Americana Awards Share The Wealth As Brandi Carlile Leads 2022 Music Celebration

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Allison Russell and Brandi Carlile perform onstage for the 21st Annual Americana Honors & Awards. Photo: Erika Goldring/Getty Images for Americana Music Association

No one dominated the 21st annual Americana Honors & Awards, which was fitting for a ceremony that repeatedly stressed the importance of family and community.

Billy Strings (Artist of the Year), The War and Treaty (Duo/Group), Allison Russell (Album), Brandi Carlile (Song), Sierra Ferrell (Emerging Artist) and Larissa Maestro (Instrumentalist) took home the top six Americana prizes. The Lifetime Award honorees were The Fairfield Four, Chris Isaak, The Indigo Girls, Stax/Motown executive Al Bell and the late Don Williams.

During the three-plus hour ceremony, Carlile took the stage to collaborate vocally with Russell and The Indigo Girls. During the showcase of her own song “You and Me on the Rock,” she joyously shared the stage with the captivating female duo Lucius.

In summing up the mood of the evening, The War and Treaty’s Michael Trotter observed, “Americana music is the sound of family.” Joey Ryan of the co-hosting Milk Carton Kids added, “You guys are our family, and we came here to root for each other.” Presenter Ann Powers of NPR said simply, “We ARE family.”

Allison Russell. Photo: Erika Goldring/Getty Images for Americana Music Association

In accepting her award, Russell echoed them, saying, “I wasn’t lucky with the family I was born to or fostered by. This community saved me.” This was theme of her winning solo debut album.

That Americana community is more diverse than ever, with artists spread widely over musical styles, ethnic backgrounds and sexual orientation. Instrumentalist winner Maestro is of Filipino descent and commented at length about Black and minority representation in the genre. Carlile observed that music by The Indigo Girls was banned because the duo is lesbian. “They were fundamental to my coming of age,” she said. “My first act of baby activism was fighting my way through religious protesters to an Indigo Girls concert.”

The evening was punctuated by multiple standing ovations. The first performance to earn one was The Fairfield Four’s singing of “Rock My Soul.”

This group, founded in Nashville in 1921, won the Legacy of Americana award. Last year’s winner was The Fisk Jubilee Singers, whose director, Paul Kwami, died this week. A moment of silence was observed in his honor.

The War & Treaty’s soulful performance of “That’s How Love Is Made” was greeted by an even more enthusiastic standing ovation. After they won the Duo/Group of the Year award, member Tanya Trotter said, “The road has been long and hard, but it has been worth it.”

This was followed by a standing ovation for Don Williams, who died in 2017. The country-music hitmaker of 1974-91 won the President’s Award. “What you heard in those songs is who Don Williams was,” said presenter Garth Fundis, the country superstar’s producer. Lukas Nelson saluted Williams with a performance of “Lord I Hope This Day Is Good.”

Emerging Artist winner Ferrell drew the next standing ovation. She delighted the crowd in The Ryman Auditorium with her dazzling couture (with matching sequined silver mask and gown), her mountain-twang vocals and effortless showmanship. She sang “At the End of the Rainbow” with the crowd arching its arms overhead to imitate rainbows. “I never thought I’d be up here,” she said when she accepted her award.

Chris Isaak and Lyle Lovett. Photo: Erika Goldring/Getty Images for Americana Music Association

Lyle Lovett’s presentation of the Lifetime Performance honor to Chris Isaak was another crowd pleaser. He saluted him with “We Gave Each Other Covid, Now We’re Friends.” Then Isaak offered a dramatically range-y vocal on “Somebody’s Crying.”

Album winner Allison Russell performed a dynamic, propulsive “You’re Not Alone” with Carlile as well as Sista Strings and Maestro.

Robert Plant announced a new Americana award called The Buddy and presented it to its namesake and first recipient, Buddy Miller, the longtime leader of the Americana Music Association’s house band. Miller received another standing ovation. Miller was surprised by the announcement. “I have no idea why I’m getting this,” he said. “I’m overwhelmed. This is so moving.” He then performed “Wide River to Cross” with The McCrary Sisters.

Hayes Carll presented the Song of the Year to “Right On Time” by Carlile, Dave Cobb, Tim Hanseroth and Phil Hanseroth. “What an honor!” Carlile exclaimed. “The most important thing about this song is that it says that sometimes the shit is gonna hit the fan.”

A standing ovation greeted Al Bell when he was presented with his Jack Emerson Lifetime Achievement Executive AMA honor. “What an august evening and occasion,” he said. “I feel your spirit.”

When Carlile offered her “You and Me on the Rock,” she received yet another standing ovation. She was followed by Russell’s Outside Child winning for Album of the Year along with producer Dan Knobler. “I feel so honored to be part of this community,” Russell said tearfully. “I have been unbelievably lucky.”

The Indigo Girls’ Amy Ray and Emily Saliers. Photo: Erika Goldring/Getty Images for Americana Music Association

Carlile presented The Indigo Girls with the AMA’s Spirit of Americana Free Speech in Music award. “No one does activism alone,” said the duo’s Emily Saliers. “The struggle for equality if going to take years. We all need to keep the flame of social justice alive.” Amy Ray led the duo’s performance of “Galileo,” with Carlile offering harmonies.

Several of the gala’s finest musical moments were provided by non winners and AMA legends. These included Morgan Wade, Adia Victoria and Neal Francis. J.P. Harris saluted alt-country singer Luke Bell, who died last month of an apparent suicide. Lucinda Williams drew a standing ovation for her gripping rendition of “Can’t Let Go.” Lovett sang “Willin’” with Little Feat’s Bill Payne on piano. The Milk Carton Kids reimagined Jackson Browne’s “Something Fine” as an acoustic duet.

Ann, Alfreda and Regina McCrary returned to honor their late sister Deborah McCrary, who passed away in June. “She is missed terribly,” said Regina. “One of the last things she said to me was ‘Don’t leave me.’ So every show, we mention her name.” The trio dedicated a slow, bluesy treatment of “Amazing Grace” to Deborah. The McCrarys are the daughters of the late Rev. Sam McCrary, who founded honorees The Fairfield Four.

The McCrarys also led the finale song with the whole cast joining in. It was “I’ll Take You There,” co-written by honoree Bell and originally introduced on Stax by The Staple Singers.

Presenters included Molly Tuttle, Sarah Jarosz, Shannon Sanders, Elizabeth Cook, Nikki Lane, John Seigenthaler, Allison Moorer and the AMA’s executive director Jed Hilly. Jerry Douglas announced Strings as the Artist of the Year, but Strings was not in attendance.

The awards are voted on by the 3,400 members of the Americana Music Association. The AMA ceremony will be broadcast by Circle Network in November and on Austin City Limits in 2023.

My Music Row Story: Girlilla Marketing’s Jennie Smythe

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Jennie Smythe

The “My Music Row Story” weekly column features notable members of the Nashville music industry selected by the MusicRow editorial team. These individuals serve in key roles that help advance and promote the success of our industry. This column spotlights the invaluable people that keep the wheels rolling and the music playing.

Jennie Smythe, the CEO of Girlilla Marketing, began her career in the mid-1990s working for Elektra Entertainment, Spivak-Sobol Entertainment, Disney’s Hollywood Records and more. In the early 2000s, she moved to YAHOO! Music as Director of Marketing and Promotion, which eventually led her to move to Nashville to work for Warner Bros. Records’ New Media Department and then as Clear Channel’s Senior Director of Content and Marketing. In January of 2008, Smythe launched Girlilla Marketing, which celebrated its 10 year anniversary in 2018.

Smythe serves on the boards of Country Music Association, CMA Foundation (2019 Chair Person, 2022 Chair Person) and Music Health Alliance. She is also a former board member of Academy of Country Music, a graduate of Leadership Music (class of 2010), a member of SOURCE and a proud supporter of St. Jude. Smythe has been featured in Billboard, MusicRow, Fast Company, People, HITS, The Tennessean and has been included for 3+ years as a recipient of the Nashville Business Journal’s Women in Music City Awards.

Smythe will be honored as part of the current class of MusicRow‘s Rising Women on the Row on Oct. 20. For more details about the class and the event, click here.

MusicRow: Where did you grow up?

Denver, Colorado. My dad was a marketing guy for an oil company, so we moved around quite a bit towards the later end of my childhood. I ended up in high school in Phoenix and went to NAU at Flagstaff because I figured I would just go snowboarding during class, but there was no snow. (Laughs)

Since you couldn’t go snowboarding, what did you do?

I always knew I wanted to be in the music business, but I didn’t know anything about the music business. I would tell people that I wanted to work at a record company. I had no idea what department or specialty, I was just obsessed. When I found out that you could do that for a living, there was nothing more that I wanted to do. I ended up dropping out of college and going to a music conservatory because they had an intern program. That is how I ended up at Elektra in LA when I was 19. When I arrived in Hollywood at 19 and had my internship, I already thought I had made it. Anything past that point in my life has been like a bonus.

What did you do there?

After my internship, they hired me as a receptionist. If somebody else went on maternity leave or got sick, I would cover their desks, so eventually I ended up working in every department. I eliminated things that I didn’t really want to pursue or that I felt like maybe I wasn’t talented enough in.

What was next?

I just started taking jobs. I was at several record companies, including Disney and Hollywood Records. I was at several management companies.

Then I took a huge jump to go work at Yahoo. Even though I was still in the music business, I was at a tech company, so I had to learn how to be less of a music business person based in the United States and more of a global content person that was a citizen of the world. That literally changed the path of my life personally and professionally.

Girlilla Marketing’s Ashley Alexander, Stevie Escoto, Jennie Smythe

How did you get to Nashville?

I had to cover country music at Yahoo, so I had to learn country. I came to Nashville for CRS and literally could not believe what I had seen. I was like, “Wait a second. Are you telling me that for a week out of the year, everybody comes together to see each other all at once? They have shows and celebrate each other, and they all get along well enough to do that?” I walked away from my first CRS a little shell shocked because I was overwhelmed, but in the back of my mind, I thought “That’s how this is supposed to be.”

Country music online at that time was always just a smidge behind all the other genres. I was able to contribute by accelerating that a little bit. Bill Bennett was running Warner Bros. and he called. Lynette Garbonola was literally the only digital person at Warner Bros. and she needed help. I packed up my stuff and I moved to Nashville.

I thought I’d be here for a few years and then probably end up in the Bay. I had no idea what was in store. The DSPs didn’t exist, Facebook was just for college students, and Instagram was never even in my mind. I went from Warner Bros. and then helped Clear Channel start the iHeart brand. Then I started Girlilla in 2008.

Jennie with her children, Chess and Daphne

What was your biggest hurdle working in the digital space in country music when you started?

The biggest fight was explaining to publishers that the internet wasn’t 100% evil and that there were opportunities there, even though artists aren’t compensated nearly what they should be. Because there was so much illegal downloading going on at the time, the value was really based in the information, not the strategy to stop the internet. We had seen that already with Napster, so being in that hybrid space of time between Napster and before a platform like Spotify, that was a very murky area in the music business.

No one knew how to put the parameters around it legally or explain to consumers what a download was versus a stream. That was actually a really difficult consumer messaging situation, especially in country. With country radio being the biggest driver of country music, [teaching country fans what streaming is] was hard. That was definitely a challenge from the marketing side.

What pushed you to start Girlilla Marketing?

It was really simple. I felt the need to advocate on behalf of the artists that I loved and respected to help them navigate the waters. They were complicated then, but not nearly as complicated as they are now. Now, I’m doing the same thing, it’s just 10 times more layered than it was 10+ years ago.

Members of the Girlilla Marketing team

It’s been 14 years since you started your company. What are you most proud of?

I am most proud of sharing my life with some of the people that I work with. When we started, we were single, some of us had college debt, we didn’t have houses, or any of that. Sometimes when I’m walking through the building, I get overwhelmed at the idea that these people have children and houses.

I’m extremely grateful for my clients and for the work, and I still passionately love what I do. There’s nothing that gets me out of bed faster than a good idea. But it’s the idea that I’m building and have built something with them that they share in.

Who have been some of your mentors?

Jay Frank, was 100% the MVP of my professional life. I miss him every single day. Sarah Trahern and Joe Galante are some. My office mates, Ashley Alexander and Stevie Escoto, mentor me as much as I mentor them.

You will be honored at MusicRow‘s Rising Women on the Row breakfast on Oct. 20. What has your experience been like as a woman in the industry?

Amazing. I literally created the company that didn’t exist when I was coming up. I just look around at the office sometimes and take it in. When they forget that I’m there and they are playing music and laughing, talking about snacks and what they’re going to do together outside of the office, I lose it every time. I hate their music choices, there’s definitely a generational gap. (Laughs) But just the idea that there’s a room in the world where those awesome, smart, talented, funny people get together and their common ground is marketing and music, and they feel comfortable enough to let their hair down… I’m good.

The Story Behind Cole Swindell’s New No. 1 Hit, ‘She Had Me At Heads Carolina’ [Interview]

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Cole Swindell. Photo: Robby Klein

In just 12 weeks, Cole Swindell has brought his nostalgic hit, “She Had Me At Heads Carolina,” to the top of the charts. It’s the Warner Music Nashville star’s 12th career No. 1 hit.

Produced by Zach Crowell, the track samples Jo Dee Messina‘s 1996 hit “Heads Carolina, Tails California,” written by Mark D. Sanders and Tim Nichols. The 2022 song finds Swindell in a bar on karaoke night, charmed by a woman singing Messina’s enduring classic up on stage.

YouTube video

Swindell co-wrote the hit song with Ashley Gorley, Jesse Frasure, and Thomas Rhett, with Sanders and Nichols also credited as writers. The artist-writer says that writing “She Had Me At Heads Carolina” was the most unique songwriting process he’s ever been through.

“It’s crazy how it all happened,” Swindell tells MusicRow. “I was talking to Rusty [Gaston] and Anna [Weisband] over at Sony about how inspired I’ve been by them since I’ve been working with them. We were talking about songs and what I was looking for for my next album.

“We got to talking about what if we took a ’90s song that I loved and put a different spin on it. That was how the idea came together,” Swindell says.

Gaston adds that, with Swindell’s genuine love for Messina and ’90s country, it was the perfect storm for a re-imagined hit.

“I was thinking about how we could find ways to create new value for Sony’s catalog—more than just getting a hot new artist to re-record a Merle Haggard song. I believe ‘Heads Carolina, Tails California’ is the number one most popular female country karaoke song in the world. Thinking of that and knowing that that song was in this catalog, I talked to Cole,” Gaston says.

“Additionally, normally whatever we see happen in popular music will make its way to country music five to 10 years later. Popular music today is hip-hop. In hip-hop, it’s very common to have features and it’s very common to have interpolations,” Gaston adds. “I brought this up to Cole and said, ‘These interpolations are coming. This is the perfect song to do it.’ Cole immediately got it, loved the idea, and pulled the writers together.”

Gaston adds, “Cole loves ’90s country music. He should be the face of the resurgence of ’90s country music.”

Before Swindell could put his spin on the iconic hit, he had to get the blessing of Sanders and Nichols.

“We knew that before anything, we had to reach out to the original songwriters,” Swindell points out. “They could have easily said ‘No’ and the thing would have never happened, but they were cool enough to want to do it.”

 

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A post shared by Jo Dee Messina (@jodeemessina)

While out on the road, Swindell and co-writer Thomas Rhett came up with a concept and brought it back to Gorley and Frasure in Nashville to write. Swindell believes the next step was adding the line, “Maybe she’ll fall for a boy from south Georgia,” a line that would come naturally for both him and Rhett, two Georgia natives.

“It was a pressure situation. You don’t want to mess up one of your favorite songs of all time,” he adds.

Once the song was written, Swindell’s manager Kerri Edwards and Warner Music Nashville’s Cris Lacy knew they had a hit on their hands. They added “She Had Me At Heads Carolina” to Swindell’s Stereotype album—which was already done.

“When they sent the work tape, I was immediately freaking out about it,” Edwards says. “We were like, ‘We have to cut this now.'”

Lacy first heard “She Had Me At Heads Carolina” after a day full of meetings for the WMN executive staff.

“We had just finished an all day offsite, preparing for the next six months and talking about records that were coming. Cole texted me [the work tape] right at the end of that. It had been a long day and everybody was getting ready to go. I listened to it and I was like, ‘You guys have to stay. I’m going to end this on an amazing note. We’re talking about what the future is going to look like? Let me play this.’

“Everybody in the room was like, ‘Oh my God, that is so fun! That is such a hit,'” Lacy shares.

Once released, just 12 weeks ago, the tune immediately began its swift ascent to the top of the charts. It was his fastest-rising single at country radio to date.

The tune also became an instant crowd-favorite at Swindell’s shows.

“Cole will put a couple of new songs in his set during a live show, but artists don’t typically put a lot of new ones in because the crowd hasn’t had time to get familiar,” Edwards says. “But I’m not joking, people will sing it as if they’ve heard it a thousand times when he plays that song. It just kept doing that [at live shows] over and over again to the point where me, Cris and Cole were like, ‘I don’t think we have a choice on making this single three from Stereotype. Everyone’s screaming what they want next.’”

Now a certified country radio No. 1 hit, the tune has brought a resurgence of popularity for Messina’s rich catalog of music—as well as a friendship between the two artists. She even appears in the video for the track.

“I was so excited when I got the chance to talk to Jo Dee and let her know that I’ve been a fan of hers for a long time. Now I to get to call her a friend,” Swindell says. “We wouldn’t have this song without her.”

NOW OPEN: Applications For MusicRow’s 2023 N.B.T. Music Industry Directory

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Applications are now open for the N.B.T. (Next Big Thing) Music Industry Directory, which will be featured in MusicRow‘s Touring/N.B.T. print issue, which releases on Nov. 29.

MusicRow‘s N.B.T. Music Industry Directory is the first and only list of its kind, showcasing Nashville music business professionals who are rising through the ranks. This class of industry members occupy mid-level roles at their respective companies, and are on a trajectory of excellence to become future leaders in the Nashville music industry. Applicants should ideally have a minimum of 5 or more years experience in the music industry.

This Touring/Next Big Thing print edition also includes the annual Next Big Thing artists listing, with editorial features focused on the touring segment of our industry.

To apply for inclusion in this year’s edition of the N.B.T. Music Industry Directory, please click here to access the application form. (Please note that not all submissions are guaranteed to be listed in the directory.)

Note: If you are submitting multiple candidates, you will need to click on SUBMIT at the bottom of the form before entering another candidate. Head shots can be sent to art@musicrow.com.

New submissions for the directory close on Friday, September 23, 2022. For questions, email lbcantrell@musicrow.com.

HarbourView Acquires Big Loud Mountain’s Publisher Share Of Select Florida Georgia Line Songs

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Florida Georgia Line. Photo: John Shearer

HarbourView Equity Partners has announced its acquisition of Big Loud Mountain Music’s publisher share of select songs from Florida Georgia Line‘s catalog.

Big Loud was a key player in the launch and early success of Florida Georgia Line. The duo made their mark on the genre with hit songs such as “Meant To Be,” “This Is How We Roll,” “H.O.L.Y.,” “May We All,” “Dirt” and “Cruise.” Together the duo’s Tyler Hubbard and Brian Kelley tallied 19 career No. 1 singles and more than 13 billion global streams. They sold more than 40 million tracks and 4.8 million albums worldwide.

FGL recently ended their chapter as a duo, and have since been working on solo careers.

Since launching just nine months ago, HarbourView has acquired nearly 40 catalogs to date. The firm’s diverse portfolio features thousands of titles spanning numerous genres and decades. Most recently the company acquired catalogs from Brad Paisley and Lady A, as well as Hollywood Undead, Dre & Vidal, and Luis Fonsi.

Big Loud Mountain Music was represented by Derek Crownover, Megan Pekar and John Rolfe of Loeb & Loeb LLP. Alter, Kendrick & Baron, LLP served as legal counsel to HarbourView.

The terms of the transaction, nor the titles of the acquired tracks, were not disclosed.

Chris Stapleton Renews Global Publishing Deal With Warner Chappell

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Chris Stapleton. Photo: Becky Fluke

Eight-time Grammy winner Chris Stapleton has renewed his global publishing deal with Warner Chappell Music.

Born and raised in Kentucky, Stapleton first landed on the scene in 2015 with his now 5x Platinum debut album, Traveller, which includes the RIAA diamond single, “Tennessee Whiskey.” He has gone on to earn 10 RIAA-certified Platinum singles, 14 CMA Awards, eight ACM Awards, and billions of streams.

As a songwriter, Stapleton has penned countless hits, including his 3x Platinum song “Broken Halos,” his 2x Platinum single “Parachute,” and Justin Timberlake’s 3x Platinum single “Say Something.” He has also written songs recorded by Adele, Bruno Mars, Taylor Swift, Peter Frampton, Sheryl Crow, Ed Sheeran, Vince Gill, George Strait, Kenny Chesney, Luke Bryan, Darius Rucker, Brad Paisley, Dierks Bentley, and Tim McGraw.

Of the news, Stapleton shares, “Ben Vaughn and the Warner Chappell Music team have been wonderful partners to me and my music over the past eight years. I look forward to our continued relationship.”

Vaughn, President & CEO of WCM Nashville, adds, “Chris Stapleton is a once-in-a-lifetime talent. The way he crafts lyrics set against his rhythms makes you literally feel the music. We believe his music will live on for generations and we couldn’t be more honored to continue working with such a timeless songwriter and artist.”

Stapleton is represented by his managers Coran Capshaw, Zach Peters, and Clay Hunt (Red Light Management) as well as his attorney Chip Petree (Ritholz Levy Fields).

Zach Bryan Climbs To No. 2 On MusicRow Top Songwriter Chart

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Zach Bryan. Photo: Rachael Polack

Zach Bryan jumps to the No. 2 spot this week on the MusicRow Top Songwriter Chart. Rising from No. 4, the rising singer-songwriter has two of his own songs rising on the chart: “Oklahoma Smokeshow” and his breakout hit “Something In The Orange.”

For a sixth consecutive week, Ashley Gorley continues his reign at No. 1 on the MusicRow Top Songwriter Chart with seven currently charting songs, including “Gold” (Dierks Bentley), “Holy Water” (Michael Ray), “She Had Me At Heads Carolina” (Cole Swindell), “Take My Name” (Parmalee), “What He Didn’t Do” (Carly Pearce), “You Didn’t” (Brett Young) and “You Proof” (Morgan Wallen).

Ernest Keith Smith maintains the third spot, Morgan Wallen falls to fourth, and Chase McGill remains in fifth this week.

The weekly MusicRow Top Songwriter Chart uses algorithms based upon song activity according to airplay, digital download track sales and streams. This unique and exclusive addition to the MusicRow portfolio is the only songwriter chart of its kind.

Click here to view the full MusicRow Top Songwriter Chart.

Frank Rogers Elevated To Chief Creative Officer, Spirit Music Group/CEO, Spirit Music Nashville

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Frank Rogers. Photo: Courtesy of Spirit Music Group

Frank Rogers has been promoted to Chief Creative Officer, Spirit Music Group/CEO, Spirit Music Nashville.

In his new role, Rogers will be responsible for overseeing all aspects of Spirit Music Group’s global roster and creative activities, as well as continuing to oversee Spirit Music Nashville’s operational activities.

In addition to being a publishing executive, Rogers is a multi-Platinum producer and songwriter who has produced 44 No. 1 singles, more than 80 top 20 singles and over 60 RIAA certified albums or singles for artists such as Trace Adkins, Brad Paisley, Josh Turner, Darius Rucker, Carrie Underwood, Keith Urban, Dolly Parton, Allison Krauss, Frank Ray, and Scotty McCreery.

Rogers has 18 CMA nominations, with one win, and 27 ACM nominations, with five wins. He has produced 17 Grammy-nominated songs or albums, including four winners. He has been named Billboard‘s No. 1 Hot Country Producer Award five times, MusicRow’s Producer of the Year four times, and was included on Billboard’s Country Power Players list in 2020 and 2022.

As a songwriter he’s co-written many chart toppers, including “I’m Gonna Miss Her” (Brad Paisley); “Alright” and “This” (Darius Rucker); “Five More Minutes,” “This Is It,” “In Between,” and “You Time”  (Scotty McCreery); and “Backroad Song” (Granger Smith). His songs have been recorded by Chris Stapleton, Ed Sheeran, Bruno Mars, Kenny Rogers, Clint Black, Hootie And The Blowfish, Lee Brice, Kidd Rock, Billy Gibbons, Matthew West, and many more.

In 2016, Spirit Music Group inked a multi-facted deal with Rogers and his company, Fluid Music Revolution, forming the Spirit/Fluid joint venture. The deal empowered Rogers to bring new artists, producers and writers to the company, and he also joined Spirit’s roster as a songwriter, with the company administering all of his new compositions worldwide. Rogers was appointed CEO of Spirit Music Group Nashville in 2019.

“I’m confident Frank is the right person to lead Spirit Music Group’s global creative team in this next exciting chapter. Frank brings a wealth of experience to our business, both as a multi-Platinum songwriter/music producer in his own right and as a highly accomplished music publishing executive with a proven history of delivering hit after hit with our roster,” notes Jon Singer, Chairman, Spirit Music Group. “We are thrilled to provide Spirit Music Group’s global roster of artists, songwriters and producers of every genre the very best in executive talent and a creative executive at the helm who knows how to build business and careers for our writers. What Frank has accomplished with Spirit Music Nashville is a great example of what a music publishing community firing on all cylinders can accomplish and we look forward to seeing him apply his creative strategy throughout our global offices.”

“I am honored to continue and to expand my relationship with Spirit Music Group,” Rogers adds. “Jon Singer, Ross Cameron and Joe Borrino have been great partners over the last several years and I look forward to continuing to build on Spirit’s impressive foundation. I am excited to work with all of Spirit’s songwriters and staff with the goal of expanding our global presence while making Spirit Music Group the preeminent independent music publisher in the world.”

Breland Looks To Bridge The Genre Gap On Debut ‘Cross Country’ Project [Interview]

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Breland. Photo: Jimmy Fontaine

Since independently releasing his breakthrough smash hit “My Truck” on social media in 2020, genre-bending singer-songwriter Breland has spent the last couple years taking the country world by storm and making quite the mark on Nashville along the way.

In that time, the New Jersey native has kept busy, hosting his own “Breland & Friends” benefit concert at Nashville’s historic Ryman Auditorium, which raised over $140,000 for the Oasis Center, as well as being included on countless artist to watch lists. He’s been featured on many projects from established country and hip-hop artists, such as Dierks Bentley‘s “Beers On Me” alongside Hardy, Nelly‘s “High Horse” with Blanco Brown, and more. Not to mention he’s been popping out his own collection of collaborations, including the Gold-certified “Throw It Back” with Keith Urban.

Breland. Photo: Jimmy Fontaine

All the while, though, the magnetic entertainer was hard at work perfecting his eagerly awaited debut project, Cross Country, which was officially unveiled today (Sept. 9).

Taking its name from his autobiographical 2021 single, which earned a remixed version featuring Mickey Guyton, Cross Country features over three dozen co-writers within its fourteen tracks spanning varied levels of success, from Nashville writer royalty such as Derrick Southerland, Ashley Gorley, Monty Criswell and Jessie Jo Dillon, to fellow artists like Sam Hunt, Ernest, Hardy and Ryan Hurd. Its track list also features a fair share of newer tunesmiths such as Jacob Durrett, Cameron Bartolini and Rocky Block. However, Breland’s hand and signature flair can be heard on every song.

“I’m someone that can write a song entirely by myself, but I love co-writing because it’s social,” Breland shares with MusicRow. “You end up coming to different conclusions than you would come to on your own, and I feel like each of the songwriters that I wrote these records with all have a unique point-of-view. They all have different things that they bring to the table melodically and conceptually.

Breland. Photo: Evan Kaufmann

Cross Country includes a handful of previously released tracks, such as the title track with Guyton, the Urban-graced “Throw It Back,” the infectious “Praise The Lord” featuring Thomas Rhett, and the Shania Twain-inspired “Natural.” However, the project also brings plenty of fresh blood in its track list, all of which showcase Breland’s journey over the past few years.

“[This album] has been a long time coming. I feel like every artist is waiting for the opportunity to put out their debut album, and I’ve been working on this one since I signed my deal two and a half years ago. There are songs on here from early 2020 before the pandemic and songs from just a few months ago,” he notes. “I’ve grown a lot during that span and lived a lot of life during that time as well, so there’s a good array of songs, a lot of sonic diversity, and also a lot of different types of stories on this album.”

Breland. Photo: Jimmy Fontaine

Helmed by Breland’s longtime producers Sam Sumser and Sean Small, who oversaw the project nearly in its entirety, the album encompasses his signature “Cross Country” sound which, as he explains, includes a myriad of different musical influences. Whether merging with gospel, Motown, R&B, hip-hop or any other combination, the project aims to show a slightly different side of country music intersecting with other genres through each song.

“Each song is important and helps cover some ground in terms of the different intersections that I’m trying to hit with country and [other genres]. They all contribute to the Cross Country narrative and soundscape,” he explains. “You never know when you go into a room what’s going to happen, especially when you’re trying to be experimental with the sounds. You’re not always going to land it, which is why when you end up with a body of work with a bunch of songs that you feel like you did land it, they all represent something more.”

An entertainer known for his high-flying collaborations, Cross Country includes two new ones: “Told You I Could Drink” with help from country trio Lady A, and “Here For It” which features labelmate Ingrid Andress.

Pictured (L-R): Reservoir EVP Creative John Ozier, Reservoir Creative Coordinator Beth St. Jean, Zachary Manno, Breland, Reservoir VP Creative Greg Gallo

Born after a surprise meeting at a CMA Awards after party, Breland joined forces with Lady A’s Charles Kelley for their tune, along with newcomer Zachary Manno. In May of this year, Manno signed with Reservoir in a first-of-its-kind deal for the publishing house through its Protégé mentorship campaign. Launched by Breland, the platform aims to elevate and guide rising Nashville talent and provide them with opportunities that might otherwise be hard to come by.

“Zach is such a talented man. It was shocking to me that he hadn’t had any major cuts given the talent that he possesses as a writer, producer and guitarist, coupled with the vibe that he brings to the studio. I had written with him a few times and every time we got in together, we made something magical,” Breland shares. “He’s someone that I think is going to really crush it in country music.”

Among the rest of the album’s track list are a few that the Bad Realm Records/Atlantic Records/Warner Music Nashville artist is particularly excited for fans to get their hands on, including the powerfully delivered “For What It’s Worth,” which he believes will be one of the biggest songs on the record and ready for radio in no time.

Another highlight of the project can be heard in “Good For You,” which was penned alongside rising Warner Nashville artist Tyler Braden. The track gives the breakthrough entertainer a chance to show off his pipes with a moving vocal performance that hasn’t really been heard before. “I think if you just listen to ‘Throw It Back,’ ‘My Truck’ and some of the bigger records, people might not know that I’m a vocalist,” he notes. “That song gives me the opportunity to share some of my chops, and it’s a really well written song.”

Breland. Photo: Jimmy Fontaine

However, the song that Breland is most looking forward to is a touching track titled “Growing Pains” that nearly didn’t make the cut for the project. Chronicling his journey over the past few years, the young trailblazer notes that it’s the most accurate reflection of where he feels he is now, while also diving into some of the recent lessons learned.

As one of the voices leading the charge for Black country artists’ representation in the genre, “Growing Pains,” which was written with Sumser, Small and Stephen McGregor, speaks to that sentiment while also showing that growth isn’t always pretty.

“Growing Pains’ was the last song written to make it onto the project.” He explains, “I’ve grown a lot [over the past year] and I realized that the career growth that I’ve experienced is a direct reflection of the personal growth that has been happening… However, it’s also recognizing that growth isn’t always a linear process and that you might still have down days, but it’s how you respond to those that really shows how far you’ve come.”

With this colossal debut project under his belt and the start of a new chapter in his career, Breland, as always, has his eyes set on what’s next. Already hard at work on his sophomore effort, the burgeoning artist has plenty more in the works, including some still-under wraps opportunities in the TV and film space, and hopefully bringing these new songs to crowds all across the country.

Breland’s debut album, Cross Country, is available everywhere now.

‘Monarch’ Execs Prep For Sunday’s Premiere [Interview]

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Adam Anders, Jason Owen

On Sunday (Sept. 11), FOX will premiere the new multi-generational musical drama Monarch.

The series focuses on America’s “leading family of country music,” built around the “Queen of Country Music” Dottie Cantrell Roman (played by Academy Award winner Susan Sarandon), and her beloved husband and fellow country music royalty Albie Roman (played by multi-Platinum country music star Trace Adkins).

Susan Sarandon and Trace Adkins in the series premiere of Monarch. Photo: FOX © 2022 FOX Media LLC.

The dramatic story finds the Romans ruling their country music dynasty, a legacy their daughter Nicolette “Nicky” Roman (played by Golden Globe nominee Anna Friel) plans to continue with her own music career. Nicky’s brother Luke Roman (Joshua Sasse) is also in the family business, serving as CEO of the Romans’ Monarch Entertainment. Youngest daughter Gigi Tucker-Roman (Beth Ditto) is very close to her older brother and sister, but in a family of superstars, she’s always felt like bit of an outcast despite her incredible singing voice.

As learned from a sneak peek of the show, things get tricky for the Romans when it’s discovered that the very foundation of their success is a lie. The show, which is 100% owned and produced by FOX Entertainment, debuts with a special two-night event, beginning Sunday, Sept. 11, immediately following the FOX NFL doubleheader at 8 p.m. EST.

Prior to the premiere, MusicRow caught up with Monarch‘s executive producer and top music manager, Jason Owen, as well as Monarch‘s executive music producer Adam Anders.

Owen says that Monarch came about to offer something new to viewers, especially in middle America.

“Gail Berman, who has become my mentor, is a genius producer. She ran FOX during the decade that they had American Idol and Glee,” Owen says. “She has her own production company now and she has felt like there needed to be a country music-centric show for FOX, knowing that FOX’s demographic was really in the middle of the country. No one was really speaking to the middle of the country, they were all speaking to the coast.”

That’s where screenwriter Melissa London Hilfers came in. She was the perfect choice to write the story of the Romans, as she grew up on country music.

“Gail needed someone who knew both TV and the music business—someone that can add authenticity to this, but also add drama to it,” Owen says. “That’s where I came in. We had a meeting three and half years ago and just immediately connected.”

Susan Sarandon and Trace Adkins in the series premiere of Monarch. Photo: FOX © 2022 FOX Media LLC.

With his background in the country music industry, and a client list that includes Kacey Musgraves, Little Big Town, Dan + Shay and Kelsea Ballerini, it’s easy to assume that Owen would have a lot of influence and knowledge to draw on when creating Monarch.

“You’ll see storyline references through the process that you could probably connect some dots to [in country music history], whether it’s a divorce or something like that. There’s a story about one of the record labels buying someone’s masters. There are those through lines that come from reality.

“Look, there’s no question that I’m surrounded by divas every day—including myself!” Owen adds with a laugh.

There is one character, however, that is inspired after a well-known Nashvillian.

“One real life example I took for the script was for Dottie’s hairdresser Earl,” Owens says. “Earl Cox is a legend in hair for country music and a dear friend of mine. He’s done hair for Martina McBride, Wynonna Judd, Tammy Wynette, Faith Hill, and everybody else you can imagine. He’s such a character and he’s such a wonderful human.

“Earl was not part of the original script. At some point, I said, ‘We need this counterpart because the glam teams, specifically ones that have been with these artists for a long time, have a big influence on them.’ So Earl was written in. We got permission from Earl to use his real name. I use a lot from him, including a lot of his sayings and interactions.”

In a show about country music, it’s no surprise that the music on the show was of the utmost importance. That’s why the Monarch team brought in three-time Grammy Award nominee and series executive music producer Adam Anders to head up the music. Anders has experience in creating a soundtrack for a television series that is larger than life, as he was the executive music producer for Glee.

Anders is also a true country music fan from childhood, making him the perfect steward for the music of Monarch.

“The first record I ever bought was when I saved my pennies to buy Kenny Rogers‘ The Gambler,” Anders says. “I’ve always had an affinity for country music. My parents loved it. I moved to Nashville whenI was 16 years old. I started as a bass player and did a lot of Christian and country records. I cut my teeth as a songwriter in Nashville.

Beth Ditto and Anna Friel in the series premiere of Monarch. Photo: FOX © 2022 FOX Media LLC.

“The thing that drew me to the show was it’s not just classic country or new country, it’s everything in between as well,” he adds. “There was an opportunity for original songs. The only real correlation with Glee is that we get to introduce songs to a new generation. [Viewers] might not have heard a Waylon Jennings song, a Hank Williams song or Barbara Mandrell song, so it’s fun for me to reframe those in a way that is appealing to this generation. A great song is a great song.”

When it came time to find a theme song for Monarch, more Nashville creatives were called in. The Love Junkies—Hillary Lindsey, Lori McKenna and Liz Rose—wrote a haunting song called “The Card You Gamble” for the show. Talented songstress Caitlyn Smith recorded it.

“FOX really wanted an original theme song versus a licensed theme song,” Owen shares. “I have had tremendous success with the Love Junkies and they’re great friends of mine. I called Beth Laird first and she got them all on a Zoom with me. I walked through what the show was, what we were looking for, and the concept. I sent the first script and talked through it all. Within three or four days, they had that song back to me.

“Then, of course, we needed someone to sing it,” he adds. “FOX was going to hire a singer that does theme songs, but I said, ‘No, I have literally one of the best voices in country music: Caitlyn Smith.’ She jumped on it and they were thrilled.”

One thing that is evident with the Monarch team is their intention to include as many Nashville creators as possible.

“The songwriting community in Nashville [is involved in the new songs], as well as the musician community,” shares Anders. “We’re tracking every song in Nashville and all the backgrounds are Nashville singers, so it’s a really a Nashville affair.”

Catch the series premiere of Monarch on Sunday, Sept. 11, immediately following the FOX NFL doubleheader (8:00-9:00 p.m. ET, and simultaneously to all time zones). It then makes its time period premiere Tuesday, Sept. 20 (9:00-10:00 p.m. ET/PT), following the season six debut of The Resident (8:00-9:00 p.m. ET/PT).