Spirit/Fluid, the Nashville-based joint venture between Spirit Music Group and Frank Rogers’ Fluid Music Revolution has signed an exclusive publishing deal with Justin Adams.

“Justin is an extremely talented singer, songwriter, musician and performer,” said Frank Rogers. “The sky is the limit for his career and we are excited to be a part of the journey. This is going to be fun!”

“I am beyond thrilled to be working with Frank and AJ and the Spirit/Fluid Music family,” said Adams. “Their passion and drive for creating great music is felt throughout their entire companies. They are building something really special over there and I’m blessed to be a part of the team.”

Adams recently released his sophomore EP Horizon recorded at Sound Emporium Studios in Nashville. The project was produced by MusicRow 2018 Musician All-Star Award recipient Derek Wells. Adams also co-wrote the single “You’re In It” for Granger Smith, which is currently in the Top 40 on the singles charts.

BOBBY KARL WORKS THE ROOM

Chapter 603

The Americana Music convention got a whomper-stomper kick-off on Tuesday evening (Sept. 11).

The great Tony Joe White riled up a crowd of conventioneers on the roof of the BMI building on Music Row. Then, The War & Treaty ripped it up on the same stage. Rocking song poet Israel Nash closed the cocktail party.

This “Official Americanafest Kickoff Party” took place as breezes gently wafted in the first fall temperatures that Music City has felt. The sponsoring George Dickel Tennessee Whiskey offered libations. I sampled the pleasingly light chardonnay provided by the Daou Winery of Paso Robles, CA. The vineyard offers tours, by the way.

When I arrived, Martha Moore, Jon Freeman, Beth Nielsen Chapman and Barry Corbin were already working the room. So were Jill Block, Grady Block and Rocky Block, the last of whom had signed as a songwriter for Bob DiPiero’s company earlier that very day. His late papa Billy would be so proud.

Holly George-Warren, Patrick Clifford & Toni the Tiger, Geoff Himes, Brad Paul, Patrine Day Mitchum (the daughter of movie great Robert), Earle Simmons, James Hand, James Inveld, Pat DiPuccio (of Flipside fanzine fame), Robyn Hitchcock, Robbie Fulks, Jim Lauderdale, Maurice Miner and more engaged in early convention schmoozing.

Tim McFadden turns out to be a major Americana maven. He introduced me to Deana McCloud, the executive director of the Woody Guthrie Center in Tulsa. Judging by her description, this sounds like a must visit. Mark Lourie of New England’s Skyline Artist Agency was another Tim introduction. That biz handles acts like Roger McGuinn, Chris Hillman and Poco.

Tim also knows Anya Siglin. She’s the program director of the acclaimed non-profit roots-music venue The Ark in Ann Arbor, Michigan. I am told this is one of the world’s great listening rooms.

Although this was the kick-off cocktail party, it wasn’t overly crowded. That’s because the convention was already in full swing with competing music showcases by Llllie Mae, Arkansas Dave, The Ruen Brothers, John Prine, I’m With Her, Neighbor Lady, Caleb Caudel and Fantastic Negrito at the more than 40 venues that are participating in Music City.

Onward into the week we go.

 

BMI has announced the performance rights organization has generated $1.199 billion in revenues for the fiscal year ending June 30. The total represents a 6.1 percent increase over the previous fiscal year’s $1.13 billion in revenue.

The company also distributed and administered a record $1.118 billion in royalties to its songwriters, composers and publishers, marking a nine percent increase over the previous year.

Mike O’Neill, President and CEO, BMI, stated, “Thanks to the incredible creativity of our songwriters, composers and publishers, BMI was once again able to generate record revenue and distributions on their behalf. While we are proud of achieving these results, we will always strive to do better. BMI will continue to advocate for our affiliates, ensuring that all songwriters and composers can continue to earn a living creating the music that is loved all over the world.”

Total domestic revenue, which is comprised of digital media, traditional television and radio, cable and satellite, and general licensing, grew to a record $880 million, up five percent over the prior year. Revenue from cable and satellite sources once again generated the largest portion of BMI’s domestic revenue at 33 percent, while traditional television and radio revenue accounted for 25 percent of the overall domestic total.

Notably, BMI’s international revenue grew $25 million to $319 million, up nine percent over the previous year.

BMI processed nearly 1.7 trillion performances in FY ‘18, a 23 percent increase over last year. Of this total, 1.67 trillion were digital performances, or 97.7 percent of all performances processed.

The $1.118 billion in total distributions includes domestic and international royalties, as well as royalties from direct deals that BMI administers on behalf of its publishers. Distributions from these direct deals totaled $53 million, a $17 million increase over the previous year, representing approximately five percent of BMI’s total distribution.

When factoring the impact of direct deal administration, the company reports it now distributes nearly 90 cents of every dollar directly back to its songwriters, composers and publishers.

BMI’s domestic revenue growth over the past year was driven strongly by gains in the digital sector, which grew 32 percent to $215 million due to new deals made with Amazon, Apple Music, Hulu Netflix, YouTube, Sound Cloud, Spotify and expansion into new digital markets including social media with Facebook. Digital now represents 24 percent of the company’s total domestic revenue.

General licensing, which encompasses 18 percent of BMI’s total domestic revenue and is generated from businesses like bars and restaurants, hotels and fitness centers, along with other income, posted record results of $156 million, a 5 percent gain year-to-year. The company added 15,000 new businesses to its growing portfolio.

Jason Padgitt has been appointed the new Executive Director for the Nashville Film Festival in a key advancement of its strategic growth plan. In his new position, Padgitt will lead the Nashville Film Festival in growing its brand equity, strengthening its global cultural impact, and building engaging year-round programming and world-class experiences for the creative community, membership, audiences and supporting sponsors.

Padgitt joins the festival following more than 20 years of leadership in the entertainment industry with deep experience in high-profile branding, consumer marketing, digital marketing and communications. Most recently, he served as the Executive Vice President of Global Marketing and Communications for Nashville-based Gibson Brands. Prior to that he served as the Senior Vice President of Marketing and Communications at Fender Musical Instruments Corporation and as a leading marketing and PR executive with Los Angeles-based agency, Rogers & Cowan.

“The board views Jason’s hiring as a defining moment for the organization,” said Jim Scherer, Nashville Film Festival board president. “It speaks highly of Jason that he was the board’s choice to lead the festival into the future, especially as we approach the festival’s 50^th anniversary year in 2019. He is a talented executive with the heart and desire to see the Nashville Film Festival become a must-attend event for this region and attendees from around the world.”

“I am extremely excited to lead the Nashville Film Festival into the next stage of development and growth,” said Padgitt. “This organization has an incredible heritage of discovering and elevating creative talent from all around the world. I look forward to accelerating that success by significantly increasing the organization’s visibility, cultural importance and global reach.”

Farrah A. Usmani has joined the Loeb & Loeb LLP Nashville office as an associate in its Music Industry Practice.

“Farrah is a rising talent within the industry and it’s a pleasure to welcome her,” said Loeb & Loeb’s Nashville Office Administrative Partner Tiffany Dunn. “She brings a terrific skill set and business sense, and I’m confident she will be a great asset to our music and entertainment clients here in Nashville and nationwide.”

Usmani focuses on transactions involving music, copyright and trademark law. She structures, drafts and negotiates deals with major and independent record labels, music publishers and content distributors. Her experience includes recording contracts; distribution, publishing, merchandising and management agreements; and agreements for every facet of live music production. She also manages international trademark portfolios and advises clients on licensing matters and infringement claims.

Most recently, Usmani practiced at Marcus & Colvin, LLP. Previously, she worked in business affairs within the music department at Creative Artists Agency, where she collaborated with talent agents and executives to draft and negotiate agreements related to live touring, music festivals and corporate partnerships between brands and artists. Before launching her legal career, she worked as a music publicist in Austin, Texas.

“Farrah’s diverse business and legal experience, including her years in private practice and on the agency side, make her a strong complement to our team,” said John Frankenheimer, partner and chair of Loeb & Loeb’s Music Industry Practice. “Nashville is an important anchor for our firm’s national music practice, and we’re delighted to further expand our team to continue serving the music and entertainment community at the highest possible level.”

Usmani added “Loeb’s reputation for delivering innovative solutions in the music industry and helping navigate strategic business issues for clients at the crossroads of entertainment, brand protection and emerging tech was a big draw for me. I look forward to working with this outstanding group.”

Usmani earned her J.D. from the University of Houston Law Center and her B.A. from the University of Texas.