Ruston Kelly Announces Fall Tour Dates

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Ruston Kelly. Photo: Alexa King

Ruston Kelly will continue his headlining tour into Fall with a series of stops at Atlanta’s Terminal West, Austin’s Scoot Inn, Los Angeles’ Troubadour, Seattle’s Tractor Tavern, New York’s Bowery Ballroom, Boston’s Brighton Music Hall and Washington D.C.’s U Street Music Hall, among others.

Tickets for the newly confirmed dates go on sale this Friday, May 10 at 10 a.m. local time. The shows continue a banner year for Kelly, whose full-length debut, Dying Star, was released last fall on Rounder Records.
RUSTON KELLY TOUR DATES:
May 6—London, U.K. —Omeara
May 8—Manchester, U.K. —Jimmy’s
May 9-11—Brighton, U.K. —The Great Escape
May 12—Bristol, U.K—The Crofters Rights
May 14—Amsterdam, Netherlands—Paradiso
June 15—Manchester, TN—Bonnaroo Music and Arts Festival
July 12—Minneapolis, MN—Basilica Block Party
July 27—Newport, RI—Newport Folk Festival
July 28—Camden, NJ—XPoNential Music Festival
August 3—Chicago, IL—Lollapalooza
August 4—St. Charles, IA—Hinterland
August 10—Lexington, KY—Railbird Festival
August 22-23—Tonder, Denmark—Tonder Festival
August 24—Amsterdam, Netherlands—Once In A Blue Moon Festival
September 18—Chattanooga, TN—Songbirds South Stage*
September 19—Knoxville, TN—Bijou Theatre*
September 20—Atlanta, GA—Terminal West*
September 20-22—Bristol, TN—Bristol Rhythm & Roots Reunion
September 26—Dallas, TX—Granada Theater*
September 27—Houston, TX—White Oak Music Hall*
September 28—Austin, TX—Scoot Inn*
October 1—Los Angeles, CA—Troubadour*
October 3—San Francisco, CA—The Independent*
October 4—Portland, OR—Wonder Ballroom*
October 5—Seattle, WA—Tractor Tavern*
October 7—Salt Lake City, UT—The State Room*
October 8—Denver, CO—The Bluebird Theater*
October 10—Des Moines, IA—Wooly’s*
October 12—Madison, WI—High Noon Saloon*
October 16—St. Louis, MO—Blueberry Hill*
October 18—Louisville, KY—Mercury Ballroom*
October 19—Columbus, OH—A&R Music Bar*
October 20—Detroit, MI—The Shelter*
October 22—Toronto, ON—Drake Underground
October 24—New York, NY—Bowery Ballroom*
October 25—Boston, MA—Brighton Music Hall*
October 26—Washington, DC—U Street Music Hall*
November 11-15—Punta Cana, Dominican Republic—John Prine’s “All The Best Fest”
*with special guest Donovan Woods

Chris Tomlin’s Hollywood Bowl Show Breaks Career Attendance Record

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Chris Tomlin sold out the Hollywood Bowl Saturday night, just two weeks after smashing his own attendance record as the largest ticketed Christian concert in the history of Bridgestone Arena during the third-annual ‘Good Friday Nashville’ show. The headline show, which also coincided with his birthday, is now the highest-attended concert of Chris’ career.

Saturday night’s concert was Tomlin’s first performance at the Hollywood Bowl. His concert tours include sold-out venues in several other major cities including New York City’s Madison Square Garden and Red Rocks Amphitheatre. He’ll return for two shows at Red Rocks this July, where in 2017 he became the first Christian artist to play back-to-back concerts at the historic venue.

His summer touring schedule also includes his first-ever trip and concerts in Israel, ‘Chris Tomlin Worship Nights in Israel- A Journey Through the Holy Land’, a 7-day destination/ concert event June 20-27 that will tour Galilee, the Dead Sea, Nazareth, Capernaum, Mount of Beatitudes, the Garden Tomb, and more.

Anthony Piedmonte (Piedmonte & Co, Chris’ manager), Bryan Myers (CAA), Jared Gibo (Transparent Productions), Chris Tomlin, Tim Taber (Transparent Productions), Tony Johnsen (CAA)

Chris Tomlin’s Hollywood Bowl Show Breaks Career Attendance Record

/by

Chris Tomlin sold out the Hollywood Bowl Saturday night, just two weeks after smashing his own attendance record as the largest ticketed Christian concert in the history of Bridgestone Arena during the third-annual ‘Good Friday Nashville’ show. The headline show, which also coincided with his birthday, is now the highest-attended concert of Chris’ career.

Saturday night’s concert was Tomlin’s first performance at the Hollywood Bowl. His concert tours include sold-out venues in several other major cities including New York City’s Madison Square Garden and Red Rocks Amphitheatre. He’ll return for two shows at Red Rocks this July, where in 2017 he became the first Christian artist to play back-to-back concerts at the historic venue.

His summer touring schedule also includes his first-ever trip and concerts in Israel, ‘Chris Tomlin Worship Nights in Israel- A Journey Through the Holy Land’, a 7-day destination/ concert event June 20-27 that will tour Galilee, the Dead Sea, Nazareth, Capernaum, Mount of Beatitudes, the Garden Tomb, and more.

Anthony Piedmonte (Piedmonte & Co, Chris’ manager), Bryan Myers (CAA), Jared Gibo (Transparent Productions), Chris Tomlin, Tim Taber (Transparent Productions), Tony Johnsen (CAA)

Rolling Stone To Launch New Alpha Data-Based Charts May 13

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Rolling Stone is launching its own music charts powered by music analytics service Alpha Data (formerly BuzzAngle Music), stepping into a space traditionally held by Billboard. The new charts, which will launch to the public on Monday, May 13, will track the popularity and reach of artists, albums, and songs across the country and are customized for specific content verticals, incorporating digital and physical sales, and on-demand streaming activity.

“PMC’s strategy is to constantly evolve our brands and products across media platforms. What’s imperative and exciting about our new Rolling Stone Charts is that it will present a transparent, granular and real-time quantification to accurately reflect listeners’ evolving interests and give insight into worldwide trends,” Jay Penske, the founder, Chairman and CEO of PMC.

The first launched charts will include:
  • Rolling Stone Top 100 Songs – a daily chart that ranks the most consumed songs of the week by audience demand, comprised of on-demand audio + video streams, and song sales.
  • Rolling Stone Top 200 Albums – a weekly chart that ranks the most consumed albums of the week by audience demand, comprised of physical and digital album sales, song sales, on-demand audio + video streams.
  • Rolling Stone Artist 500 – a weekly chart that ranks the most streamed artists of the week by audience demand, comprised of both on-demand audio + video streams.
  • Rolling Stone Trending 25 – a weekly chart that ranks the fastest-growing songs of the week measured by consumption of on-demand audio + video streams, physical purchases, digital purchases, and airplay spins (radio). The chart does not measure volume of consumption but rather the highest rates of growth week over week, signaling the songs and artists deserving of attention.
  • Rolling Stone Breakthrough 25 – a weekly chart that ranks the artists who have charted for the first time, measured by audience demand, including both on-demand audio + video streams.
Penske Media Corp. announced in January it had bought a 49% stake in Rolling Stone, after purchasing an initial 51% stake in 2017,  giving the company full control of the publishing brand. The company made a strategic investment in Alpha Data in 2018 to deepen the influence and expand exposure of the Alpha Data charts, as well as provide Alpha Data a stronger financial foundation from which to grow. Alpha Data’s methodology allows for more than 10 trillion combinations of individualized reports for albums, songs, artists, labels and distributors.

Rolling Stone To Launch New Alpha Data-Based Charts May 13

/by

Rolling Stone is launching its own music charts powered by music analytics service Alpha Data (formerly BuzzAngle Music), stepping into a space traditionally held by Billboard. The new charts, which will launch to the public on Monday, May 13, will track the popularity and reach of artists, albums, and songs across the country and are customized for specific content verticals, incorporating digital and physical sales, and on-demand streaming activity.

“PMC’s strategy is to constantly evolve our brands and products across media platforms. What’s imperative and exciting about our new Rolling Stone Charts is that it will present a transparent, granular and real-time quantification to accurately reflect listeners’ evolving interests and give insight into worldwide trends,” Jay Penske, the founder, Chairman and CEO of PMC.

The first launched charts will include:
  • Rolling Stone Top 100 Songs – a daily chart that ranks the most consumed songs of the week by audience demand, comprised of on-demand audio + video streams, and song sales.
  • Rolling Stone Top 200 Albums – a weekly chart that ranks the most consumed albums of the week by audience demand, comprised of physical and digital album sales, song sales, on-demand audio + video streams.
  • Rolling Stone Artist 500 – a weekly chart that ranks the most streamed artists of the week by audience demand, comprised of both on-demand audio + video streams.
  • Rolling Stone Trending 25 – a weekly chart that ranks the fastest-growing songs of the week measured by consumption of on-demand audio + video streams, physical purchases, digital purchases, and airplay spins (radio). The chart does not measure volume of consumption but rather the highest rates of growth week over week, signaling the songs and artists deserving of attention.
  • Rolling Stone Breakthrough 25 – a weekly chart that ranks the artists who have charted for the first time, measured by audience demand, including both on-demand audio + video streams.
Penske Media Corp. announced in January it had bought a 49% stake in Rolling Stone, after purchasing an initial 51% stake in 2017,  giving the company full control of the publishing brand. The company made a strategic investment in Alpha Data in 2018 to deepen the influence and expand exposure of the Alpha Data charts, as well as provide Alpha Data a stronger financial foundation from which to grow. Alpha Data’s methodology allows for more than 10 trillion combinations of individualized reports for albums, songs, artists, labels and distributors.

Grimey’s Speaks On Evolution Of Record Store Promotions At Music Biz 2019

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Pictured (L-R): Omnian Music Group’s Dave Martin,Ingrooves Music Group’s Ani Basdekian, Grimey’s New and Preloved Music’s Anna Lundy, moderator and Mute Records’ Emmaline McCourt

The Music Business Association’s fifth Nashville Music Biz conference, 61st year in all, hosted a second day of panels on Monday, May 6. As part of the discussion, a panel was held on the evolution of in-store promotion for record stores, now in the age of streaming.

“We as indie record stores are part of a group of record stores all fighting to get customers in our stores,” said Grimey’s New and Preloved Music’s Anna Lundy. “For a record store to exist, you have to create records you also sell in record stores. I’ve found it very interesting a lot of people want to partner with us [for concert ticket giveaways and meet and greets] when they have not a single piece of physical merchandise available for stores.”

However, artists have the ability to promote concerts and music not only with local radio stations, but record stores. There are also in-store only tours. To that point, Lundy says artists, and even her record store customers, will ask if the in-store events could be pushed out on socials and live-streamed.

“The record store [is not a streaming concert experience, and we’re] not always capable of staffing someone to live-stream the performance, but that’s what a tour manager could do, or a label person,” encouraged Lundy. “We’re happy to share that to help celebrate those new songs in the record store with their fans—there’s really no draw back besides staffing.”

For Lundy, it’s all about personalization to infuse excitement in her market.

“Even if it’s not an artist that comes to the record store, they can still create content,” explains Lundy. “That goes a long way.

“This week Esperanza Spalding has a new record out. In advance of that, she didn’t go to 20 record stores, she probably just sat in a room with notes and recorded very simple selfie videos, calling out different stores in different markets [to] have a unique piece that all the stores are excited about sharing because it calls out their store/market. That’s something that could be put together with very little budget and not a lot of planning and can be disseminated widely for a big reach and a feel-good moment for the record store.”

“If you give us cut and paste verbiage, we’re not going to use it,” advised Lundy of Grimey’s best practices. “As a social media user, I’m not looking to see the same picture and words over and over. I would like to see the personality of the store. We’re going to copy your artist’s Instagram account, but we’re not going to use the album art because if you do a hashtag search for that artist, all you’ll see is the same picture over and over with literally the same words—I don’t think that is very engaging or shares the unique nature of indie stores.”

The panel—which also included Ingrooves Music Group’s Ani Basdekian, Omnian Music Group’s Dave Martin and moderator and Mute Records’ Emmaline McCourt—discussed if your artist may feel uncomfortable about small venues, maybe to come up with another marketing plan. However, one suggestion Lundy offered was the recent success of John Prine and Ben Folds’ Q&A.

“We offered our customers the opportunity to come in the store and literally drop a question in a box,” explained Lundy of the events. “It’s a really fun way to mix up a regular signing. Sometimes signings can be really awkward, and that’s a way to make it more an event than someone just sitting in a corner. We did the same thing for Ben Folds where anyone who purchased the record from the store could drop off a question and then come to the Q&A to maybe hear him answer your question.”

Lundy emphasized the value in a record store recommendation is greater than a playlist add on a streaming service.

“At Grimey’s, everyone is a music fan,” concluded Lundy. “Sometimes an in-store performance will turn you around with the energy they bring. And people do ask for recommendations and want to know what the person behind the counter is listening to.

“If you have an artist out touring, hook up the record store in that market because when you convert a record store employee, they have the capacity to convert everyone they come in contact with—customers come to our store because they’re looking for more music.”

Grimey’s Speaks On Evolution Of Record Store Promotions At Music Biz 2019

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Pictured (L-R): Omnian Music Group’s Dave Martin,Ingrooves Music Group’s Ani Basdekian, Grimey’s New and Preloved Music’s Anna Lundy, moderator and Mute Records’ Emmaline McCourt

The Music Business Association’s fifth Nashville Music Biz conference, 61st year in all, hosted a second day of panels on Monday, May 6. As part of the discussion, a panel was held on the evolution of in-store promotion for record stores, now in the age of streaming.

“We as indie record stores are part of a group of record stores all fighting to get customers in our stores,” said Grimey’s New and Preloved Music’s Anna Lundy. “For a record store to exist, you have to create records you also sell in record stores. I’ve found it very interesting a lot of people want to partner with us [for concert ticket giveaways and meet and greets] when they have not a single piece of physical merchandise available for stores.”

However, artists have the ability to promote concerts and music not only with local radio stations, but record stores. There are also in-store only tours. To that point, Lundy says artists, and even her record store customers, will ask if the in-store events could be pushed out on socials and live-streamed.

“The record store [is not a streaming concert experience, and we’re] not always capable of staffing someone to live-stream the performance, but that’s what a tour manager could do, or a label person,” encouraged Lundy. “We’re happy to share that to help celebrate those new songs in the record store with their fans—there’s really no draw back besides staffing.”

For Lundy, it’s all about personalization to infuse excitement in her market.

“Even if it’s not an artist that comes to the record store, they can still create content,” explains Lundy. “That goes a long way.

“This week Esperanza Spalding has a new record out. In advance of that, she didn’t go to 20 record stores, she probably just sat in a room with notes and recorded very simple selfie videos, calling out different stores in different markets [to] have a unique piece that all the stores are excited about sharing because it calls out their store/market. That’s something that could be put together with very little budget and not a lot of planning and can be disseminated widely for a big reach and a feel-good moment for the record store.”

“If you give us cut and paste verbiage, we’re not going to use it,” advised Lundy of Grimey’s best practices. “As a social media user, I’m not looking to see the same picture and words over and over. I would like to see the personality of the store. We’re going to copy your artist’s Instagram account, but we’re not going to use the album art because if you do a hashtag search for that artist, all you’ll see is the same picture over and over with literally the same words—I don’t think that is very engaging or shares the unique nature of indie stores.”

The panel—which also included Ingrooves Music Group’s Ani Basdekian, Omnian Music Group’s Dave Martin and moderator and Mute Records’ Emmaline McCourt—discussed if your artist may feel uncomfortable about small venues, maybe to come up with another marketing plan. However, one suggestion Lundy offered was the recent success of John Prine and Ben Folds’ Q&A.

“We offered our customers the opportunity to come in the store and literally drop a question in a box,” explained Lundy of the events. “It’s a really fun way to mix up a regular signing. Sometimes signings can be really awkward, and that’s a way to make it more an event than someone just sitting in a corner. We did the same thing for Ben Folds where anyone who purchased the record from the store could drop off a question and then come to the Q&A to maybe hear him answer your question.”

Lundy emphasized the value in a record store recommendation is greater than a playlist add on a streaming service.

“At Grimey’s, everyone is a music fan,” concluded Lundy. “Sometimes an in-store performance will turn you around with the energy they bring. And people do ask for recommendations and want to know what the person behind the counter is listening to.

“If you have an artist out touring, hook up the record store in that market because when you convert a record store employee, they have the capacity to convert everyone they come in contact with—customers come to our store because they’re looking for more music.”

John Butler Joins Getty Music As Head Of Artist And Song Development

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John Butler. Photo: Courtesy Jersey Road PR

Getty Music has added John Butler as Head of Artist and Song Development. Butler joins from Spotify where he was Global Head of Christian Music, where he oversaw the development and editorial play listing of Christian and Gospel music for the streaming service. He will be based in Nashville.

Keith Getty says, “We are thrilled that John has agreed to join the Getty Music team. With his wealth of experience, not just in the music industry but in developing streaming provision, we are confident he will bring a new level of understanding as we look to develop the Getty Music offering. Streaming is a strategic component of our mission and will help Getty Music continue to developing deep theology, vibrant artistry and congregational singing for the whole family of God.”

Prior to this role, Butler navigated the industry with over 25 years of label marketing, promotion and strategic streaming experience. In this newly created position, Butler will oversee Getty Music’s global music streaming strategy as well as artist services and song development to Getty’s growing music and non-music offerings.

Butler says, “I have always had a huge amount of respect for the Getty’s and the music that they have produced over the past decade. Their catalogue is so rich in musicality and theology. We are committed to helping that catalogue reach a new generation and make it as simple as possible for the hymns to resource the church around the world.”

Butler spent 16 years with Curb Records in Nashville, as VP of Promotion where he worked in various genres and played a pivotal role in launching the careers of Natalie Grant, Selah, and Plumb, and also worked with Tim McGraw, MercyMe, LeAnn Rimes and more. Prior to his time at Curb Records, he directed radio promotion at Squint Entertainment where he was instrumental in the crossover success of Sixpence None The Richer, and was part of the original team that guided the Americana heavy Arista/Austin roster when he moved to Nashville from New York in 1997.

John Butler Joins Getty Music As Head Of Artist And Song Development

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John Butler. Photo: Courtesy Jersey Road PR

Getty Music has added John Butler as Head of Artist and Song Development. Butler joins from Spotify where he was Global Head of Christian Music, where he oversaw the development and editorial play listing of Christian and Gospel music for the streaming service. He will be based in Nashville.

Keith Getty says, “We are thrilled that John has agreed to join the Getty Music team. With his wealth of experience, not just in the music industry but in developing streaming provision, we are confident he will bring a new level of understanding as we look to develop the Getty Music offering. Streaming is a strategic component of our mission and will help Getty Music continue to developing deep theology, vibrant artistry and congregational singing for the whole family of God.”

Prior to this role, Butler navigated the industry with over 25 years of label marketing, promotion and strategic streaming experience. In this newly created position, Butler will oversee Getty Music’s global music streaming strategy as well as artist services and song development to Getty’s growing music and non-music offerings.

Butler says, “I have always had a huge amount of respect for the Getty’s and the music that they have produced over the past decade. Their catalogue is so rich in musicality and theology. We are committed to helping that catalogue reach a new generation and make it as simple as possible for the hymns to resource the church around the world.”

Butler spent 16 years with Curb Records in Nashville, as VP of Promotion where he worked in various genres and played a pivotal role in launching the careers of Natalie Grant, Selah, and Plumb, and also worked with Tim McGraw, MercyMe, LeAnn Rimes and more. Prior to his time at Curb Records, he directed radio promotion at Squint Entertainment where he was instrumental in the crossover success of Sixpence None The Richer, and was part of the original team that guided the Americana heavy Arista/Austin roster when he moved to Nashville from New York in 1997.

Kacey Musgraves Joins Modeling Agency IMG Models

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Kacey Musgraves. Photo: Kacey Musgraves/Facebook

Kacey Musgraves revealed in a shared Instagram post that she will be represented by modeling agency IMG Models. The agency represents world-known models Karlie Kloss, Lily Aldridge, Hailey Bieber and Bella and Gigi Hadid, and its offices are located in New York, Los Angeles, Paris, London, Milan, and Sydney.

Musgraves shared the news on the eve of the 2019 Met Gala, where she wore hot pink Moschino gown by designer Jeremy Scott and a blonde wig, inspired by Barbie and styled by Musgraves’ stylist Erica Cloud. The “Rainbow” singer show up to the red carpet at the annual fundraising gala on a hot pink convertible, with human-sized Barbie accessories.

Kacey Musgraves at the 2019 Met Gala. Photo: John Shearer / Instagram / Kacey Musgraves