 showed that 43% of Circle Network’s potential audience was already aware of its existence and 83% had already viewed some of Circle Network’s programming. The study also suggested that just over half of Circle Network viewers who have never attended the Opry intend to do so in the future.

Circle Network also just announced season two of Vassar’s “Songs From The Cellar,” which is filmed at Vassar’s home wine cellar, will launch Sept. 10, with artists including Kix Brooks, Brothers Osborne, and more.

MusicRow caught up with Reifenberger to discuss how Circle Network has adjusted course—and even thrived— during the ongoing pandemic.

MusicRow: Circle Network and the Grand Ole Opry had to shift your game plan within a very brief timeframe once large performances were shut down. What was that like?

Reifenberger: In just over a day’s time, we said, “Hey, people can’t come to the Opry. We got to bring the Opry to the people.” We worked with the tools that we had. The Opry show wasn’t live at that point, we were doing the weekly compilation show. So we said, “Of course, the Saturday night Opry has to remain consistent, right?” Because with a more than nine-decade run, we weren’t breaking that on our watch. That was never an option. The show will go on. If it’s a camera on a tripod and an artist holding a flashlight, we will not break that streak, I assure you.

So we went live through the network and then we decided to open up a livestream, which we had not done at that point. We went to our affiliate partners and said, “Hey, would you like to take this live as well?” And, and over 80 of them signed on. The Opry is this place that brings people together, heals people. And the Opry has always been this steady community-oriented institution that brings that comfort, support, and frankly, a little distraction, which we all need at times right now. And so we never missed a beat. It was because we had a great team that could move on that dime, so to speak and take a format and completely change it in 36 hours. And then we’ve been learning every week since we’ve tuned and adjusted, but we never stopped.

How did the actual filming of the Opry show have to change?

It was a combination of a few things, not the least of which is we kind of deconstructed the master control, and we moved some people to different rooms to ensure the six feet of spacing. We added some plexiglass walls, those sorts of things. We just spaced everybody out that we needed to, then we stuck to the protocol of no more than 10 people in any one zone. As we moved on from [Phase] one, you’ve seen a little more onstage, with backup bands and supporting bands, than in those first few weeks where we were purely acoustic. We follow very strict protocols. We don’t want to have anybody to get sick, and some artists are more concerned than others and some like to take additional precautions and we support that. We’ve had staff and crew make certain requests that we’ve recognized and honored. We’re all getting through this together.

How has content been affected for other Circle programming?
Certain shows can be done remotely, because it’s all based on library archive footage put together in a very contemporary, fresh approach. But those producers and editors can all do that via phone and Slack. We’ve gotten very good at that remote editing, producing. So anything that comes that is library-based, we’re very good at it.
Others, like Circle Sessions, which is a new show we created, is actually potentially very freeform, because every week’s kind of a new adventure. And we build the show around the artist. Some perform, some don’t perform. Some are interview-centric, some are storytelling-centric. And that we’ve been able to do, initially in a more of a Zoom sort of format, and then as the world opened up a little bit, we’ve been able to do it in person, obviously social distance. And then live streams. We’ve done mid-week live streams too, outside of the Opry, with our friends Dailey & Vincent,and some others that have been very successful.

Artists can’t be on the road promoting their music, for the most part. What have those conversations been like with artists as far as Circle being able to offer them a way to get their music to the fans as things have kind of been scaled back with touring and other areas?

I think back to, for example, the “Circle Sessions” show. If you’re releasing music right now, there are not a lot of options. I mean, there’s plenty of radio shows you can call into, but that’s about it. So the ability to come on and do a Circle Sessions, the week you release some music, is just a win-win for everybody. The same thing with “Coffee, Country & Cody,” having a three-hour live morning show that, they can really have some meaningful involvement with, is been of great interest to the artists, managers, agents, and so forth. And then the Opry itself, as we’re streaming the Opry now, artists themselves are also cross-posting and doing a bunch of streaming activity.

It is interesting how the Opry feels very full-circle right now, as fans and the industry gather together—virtually—to watch one show on Saturday nights.

I completely agree. Look, I spent the last 20 years trying to condition people away from appointment viewing. And I am now working on one of the biggest appointment viewing shows going right now, for sure—a live, weekly show. We have so much feedback from people, saying, “Thank you for doing this. I look forward to this, it makes my week.” And it’s a responsibility that we and Dan [Rogers] and Gina [Keltner] and the team up at the Opry take very seriously, because a lot of people are counting on us.

How has the Opry’s popularity right now helped Circle Network in terms of new opportunities?

There’s no question that it’s elevated Circle. In a way, I wish it wasn’t the case, from a standpoint of this being during a global pandemic, but it absolutely elevated us in such a way that people are noticing us probably at a faster rate. From a sponsor standpoint, there are not many doing live original things like we’re doing, that they can get involved in. So it’s helped us for sure to attract some additional advertisers and sponsors.

When you announced the launch of Circle in January, that included a full slate of programming. What is ahead in terms of programming?

We started with a very strong slate and frankly, that’s why we’ve been able to stay as fresh as we have without being in original production. We started with 17 signature series, which is a lot for a network, and it’s quite intentional because we were trying to make a statement. And at the time, that’s why we did it and now it’s turned out to be invaluable in that we had a lot of fresh content to take us well into the end of the year. So that’s the medium-term plan. The short-term plan is we are identifying a few more original shows that we think we can produce responsibly, that don’t require audiences, and don’t require big production crews.

What have the viewership numbers been like during this time?
We did do some research, just a few weeks into the pandemic that showed 43% unaided awareness among country music fans, and that’s really high. I think it speaks to the thesis that country music fans are just so underserved. I think it’s really interesting that we’ve gotten so much done so fast. And that’s really before Opry sort of took off, and really before some of the bigger names, before Garth and Trisha, and Blake, and Keith Urban. We were sitting there with 42% unaided awareness. And those who’d seen us were 83% likability, that’s really high.

You relocated to Nashville to begin working for Circle. What have you enjoyed most about working in Nashville?

There’s a lot of humanity in this town that you don’t get in other aspects of entertainment and sports, and the way they support each other. You don’t see that quite so much in New York and L.A. Also, the way they help younger artists up. I think they just, everybody has a very similar background, with the exception of maybe some true overnight successes. They had some hardscrabble experiences, playing the lousy sets early on, or sleeping in a car. That struggle doesn’t seem to leave them—it stays and it creates a real level of humility that I’ve never seen in sports or other parts of entertainment. And at times like this, where you see it come out and people are asking, “How can we help? What can we do?” and that’s without being asked. I’m not saying that there’s not plenty of celebrities doing plenty of important things right now, but I think it’s just a different feel here.

A2IM, Recording Academy Address PPP Concerns In Letter To Senator Rubio

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The American Association of Independent Music (A2IM) and The Recording Academy recently sent a letter to Senator Marco Rubio‘s office on behalf of artists and indie labels regarding concerns about Paycheck Protection Program loans, and to voice support for the Continuing Small Business Recovery and Paycheck Protection Program Act.

Rubio is Chairman of the Committee on Small Business and Entrepreneurship, and the letter argues against large broadcasters receiving aid as small businesses under the PPP, rather than being considered part of their corporate parent companies. The letter also advocates extension of the PPP to self-employed individuals.

The letter states: “We are very pleased to see that your proposal does not include provisions supported by the broadcasting industry, and radio broadcasters specifically, to allow radio stations owned by mega conglomerates to qualify if an individual location employs fewer than 500 people. PPP funds have proven challenging to secure, and opening up a pot of money to enormous companies that have other means of accessing capital, defeats Congress’ laudable objective of targeting aid to businesses on the front lines in struggling communities.”

The letter also addresses the issue of PPP loans going to large businesses, saying, “according to data released by the Small Business Administration, over 2,000 radio broadcasters have received as much as $350 million in support. 25 of those companies have over 100 employees. Suffice it to say, the program is already very generous. But the five largest radio conglomerates in the country own over 1,900 stations, are anything but small, and should not qualify for this aid.”

A full copy of the letter is below:

Senator Marco Rubio
Chairman, Committee on Small Business and Entrepreneurship 428A Russell Senate Office Building
Washington, DC 20515

Dear Senator Rubio:

On behalf of recording artists and small independent record labels across the country, we write to support the Continuing Small Business Recovery and Paycheck Protection Program Act. Most importantly, Paycheck Protection Program (PPP) Second Draw loans would be a needed lifeline to true small businesses in the music industry, and a reduction of the employee cap to 300 employees is sound public policy. We also remain hopeful that Congress will clarify certain aspects of the PPP so that relief is more readily accessible to self-employed individuals.

The American Association of Independent Music (A2IM) represents more than 700 record labels in 33 states. A2IM members are true small businesses. Of its record label members, more than 140 make less than $1 million a year, and several dozen are sole proprietors.

The Recording Academy represents the voices of performers, songwriters, producers, engineers, and all music professionals. It represents only individuals and has no company or corporate members. The Academy advocates on behalf of music creators and celebrates artistic excellence through the GRAMMY Awards®—music’s only peer-recognized accolade and highest achievement.

Together, we are very pleased to see that your proposal does not include provisions supported by the broadcasting industry, and radio broadcasters specifically, to allow radio stations owned by mega conglomerates to qualify if an individual location employs fewer than 500 people. PPP funds have proven challenging to secure, and opening up a pot of money to enormous companies that have other means of accessing capital, defeats Congress’ laudable objective of targeting aid to businesses on the front lines in struggling communities.

As you may know, federal copyright law affords special treatment to broadcast radio over all other forms of music distribution in that radio stations do not have to pay a dime to recording artists and record labels for the public performance of sound recordings. The United States is the only developed country in the world where this is the case and, as a result, music format radio stations make $11 billion a year in advertising revenue without being required to compensate creators, whose product draws consumers to radio in the first place.

In the context of emergency aid, it is crucial to recognize that this unfair treatment under copyright law means that recording artists and labels feel zero downstream impact from taxpayer funded economic support to broadcasters. When PPP went to restaurants, for instance, that freed up capital for downstream economic benefit, flowing to food distributors, furniture suppliers, and others.

Under the current PPP requirements, many small local broadcasters have already received support, and we don’t object to true small businesses accessing these funds. According to data released by the Small Business Administration, over 2,000 radio broadcasters have received as much as $350 million in support. 25 of those companies have over 100 employees. Suffice it to say, the program is already very generous. But the five largest radio conglomerates in the country own over 1,900 stations, are anything but small, and should not qualify for this aid.

Thank you for your continued leadership and commitment to small businesses. We appreciate the principled and responsible position laid out by your proposal and welcome an opportunity to help with its enactment as part of the next relief package.

Sincerely,

Dr. Richard James Burgess
President and CEO
American Association of Independent Music

Daryl Friedman
Chief Advocacy Officer Recording Academy

Kane Brown, Crown Royal Team With Military Veterans For “Homesick” Remix

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Kane Brown. Photo: Matthew Berinato

Kane Brown and a team of veteran singer-songwriters have remixed his No. 1 single “Homesick,” and Brown has released the track on the one-year anniversary of the song’s original release date. He is teaming up with the Crown Royal Purple Bag Project to use the song to support veterans through its care package project.

Originally written by Brown, “Homesick” was dedicated to members of the military. The “Homesick (Veterans Version)” track, available on streaming services now, is a re-imagined ballad featuring the vocals of veterans Generald Wilson, Retired Petty Officer First Class, U.S. Navy; J.W. Cortés, Retired Gunnery Sergeant, U.S. Marines; and Sal Gonzalez, Retired Lance Corporal, U.S. Marines.

For every stream of “Homesick (Veterans Version),” The Crown Royal Purple Bag Project will pack one bag to be donated as a care package to non-profit Packages From Home as part of the brand’s goal of one million bags by the end of 2020, and will donate $1 to community-based organization Minority Veterans of America, up to $100,000.

Crown Royal and Kane Brown are committed to supporting the American heroes who have generously served our country during these unprecedented times, including frontline and essential workers, first responders, healthcare workers, active-duty military servicemembers and those who are fighting for social justice in the minority veteran community.

“I’m honored to partner with The Crown Royal Purple Bag Project and release ‘Homesick (Veterans Version)’ in recognition of the American servicemen and women who have given so generously during this difficult time,” said Brown. “I also recognize the incredible importance of acknowledging the service our minority veterans have made for this country. My hope is this remix shines a light of hope and generosity, to uplift our heroes during this time.”

“Our iconic purple bag is a symbol of generosity and we’re proud that The Crown Royal Purple Bag Project can help give back to those who have given so much of themselves,” said Sophie Kelly, SVP, Whiskies, Diageo NA. “We’re so grateful for the support of Kane and our veteran partners, as well as Packages from Home and Minority Veterans of America, as we continue to give back to those who protect and serve our country.”

 

 

Songwriting University Competition Winner Awarded $10,000 Grand Prize

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Pictured: Billy Sprague, Joe Beck, Michael Blanton, Winner Colin Matchack, Tony Brown and Gary Glover

Songwriting University recently concluded their first of many international songwriting competitions with entries from hundreds of songwriters all over the world. On July 31, finalist Colin Matchack was invited to the Songwriting University office to discuss a potential development deal with the company. He was also surprised with a $10,000 grand prize in the form of a giant check during his visit. A 21-year-old aspiring singer-songwriter, Matchack currently lives in Ooltewah, Tennessee, and entered 14 songs into the competition.

The 15 finalists were chosen by Songwriting University founders Michael Blanton, Gary Glover, Billy Sprague, and Joe Beck, along with celebrity guest judges songwriter Wayne Kirkpatrick and producer Tony Brown.

“When we first started developing Songwriting University three years ago, the goal was to foster and develop the next generation of songwriters,” says SU co-founder Gary Glover. “Finding this talented young writer through this competition is the culmination of 3 years of work and development, it’s why we started the company.”

“Thank you, this means so much,” said Matchack. “I didn’t go to college, I chose music and I don’t have a degree, but it feels like I do now. A degree from Songwriting University.”

Nick Norman Signs With Fourward Music/Cock Crows Publishing

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Nick Norman. Photo: Justin Key

Songwriter Nick Norman has inked a publishing deal with Fourward Music and Lee Brice‘s new publishing company Cock Crows Publishing.

Norman previously became the first artist signed to the newly-launched label and artist development collective Pump House Records, co-founded by Lee Brice, Rob Hatch, Elisha Hoffman and business execs Derek and Kristi Hutchins.

“I am extremely grateful for this opportunity. With a support group that’s second to none, I am confident this is just the beginning,” Norman shares. “These songs are my story and my message — to deliver them alongside a few of my best friends and mentors is an added bonus.”

“Will [Ward] and I have had our eyes on Nick and we’re thrilled to be his publishing partner,” says Shannan Hatch, Fourward Music president. “He’s a prolific writer whose songs connect because he writes from a place of honesty and transparency. His songs grab your heart and make you move, because they come from a genuine place. We’re looking forward to a great future together.”

Brice adds, “I’ve known Nick since we were kids and I’ve always believed in him so starting a publishing imprint to support his dream was a no-brainer and an honor. Now, Nick, let’s watch you fly.”
A South Carolina native, Nick relocated to Key West, Florida in 2005 and built a fan following. His upcoming album was co-produced by Lee Brice, Rob Hatch and Elisha Hoffman and includes songs co-written by Steve Moakler, Cary Barlowe, Will Weatherly and Kyle Jacobs, as well as guest vocalists Jamey Johnson, Josh Abbott and Rebecca Lynn Howard.

For Lee, watching his childhood friend bloom has been a blessing. “He’s always had a passion for singing,” says Lee of Nick, “but after moving to Key West and singing multiple hours a day, six days a week, for more than a decade, he’s at a whole new level. His stuff is so soulful and so groovy.”

Live Nation’s Revenues Dropped 98% In Second Quarter Of 2020

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Live Nation Entertainment has released its second quarter 2020 results. The concert promoter reported a 98% drop in revenue, from Q2 2019 to Q2 2020, including a 95% drop in concert revenue ($2.6 billion in Q2 2019, vs. $141.8 million in Q2 2020) and an 88% drop in sponsorship and advertising revenue.

While undoubtedly a significant drop in revenues, it’s not unexpected with the ongoing COVID-19 pandemic bringing touring schedules and live concerts to a halt.

Live Nation also posted a negative $86 million revenue for ticketing, primarily because of refunds to music fans, while a year ago, Live nation posted positive ticketing revenues of $371 million.

In its 2020 second quarter, Live Nation had 24 concerts in North America, bringing in 8,000 fans, as compared to 7,213 concerts in its second quarter of 2019, which brought in 15.84 million fans.

Live Nation President/CEO Michael Rapino also noted that Live Nation has already sold 19 million tickets to more than 4,000 concerts and festivals slated for 2021.

“Over the past three months, our top priority has been strengthening our financial position to ensure that we have the liquidity and flexibility to get through an extended period with no live events. Our expectation is that live events will return at scale in the summer of 2021, with ticket sales ramping up in the quarters leading up to these shows. Importantly, we remain confident that fans will return to live events when it is safe to do so. Our strongest indicator of demand is that fans are holding on to their tickets, even when given the option of a refund. Through the end of the second quarter, 86% of concert fans are keeping their tickets for rescheduled shows, demonstrating their continued desire to attend concerts in the future despite the current uncertainty,” said Rapino.

Click here for a full review of Live Nation Entertainments’s quarterly results.

Matthew West Launches Podcast

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Matthew West is launching “The Matthew West Podcast” today (Aug. 5) on author, speaker and podcaster Annie F. Downs‘ That Sounds Fun Network.

West debuts three episodes, featuring Casting Crowns’ frontman Mark Hall, mother and daughter team Korie Robertson and Sadie Robertson Huff, and a special Q&A episode with West that will be a monthly feature. Each week, West will welcome artists, authors, professional athletes and more to chat about their stories as well as share the stories from those that have inspired his music and conclude with some encouraging words from his dad, Pastor Joe West. He will release a new episode each week.

“Every episode will also have a musical component called ‘Songs From The Story House’ where I get to share the stories of people’s lives who have inspired the songs,” said West. “From the inspiring story of a fourteen year old walking miracle named William, to the incredible story of Renee, who lost her daughter in a drunk driving accident but discovered the life changing gift of forgiveness, I believe these stories are going to challenge listeners to see the power in their own stories. So here we go! This is gonna be fun.”

“The Matthew West Podcast” joins six other podcasts on the That Sounds Fun Network, which launched in May and already touts millions of downloads.

Creative Nation Hires One, Promotes Three

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From Left to Right: Christina Wighton, Abby Holcomb, Kelsey Granda, Shaina Botwin
(Photo Credit: Spencer Combs)

Nashville-based music company Creative Nation has added Abby Holcomb to their team as Office and Administration Coordinator. Holcomb graduated from the University of North Alabama in 2019 where she studied Music Business, Public Relations, and Marketing. A month after graduation, she moved to Nashville from Muscle Shoals, Alabama, and shortly after, she accepted a receptionist position at Universal Music Group Nashville handling all front office communications and building relationships. As CN’s Office and Admin Coordinator, Holcomb will report to Kelsey Granda and be responsible for managing the Creative Nation offices and publishing catalog as well as assisting the publishing team.

“When I met Abby, I knew her personality would fit well with the Creative Nation culture. Her attention to detail and her friendliness don’t just make her a great fit for the job, but they make her a great fit for the team,” Granda says.

Creative Nation has promoted Granda to VP, Operations and Administration and Shaina Botwinto Creative Manager, Publishing. In her role, Granda will coordinate with the company’s financial and legal teams regarding deals and budgets and oversee day-to-day company operations. In her role, Botwin will continue managing songwriters’ calendars, pitching songs, and signing and developing writers and artists on the publishing roster.

Christina Wighton has shifted roles from Executive Assistant to Beth Laird/Office Director to Executive Assistant to Beth and Luke Laird/Digital Manager. In her new role, Wighton will oversee all content across Creative Nation’s digital platforms. Wighton will continue to assist Beth Laird and will now help oversee Luke Laird’s schedule as well.

“Kelsey, Shaina, and Christina individually bring so much value to the Creative Nation team and their diverse talents make our team stronger, smarter and more fun. I am so proud of their growth, happy to be able to recognize them and continue our work for our songwriters and artists,” says Beth Laird.

Creative Nation is celebrating back-to-back No. 1 country and pop songs this week, with Sam Hunt’s “Hard To Forget” (co-written and co-produced by Luke Laird) and Harry Styles’ “Watermelon Sugar” (co-written and co-produced by Tyler Johnson).