My Music Row Story: Creative Nation’s Beth Laird

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Beth Laird

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.

In 2011, Beth Laird co-founded Creative Nation, an independent music publishing, management and record company in Nashville with her husband, two-time Grammy winning songwriter and producer, Luke Laird. Today, the company boasts a roster that includes Barry Dean, Lori McKenna, Steve Moakler, Kassi Ashton, Travis Wood, Jonathan Hutcherson, Derek Bahr, Mia Mantia and Oscar Charles. Creative Nation has celebrated more than 70 Billboard Country Radio singles, over 20 of which have hit No. 1.

Beth started her music business career at BMG Nashville and spent time at Windswept Music Publishing and BMI before forming Creative Nation.

MusicRow: Where did you grow up?

I grew up in Winchester, Tennessee. It is an hour and a half from here but a world away.

Were you into music as a kid?

I was really into music. I came to Nashville to go to Starwood, Dancin’ In The District and things like that, but I didn’t know that there was a music business. I certainly didn’t know that if you weren’t musical, you could work on the business side with music people. I also did not know that there were actual music business degrees at MTSU and Belmont.

Pictured (L-R): Little Big Town’s Phillip Sweet, Kimberly Schlapman, Jimi Westbrook and Karen Fairchild; Natalie Hemby; Luke Laird; Barry Dean; Beth Laird

How did you discover the music business?

I went to the University of Alabama. I didn’t know what I wanted to do, but I knew I loved working with people, so communication seemed like the best major for me. The summer after my freshman year, my old babysitter Regina Stuve ran into my mom in the grocery store in Winchester when she came home for a weekend. She asked what I was doing and my mom said I was coming home for the summer to get a job. Regina said, “Why don’t you move her to Nashville and have her intern for me?” So my mom told me, “You’re going to go to Nashville and intern with your old babysitter, Regina, for free for the summer.”

She negotiated a deal at the extended stay hotel so that I could stay three nights in Nashville and then go home on the weekends. I walked into Capitol Records and Regina was the head publicist there. That is the day that I found out about the music business.

That is awesome. What did you do there?

Regina and I became the best of friends. It was the best summer and honestly, that is when I fell in love with the music business. I also realized I did not want to be a publicist, but I saw business people working behind the scenes helping creative people and it really opened my eyes to using what your skillset is to help people who are creative fulfill their dreams. That changed my whole world.

I asked Regina if she would let me move back the summer after my junior year of college to intern again. The summer after my junior year, I actually shared a bedroom with my best friend here in town who was also doing an internship here. We were living with one of my high school friends who was going to Vanderbilt. I would just do anything to get to come back. That summer I realized that this is a lot about relationships, so I really tried to get to know everyone at Capitol. I made some great relationships and then really tried to stay in touch when I went back to Alabama.

Pictured (L-R): Beth Laird, Luke Laird, Kacey Musgraves, Natalie Hemby, Shane McAnally, Brett Eldredge, Barry Dean

What happened after graduation?

I graduated and I moved here. I couldn’t get a job in the music business because, as you know, they don’t post jobs online. A couple of my sorority sisters worked at Nashville Bun Company and Bun Lady Transport, which is a manufacturing bakery that makes English muffins for McDonald’s and Pepperidge Farm. Ironically, they were looking for a front desk logistics manager on the shipping side and they asked if I wanted to interview. I interviewed and I got that job. I was so excited just to have a job so I could be in Nashville. I was booking back hauls with the refrigerated truck drivers, running all the logistics, answering the phone and being an assistant.

I always kept in touch with Regina and I told her to let me know if there was anything that I could do to help. After I had been here for about a year, Regina’s husband Ron Stuve took over the old BMG Music Publishing and the receptionist left. So I applied for that job and I’m so grateful I got it, because the day I went to work I realized that there were people graduating from Belmont and MTSU with degrees. That really set me on fire to learn a lot in a really short amount of time because I didn’t have those relationships they were coming in with, as well as all those internships and a degree in music business.

Pictured (L-R): Beth Laird, Luke Laird, Eric Church, Kelsey Granda

Tell me about that time at BMG.

I was so grateful because I realized that that was my chance and that I really needed to learn quickly. I tried to go out every night and meet people. I assisted everyone in the office to learn from them what all the different jobs were. That job is the reason that I know all the different jobs at a publishing company, and I feel like it really helped me when we started Creative Nation.

That’s also where I met [my future husband] Luke. He was a new songwriter that hadn’t had any cuts yet. I was the receptionist. We all had a crew that ran around together and that was really fun.

What was next for you?

I was approached by Steve Markland, who was running Windswept Music Publishing at the time. He needed a song-plugger, so he hired me. That was so fun. That whole crew was amazing and I learned so much. Steve and Cliff [Audretch III] did a great job of bringing me along and helping to teach me what an independent music publisher is.

I had a lot of friends at the time who were older than me and were friends with Jody Williams. I heard about him all the time. They said, “You really should meet Jody. You’d really like him.” I probably had more guts then, but I just randomly reached out to Jody and said, “We have a lot of mutual friends and I would love to meet you.” He was nice enough to meet me. He says now that I asked him to be my mentor during that first meeting, but I don’t remember that. If I did, I’m really proud of myself—it turned out really well so I’m glad I did that. [Laughs]

Pictured (L-R): Mike O’Neill, Beth Laird, Luke Laird, Scott Cutler, Jody Williams

Then you started working for Jody at BMI.

He told me that BMI was looking for a female writer rep. I knew I was under-qualified and I didn’t know what that job was. I just knew I liked songwriters and publishing. We kept meeting and he had offered the job to someone who had more experience and she turned it down because she had another job she loved. He came back to me and asked me if I would like to hear more about the job and I said, “I love publishing, I don’t think I want to leave.” He said, “Do you know what this job is?” and I said, “No.” [Laughs] He told me what the job was and I was like, “Wow, this is actually my next step. I would really love this because I would get to work with all the songwriters and all the publishers.”

I’m grateful Jody gave me a shot. I was the youngest and the only female rep on the team, so again, I went in feeling under-qualified and I had a lot to learn. I worked for Jody for five years and it was an incredible experience. He is still my mentor today. He’s just one of a kind and he taught me so much about music, life and business. He really helped me understand the ins and outs of the business side, but was always encouraging me to keep my passion for music and my passion for people.

What led up to starting Creative Nation?

I loved my job at BMI. That’s where I made tons of connections with everyone in town—particularly with publishers and writers—but I also made a lot of connections out of town because I was able to work in a lot of other genres as well. At the same time, I took on more than I had energy and time to do, so I was very overwhelmed by the end of it. I’m not someone who’s good at letting people down and I always wanted to help and do as much as I could, realizing that I really was taking care of all genres and so many writers. I just wasn’t capable, so that was really getting to me.

Luke was in a publishing deal at Universal because BMG had folded into Universal. He was coming to the end of his deal. He had his admin rights back, he was recouped and had songs on the chart, which usually just does not happen in that way. I’m really grateful to Derek Crownover because he really helped, and Luke was really smart about the deals he did instead of just taking more money.

Pictured: Creative Nation wins their first BMI Award

So me, Luke and Kella Farris all met. She said to Luke, “Your deal is coming up and you could sell your catalog. You could sell your copyrights and get some money for them.” If you’re lucky enough to be able to do that, that money is basically songwriter retirement a lot of times.  We were shocked. She looked at Luke and said, “What do you want to do next?” Luke said, “I want Beth to be my creative person, but she won’t leave Jody at BMI.”

Kella said, “Beth, what are you going to do next at BMI?” In that moment, I realized my title would change, but my job never would, and I was really tired. So I immediately thought I have to leave my job and it’s time for something else.

What was starting a company on your own like for you and Luke?

We decided we would do a five year business plan. We would sell Luke’s catalog and put money in the bank for five years. We wanted to do it ourselves and set up the company the way we really wanted a publishing company to be. We decided at the end of those five years, we could make a call [on what to do next.]

Pictured (L-R): Scott Cutler, Tyler Johnson, Beth Laird

There were independent publishers out of town that had reached out to us about us being their Nashville office. We talked it through, but we just felt like we would still be using their name, their culture and their deals. Luke said, “If all these people who don’t really know us are willing to fund our company to own 50% of it, we should double down bet on ourselves.” Another thing he said was, “Worst case scenario, we’re going to be trying to get these same jobs back.”

We knew that this was a moment in time opportunity that might not ever come around again. It just felt like the right time. Most people I talked to about it were supportive, but a lot of people gave me the advice of, “Don’t start a company with your husband and don’t use your own money in the music business.” I understand both, but for us, it has been so great. I think we’re an exception to the rule in that because we both do two completely different jobs. We’re really different in what we do every single day and it compliments each other.

We also felt like if we used our own money to create the culture we wanted and the company we wanted, then by the time we got to five years, if we needed to, we could take other people’s money, but it would already be established what we were about. We really pulled on our experience from the previous years and tried to build the company we wanted to work for. We grew small. We started November of 2011 at the kitchen table.

Now you have 10 writers, a well-rounded team and two buildings on Music Row. What was an affirming moment from the beginning?

Two things come to mind. I was having some imposter syndrome and I told Luke maybe I should just call Jody and ask him if he’ll hire me back. I was just going through a real season of doubt. I went to my first plugger group pitch meeting with Todd Ramey. The first song I played was “Pontoon.” When Little Big Town loved that song, recorded it and it took on a complete life of its own, that moment reaffirmed to me that I should quit worrying about if I was capable, what people would think and if I could handle it, and just focus on what I knew. [It told me I should] put my head down and focus on booking great co-writes, pitching songs and taking care of these writers strategically.

Another huge moment we had is when we had a No. 1 song and I got to go on stage as a BMI publisher at the BMI Awards and Jody handed me an award as a publisher. I had been the one at BMI who handed up all the awards to Jody for him to give out. That was such a moment.

Pictured (L-R): Hailey Whitters, Emily Furman, Lori McKenna, Beth Laird

That’s amazing. What is the most fulfilling part of your job?

The most fulfilling part of my job is that I get to help songwriters dreams come true. Truly the thing I love the most is when a songwriter tells me a dream they have or something they want to accomplish and we start working on it.

What’s a great piece of advice you’ve received?

One piece of advice that I wish I would’ve known earlier was to pay attention to things that give you energy that you do really well and quickly—that’s your skillset and that’s what you’re good at. Pay attention to things that drain you and make you feel very tired—those are things that are not your skillset. You can do them and you always have to do a little of both, but if you can try to get to a place where you are eventually are in a 75-25 or an 80-20 split, you’ll enjoy what you do and you set yourself up for success.

Another piece of advice was something Jody told me. I used to be one that would work myself to death and then crash. I would get sick and have to take time off. I wasn’t good at balance and I was not good at taking care of myself. Jody was the first one to say, “You’re good at this job. I want you to be able to do it for a long time, so you can’t keep working like this. You’re going to need to learn how to take breaks or you’re going to get completely worn out and want to leave the business.” That changed the way I thought about doing a good job and longevity in this business.

Bobby Karl Works The Room: ‘World’s Largest No. 1 Party’ Also Honors Political Allies

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Pictured (L-R): Bart Herbison (NSAI Executive Director), Butch Spyridon (CEO of the Nashville Convention and Visitors Corporation (NCVC)), Erika Wollam Nichols (Bluebird Cafe COO and GM)

Chapter 668

Each year, the Nashville Songwriters Association International (NSAI) tosses a bash to honor all of the tunesmiths who enjoyed a No. 1 success during the previous year.

The event saluting the 2022 chart-topping songwriters took place Tuesday (April 25) at Fat Bottom Brewery. It was a gorgeous spring day, so the venue fully opened its garage doors onto its spacious deck, which came equipped with picnic tables and umbrellas.

The NSAI’s Bart Herbison welcomed us. “Thanks, everybody, for being with us today,” he said. “We’re here to honor songwriters…all the songwriters who had No. 1 songs in 2022,” regardless of genre.

To kick things off, Bart introduced a new honor, the NSAI Advocacy Award. He presented it to former Tennessee congressman Jim Cooper. He reminded the attendees that Cooper has always been supportive of legislation that aided songwriters financially. “I just don’t know of a better individual,” Bart said. “He also plays the banjo.”

Pictured (L-R): Former Nashville Congressman Jim Cooper, Lyndsie McClure (NSAI Director of Development)

“I love songwriters,” said Cooper. “I love songs. I love ‘it all begins with a song.’ I love protecting you in Congress. I couldn’t be prouder of you. I wish I could still represent you, but they gerrymandered me out of existence.

“There are enemies of music everywhere,” he cautioned the crowd. “They might love your songs, but they want to steal your royalties… The State of Tennessee is out to destroy our beautiful city of Nashville. We can’t let that happen… I hope you vote. I hope you run for office.”

Bart re-took the mic to remind the dozens of songwriters at the event that the NSAI’s lobbying efforts have dramatically increased their income from streaming services.

Then Bluebrird Cafe COO Erika William Nichols asked for a moment of silence to honor the memory of hit country songwriter Keith Gattis, who died on Sunday. Erika then presented the NSAI’s Champions Award to Butch Spyridon, the retiring CEO of the Nashville Convention & Visitors Corporation.

“Without you, the hospitality industry had no future,” said Butch to the songwriters. “You have the heart and soul of Nashville. As long as there is one songwriter in this town, we’re not losing our soul. It has been an honor, a pleasure and the dream of a lifetime,” to support the songwriting community.

Pictured (L-R): Josh Jenkins, Shane Stevens

Working the room were Dale Bobo, Susan Stewart, John Ozier, John Rich, Anthony L. Smith, Dave Pakula, eight-time honoree Ashley Gorley, Mike Sirls, Vickie McGehee, Chris DuBois, Kristi Manna, Tory Martin, Tim Nichols, the Tennessee Entertainment Commission’s Gisela Moore, Josh Jenkins, Ben Glover, Jennifer Turnbo, Jenn Schott, five-time honoree Jeff Pardo, Seth Moseley, Luke Laird, delightful showboat Levon Gray, Matthew Wilson and Matthew West.

Beloved longtime Christian-music exec Jimmy Wheeler came bearing news of his new gig. He is now the Director of Business Development for the Music Office of the State of Tennessee. At which I predict he will excel.

The event’s evening cocktail-reception fare included pretzel bites with beer cheese, Italian meatballs, Southwest egg rolls (better than that sounds), chocolate cake squares, pastries and other sweet petit-fours confections.

Songs recognized for reaching No. 1 between January 2022 – December 2022:
“5 Foot 9”
Written by: Tyler Hubbard, Jaren Johnston and Chase McGill
Recorded by: Tyler Hubbard

“7500 OBO”
Written by: Matt McGinn, Jenn Schott and Nathan Spicer
Recorded by: Tim McGraw

“AA”
Written by: Walker Hayes, Luke Laird and Shane McAnally
Recorded by: Walker Hayes

“abcdefu”
Written by: Sara Davis, GAYLE and Dave Pittenger
Recorded by: GAYLE

“As It Was”
Written by: Thomas Hull, Tyler Johnson and Harry Styles
Recorded by: Harry Styles

“At The End Of A Bar”
Written by: Chris DeStefano, Mitchell Tenpenny and Chris Young
Recorded by: Chris Young with Mitchell Tenpenny

“Beers On Me”
Written by: Dierks Bentley, Daniel Breland, Ross Copperman, Luke Dick, Ashley Gorley, Nicolle Galyon, Michael Hardy, Ben Johnson and Niko Moon
Recorded by: Dierks Bentley, Breland & HARDY

“Best Thing Since Backroads”
Written by: Ben Johnson, Jordan Minton, Hunter Phelps and Geoff Warburton
Recorded by: Jake Owen

“Buy Dirt”
Written by: Jacob Davis, Jordan Davis, Josh Jenkins and Matt Jenkins
Recorded by: Jordan Davis feat. Luke Bryan

“Carolin’”
Written by: Francesca Battistelli, Mia Fieldes and Seth Mosley
Recorded by: Francesca Battistelli

“Come What May”
Written by: Darren Mulligan and Jeff Pardo
Recorded by: We Are Messengers

“Country On”
Written by: David Frasier, Styles Haury, Mark Nesler and Mitch Oglesby
Recorded by: Luke Bryan

“Damn Strait”
Written by: Jim Collins and Trent Tomlinson
Recorded by: Scotty McCreery

“Don’t Think Jesus”
Written by: Jessi Alexander, Mark Holman and Chase McGill
Recorded by: Morgan Wallen

“Fancy Like”
Written by: Cameron Bartolini, Walker Hayes, Josh Jenkins and Shane Stevens
Recorded by: Walker Hayes

“Growing Old With You”
Written by: Charles Kelley, Jordan Minton and Jordan Reynolds
Recorded by: Restless Road

“In Jesus Name (God Of Possible)”
Written by: Ethan Hulse, Katy Nichole, Jeff Pardo and David Andrew Spencer
Recorded by: Katy Nichole

“God Is In This Story”
Written by: Ethan Hulse, Katy Nichole and Jeff Pardo
Recorded by: Katy Nichole + Big Daddy Weave

“Half Of Me”
Written by: Rhett Akins, Will Bundy, Thomas Rhett and Josh Thompson
Recorded by: Thomas Rhett feat. Riley Green

“Half Of My Hometown”
Written by: Kelsea Ballerini, Ross Copperman, Nicolle Galyon, Shane McAnally and Jimmy Robbins
Recorded by: Kelsea Ballerini feat. Kenny Chesney

“How Far”
Written by: Tasha Layton, A.J. Pruis, Keith Everette Smith and Matthew West
Recorded by: Tasha Layton

“I Still Believe In Christmas”
Written by: Jeff Pardo, Matthew West and Anne Wilson
Recorded by: Anne Wilson

“In The House”
Written by: David Crowder, Ben Glover and Jeff Sojka
Recorded by: Crowder

“Last Night Lonely”
Written by: Jimi Bell, Joe Fox and Dylan Marlowe
Recorded by: Jon Pardi

“Leave You Alone”
Written by: Kane Brown, Jordan Minton and Jordan Schmidt
Recorded by: Kane Brown

“Me On Your Mind”
Written by: Jeff Pardo, Matthew West and Anne Wilson
Recorded by: Matthew West

“New Truck”
Written by: Ashley Gorley, Michael Hardy, Ben Johnson and Hunter Phelps
Recorded by: Dylan Scott

“One Day Tonight”
Written by: Trannie Anderson, Jared Griffin and Brett Sheroky
Recorded by: Noah Thompson

“One Mississippi”
Written by: Kane Brown, Jesse Frasure, Levon Gray and Ernest K. Smith
Recorded by: Kane Brown

“Progress”
Written by: Vicky McGehee, John Rich and Jeffrey Steele
Recorded by: John Rich

“Rock And A Hard Place”
Written by: Jacob Hackworth, Jet Harvey and Heath Warren
Recorded by: Bailey Zimmerman

“Rolex On A Redneck”
Written by: Brock Berryhill, Brantley Gilbert, Michael Hardy, Randy Montana and Taylor Phillips
Recorded by: Brantley Gilbert feat. Jason Aldean

“Sand In My Boots”
Written by: Ashley Gorley, Michael Hardy and Josh Osborne
Recorded by: Morgan Wallen

“She Had Me At Heads Carolina”
Written by: Jesse Frasure, Ashley Gorley, Tim Nichols, Thomas Rhett, Mark D. Sanders and Cole Swindell
Recorded by: Cole Swindell

“Slow Down Summer”
Written by: Rhett Akins, Sean Douglas, Jesse Frasure, Ashley Gorley and Thomas Rhett
Recorded by: Thomas Rhett

“Take My Name”
Written by: David Fanning, Ashley Gorley, Ben Johnson and Matt Thomas
Recorded by: Parmalee

“The Kind Of Love We Make”
Written by: Luke Combs, Jamie Davis, Dan Isbell and Reid Isbell
Recorded by: Luke Combs

“The Story.”
Written by: Sara Brice, Jana Kramer and Emily Shackelton
Recorded by: Jana Kramer

“Thinking ‘Bout You”
Written by: Andy Albert, Dustin Lynch, Hunter Phelps and Will Weatherly
Recorded by: Dustin Lynch feat. MacKenzie Porter

“Trouble With A Hearbreak”
Written by: Kurt Allison, Brett Beavers, Tully Kennedy and John Morgan
Recorded by: Jason Aldean

“Weary Traveler”
Written by: A.J. Pruis, Jordan St. Cyr and Matthew West
Recorded by: Jordan St. Cyr

“Whiskey And Rain”
Written by: Jesse Frasure and Josh Thompson
Recorded by: Michael Ray

“Y’all Life”
Written by: Pete Good, Walker Hayes and Josh Jenkins
Recorded by: Walker Hayes

“You Proof”
Written by: Ashley Gorley, Charlie Handsome, Ernest K. Smith and Morgan Wallen
Recorded by: Morgan Wallen

“You Should Probably Leave”
Written by: Chris DuBois, Ashley Gorley and Chris Stapleton
Recorded by: Luke Combs

On The Cover: MusicRow’s 2023 InCharge Issue Features HARDY On Cover

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MusicRow has released its 2023 edition of its flagship print directory, InCharge. Multi-Platinum singer-songwriter HARDY graces its cover.

Big Loud Records’ heavy-hitter HARDY has never been just one thing. Uncaging a new chapter, HARDY soared to new heights with the release of the mockingbird & THE CROW, the critically acclaimed half-country, half-rock sophomore album, adding to over two billion career streams. The dichotomous, 17-track effort debuted top five all genre on the Billboard 200 Albums chart and kinged seven additional Billboard charts in its first week, including Top Country Albums, Top Rock Albums, and Top Album Sales. The pride of Philadelphia, Mississippi has earned his reputation as “a promising purveyor of keeping the spirit of classic heavy Southern rock alive” (American Songwriter), “capable of writing the big hits for radio, obstinate enough to do something completely unexpected, and savvy enough to find the throughline for it all” (Rolling Stone).

A three-time CMA Triple Play award recipient, HARDY is the reigning ACM Songwriter of the Year, the 2022 BMI Country Songwriter of the Year, and a two-time AIMP Songwriter of the Year. HARDY has written 12 No. 1 singles since 2018, including his own double Platinum No. 1 single “ONE BEER” feat. Lauren Alaina and Devin Dawson, and chart-topping, Platinum Dierks Bentley and BRELAND collaboration, “Beers On Me.” He’s previously toured with Thomas Rhett, Morgan Wallen, Florida Georgia Line, Jason Aldean, Cole Swindell, and more, and is headlining his sold-out “the mockingbird & THE CROW Tour” nationwide now.

The annual InCharge guide highlights some of the most influential music industry executives in the Nashville entertainment community. This year’s edition includes 376 profiles which are accompanied by contact information, career biographies, and detailed board and organizational membership affiliations.

The guide also includes a company appendix, record label staff appendix, and a professional categories appendix, which lists executives by their areas of expertise, including label, talent agency, management, music publishing, legal, finance, performing rights organizations, and more.

“The Nashville music industry is a tight-knit community in which those who wear the hat are highly valued. With decades of experience and expertise, these ‘hat wearers’ have played an integral role in creating and sustaining the city’s musical legacy. They understand what it takes to make great music—from songwriting to recording and from producing to marketing—and they’ve worked tirelessly to bring Nashville’s unique sound to the world,” says MusicRow Owner/Publisher, Sherod Robertson. “These pages are filled with our champions and they have deservedly earned the title of InCharge.”

In this issue of InCharge, MusicRow also takes a look at Artificial Intelligence (AI) and what it means for the music industry, highlighting both the opportunities and the dangers of AI.

Single copies of MusicRow’s 2023 InCharge issue are available for purchase at musicrow.com for $110, and are included with yearly MusicRow subscriptions.

Kevin Griffin Paints An Inspiring Picture Of Music Row In New Business Parable [Interview]

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Kevin Griffin. Photo: Robby Klein

Award-winning songwriter, producer and performer Kevin Griffin has lived a myriad of lives in the music business.

He’s best known as the singer and founding member of the Platinum-selling rock band, Better Than Ezra, whose hits include “Good,” “Desperately Wanting,” “Extra Ordinary” and “A Lifetime.” Griffin is also a hit songwriter with No. 1s such as Howie Day’s “Collide” and Sugarland’s “Stuck Like Glue.” His songs have been recorded and performed by artists such as Taylor Swift, Train, Dierks Bentley, Christina Perri, Hunter Hayes, James Blunt, and many more.

Additionally, Griffin is a co-founder and partner in Pilgrimage Music & Cultural Festival located in Franklin, Tennessee, and has served as a writer-in-residence at NYU’s Clive Davis School of Music. Griffin lectures internationally on creativity to groups and companies ranging from Live Nation, Google, Spotify and Disney to Nike, YPO/WPO and Salesforce. So, he knows a thing or two about how to make a career in the entertainment industry.

Griffin culminated his experiences in a business parable called The Greatest Song: Spark Creativity, Ignite Your Career, and Transform Your Life, out today (April 25). Though the book is not a memoir and is based on a fictional character, singer-songwriter Jake Stark, The Greatest Song is inspired by Griffin’s life and career.

The book begins as Stark is dropped by his publishing company, MegaMusic Publishing, beginning an epic journey to the pinnacle of creative expression and commercial success. Crushed by being dropped, Stark thinks his career is over until he meets the eccentric young billionaire Sir Daniel Smith-Daniels, who swoops in and offers Stark an opportunity at his avant-garde publishing house, The Row.

In order to secure a contract with this publisher, Stark must complete the five music-writing trials of “The Method,” each demonstrating a key component in both getting and keeping success. What Stark realizes after completing “The Method” is that he has the tools to make the metaphorical song of, not just his career, but also his life, which is the “Greatest Song.”

Griffin was inspired to form the tale of Jake Stark after a friend asked him to speak about his life and career at a corporate meeting.

“They say that nothing good happens in a bar after 2:00 a.m., but I ran into an old friend in New Orleans during Mardi Gras. Over some late night jambalaya, he asked me if I wanted to speak to a group of his YPO (Young Presidents’ Organization) members,” Griffin tells MusicRow. “I had done some public speaking back in college, but not in the past 20 years. I said ‘yes’ without hesitation and then I realized I needed to speak about something.

“At the same time, I had been mentoring younger writers, going onto podcasts and stuff like that. People were asking me ,’How have you stayed successful in this super fickle business?’ I realized that there were things I could speak about—things that I had to do after getting dropped, going from having hits to having no hits to having hits again.”

The speech was a hit, leading Griffin to deliver it to corporate groups at Live Nation, Google, Nike, Disney and more. The universal message of going after a dream resonated with a lot of folks, no matter what industry they were in. After such a positive reception, Griffin knew that he wanted to write a book.

Inspired by books such as Who Moved My Cheese? and Tuesdays with Morrie, Griffin felt that he could give readers real advice without writing a memoir. His inclination for creativity led him to crafting the story of Jake Stark.

“As a songwriter, I write narratives. I write stories,” Griffin says. “The character Jake Stark is a little bit of me—you write what you know—but it’s fiction. Woven into these different chapters are five different practices that I do that the enigmatic Sir Daniel Smith-Daniels calls ‘The Method.’

“The same week that Jake Stark has been let go of his longtime music publisher, MegaMusic, he is asked to write with these five different writers at The Row [Smith-Daniels’ publishing company], who have become the talk of Nashville. These writers are crushing it in pop and in country. In those five crazy writes with these characters, he turns his career around, but he also turns his life around with his family.”

So, who are these Music City hit-makers and what do they teach Stark? Without giving much away, Griffin breaks it down as creative collaboration, filling the well (or continuing your education/inspiration as a songwriter), changing your attitude, leaving your comfort zone and dare be stupid.

Drawing off of his experiences writing on Music Row, some of Griffin’s characters are loosely based on hitmakers such as J.T. Harding and Brad and Brett Warren.

The songs written by Stark in The Greatest Song have also come to life via real recordings. In addition to housing them on Spotify, the songs can be heard in the audio book.

“In the audio book that Audible is putting out, you hear those songs in the chapters where I talk about them being written. You hear a guitar, a beat and someone humming a melody. The full song is at the end of the chapter.”

Griffin’s hopes for the book is that it resonates with creatives, and helps guide them to success.

“That life-changing song is floating in the room somewhere. You just have to have the tools to allow yourself to capture it. That’s what I wanted to share in the book: how do you stay nimble and open to those crazy ideas? It’s about staying optimistic, listening and daring to be stupid,” Griffin says. “What I really wanted to do in this story was [provide] a real snapshot of what our life is like as songwriters. Where we eat lunch, how it all happens. The sincerity, the insincerity, and the grind of being a songwriter and how awesome it is.”

Griffin’s The Greatest Song: Spark Creativity, Ignite Your Career, and Transform Your Life is available for purchase now.

Singer-Songwriter & Producer, Keith Gattis, Passes Away

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Keith Gattis

Beloved singer-songwriter and producer Keith Gattis passed away on Sunday, April 23 due to a tractor accident at his home. He was 52.

A Texas native, Gattis began playing around the Austin area as a teen, and moved to Nashville after college in pursuit of a music career. He signed with RCA Nashville in 1996 and released his debut self-titled album, which yielded the single “Little Drops Of My Heart” but not much commercial success.

Undeterred but battle-scarred, he headed to the west coast and found work out there, eventually recording an indie solo album nearly a decade later, Big City Blues. In 2002 he became band leader for Dwight Yoakam, and played bass and electric guitar on Yoakam’s album Blame The Vain. An in-demand guitar slinger and session player throughout his career, Gattis worked in the studio with Bruce Robison, Sunny Sweeney, Jon Pardi, Brandy Clark, and many others.

He found success as a songwriter as well, penning the hauntingly beautiful “El Cerrito Place,” which appeared on his Big City Blues album, was recorded by Charlie Robison, and was later a hit for Kenny Chesney. Chesney also co-wrote “When I See This Bar” with Gattis, who also had cuts by George Strait, Randy Travis, Gary Allan, Randy Houser, Charlie Robison, Randy Rogers Band, Jack Ingram, Wade Bowen, and more.

Gattis found success behind the boards as well, helming sessions at his own Pioneertown Recording Studio for artists including Jon Pardi, Jake Owen, Waylon Payne, Kendell Marvel, Wade Bowen, and more. He was the co-producer of Randy Houser’s 2019 acclaimed, rootsy album Magnolia.

Keith Gattis’ wife Penny Gattis is GM of Publishing at Eclipse Music Group in Nashville. They have two children together. In addition to his wife and children, Gattis is survived by his mother Donna (Robert) Booth; his father Donny (Sharon) Gattis; his siblings Brad (Julie) Booth, Cody (Keisha) Booth, Mike (Bridget) Booth, Rob (Caryn) Booth, Casey (Shayna) Gattis, Knox Gattis, and Lee Ann (Scott) Schumpelt; and many beloved nieces and nephews. He was preceded in death by his best friend Charlie Brocco.

A celebration of life for Gattis will take place Sunday, April 30 at the Spring Hill Funeral Home and Cemetery at 5110 Gallatin Pike South in Nashville. Visitation will be from 11-2 p.m. with a service immediately following.

Application Deadline Extended: MusicRow’s 2023 Artist Roster Issue

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Applications for MusicRow‘s upcoming Artist Roster print issue are now being accepted through Friday, April 28, 2023 with the official form below. Previously included companies will also be solicited separately.

This ultimate artist resource edition includes the Artist Roster company directory, featuring contact information and artist rosters for Nashville record labels, managers, publicists, lawyers, talent agents, publicity and artist services companies (business managers, digital music, legal, marketing, radio promotion, and organizations).

Applications for Artist Roster are now closed.

For advertising opportunities in the Artist Roster print issue, email Sherod Robertson at srobertson@musicrow.com. Rate card information is available here. For questions regarding directory, please email LB Cantrell at lbcantrell@musicrow.com.

Cody Johnson Takes ‘Human’ To No. 1 On MusicRow Chart

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Cody Johnson. Photo: Chris Douglas

Cody Johnson tops the MusicRow CountryBreakout Radio Chart this week with “Human.” The touching song was written by Tony Lane and Travis Meadows.

Johnson recently received three nominations for the upcoming 58th Academy of Country Music Awards, making this the most ACM nominations he has ever received and the most nominated Texas-born male artist this year.

“Human” is Johnson’s third MusicRow No. 1, following “‘Til You Can’t” and “On My Way To You.”

Click here to view the latest edition of The MusicRow Weekly containing the MusicRow CountryBreakout Radio Chart.

Jordan Davis Celebrates Recent Chart-Topper ‘What My World Spins Around’

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Pictured (L-R, back row): BMI’s Mary Ann Keen and ASCAP’s Mike Sistad; (L-R, front row): UMG Nashville’s Mike Harris, Paul DiGiovanni, UMG Nashville’s Cindy Mabe, Jordan Davis, Ryan Hurd, Matt Dragstrem and UMG Nashville’s David Friedman. Photo: Larry McCormack

Industry members filled a swanky space at the Four Seasons hotel earlier this week to celebrate Jordan Davis‘ No. 1 hit, “What My World Spins Around.”

Davis co-wrote the track with Matt Dragstrem and Ryan Hurd. It was produced by Paul DiGiovanni and appears on Davis’ recently released Bluebird Days album—which was also celebrated, as it has already been certified Gold.

ASCAP’s Mike Sistad served as emcee for the party. He bragged on affiliates Davis, Dragstrem and DiGiovanni by giving everyone their impressive stats.

“Jordan has had a big year,” he said of the artist who just received his first ACM Male Artist of the Year nod. “This is his fifth No. 1 song.”

BMI’s Mary Ann Keen was on hand to congratulate Hurd. “I’m really happy to be here to support and celebrate you,” she said.

Pictured (L-R): Jordan Davis, Cindy Mabe and Paul DiGiovanni. Photo: Larry McCormack

Anthem Entertainment’s Noah Dewey was the first of the publishers to speak. He recognized the MCA Nashville promotion staff, Davis’ management Zach Sutton and Callie Bartz, producer DiGiovanni and Davis’ co-writer before turning to Davis.

“Jordan, we’ve been [celebrating you] quite a bit lately. I’m running out of nice things to say about you,” Dewey quipped. “What an amazing last year this has been for you. You’ve crushed it. We’re super happy for you at Anthem and look forward to doing this again soon.”

Big Loud’s Kimberly Gleason was up next. “On behalf of Big Loud, we want to say a big congratulations to Matt, Ryan, Jordan and Paul on this great record,” she said.

Round Hill’s Lindsay Will congratulated also gave kudos to the writers. “Congratulations to all the writers on stage, as well as Cindy [Mabe] and her team at Universal for taking this song to No. 1.”

Big Machine’s Mike Molinar warned the crowd that even though the speeches had been short and sweet up until this point, he wasn’t going to be.

“We all know what a fabulous artist and songwriter that Jordan is. Looking at the trajectory he’s on from ‘Buy Dirt’ to this single to ‘Next Thing You Know,’ it’s not surprising he’s nominated for ACM Male Artist of the Year,” Molinar said. “I don’t publish the guy, but he makes us all so proud that he can be a face of country music.”

Molinar followed his kind words about Davis by talking about BMM writers Hurd and Dragstrem.

“I’m living the dream because I get to work with people like Hurd and Drag,” he said. “These guys are fantastic. The music is fresh and always on point, but they are also just great partners. They’re enthusiastic and the kind of people that you want to show up to work to fight for every day.”

UMG’s Nashville David Friedman was on hand to speak about Davis. He highlighted the members of the Jordan Davis village before turning his thanks to Davis himself. “Thank you for everything you’ve done for us. We promise to give back to you tenfold,” he said. “Thank you for keeping this job fun and proving that nice guys finish at the top.”

Pictured (L-R): Paul DiGiovanni; MusicRow’s LB Cantrell; Jordan Davis, Ryan Hurd and Matt Dragstrem with their MusicRow No. 1 Challenge Coins; MusicRow’s Sherod Robertson. Photo: Larry McCormack

Producer DiGiovanni told the story of how the “What My World Spins Around” track came together. “The best song finds a way, raises its hand and shows itself,” he shared. He also pointed out that his brand new daughter was present for her first No. 1 party.

Hurd also recognized his family in the crowd, thanking them for their support. He spoke about his and Davis’ careers being closely tethered, sharing that they got their record deals around the same time and have written a lot over the years.

“I’m the first person that Jordan ever co-wrote with in Nashville, so this is such a special full-circle moment for me,” Hurd said. “I’m really proud of you for busting through the ceiling and having all of this success.”

Dragstrem echoed the thanks to the whole team. “No. 1s don’t come all the time. This is not lost on me. Everyone in this room had something to do with the song, so thank you.”

When Davis spoke, he individually thanked his team members. “The saying ‘it takes a village’ gets lost when you say it a lot, but it truly takes an army of people to get to where these songs get heard,” he said. “I hope you know that it’s never lost on me how instrumental y’all are in my career.

“I couldn’t have dreamed of my music career going any better than it has and I couldn’t dream of doing it with better people,” Davis shared.

Becoming Espo: The Story Of Industry Vet John Esposito [Interview]

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Pictured (L-R, back row): Chris Janson, Ashley McBryde; (L-R, front row): Dan Smyers, Espo, Shay Mooney

Upon the announcement this week of Espo’s retirement, MusicRow celebrates his legacy by revisiting his journey to becoming one of the most revered label heads in Nashville’s music industry history. The below profile on former Warner Music Nashville Chairman & CEO John Esposito was originally published in MusicRow‘s 2022 Country Radio & Streaming Issue. 

 

If you’ve been to a music industry event in which Warner Music Nashville Chairman & CEO John “Espo” Esposito speaks, chances are you haven’t forgotten him.

The Pennsylvania native stands tall, and dons glasses with dark, circular frames. He speaks with a slight accent, he’s hilariously witty, and is known for his colorful vernacular. In other words, he swears like a sailor.

Since he arrived in Music City to head up Warner Music Nashville (WMN) in 2009, he’s become unequivocally beloved by artists and industry folk alike. So much so that the powerful label head is affectionately called Espo by all.

John Esposito didn’t set out to be a high-ranking music executive when he started his career.

Pictured: A young Espo sits at his drum set.

He majored in journalism at the Indiana University of Pennsylvania, but his passion for music occupied a lot of his time.

“I had no inkling to become a music executive or even make a living in music,” Espo says of his college days. “I was in two bands. I wrote the music editorial for the college paper, I was a disc jockey, and I booked the concerts and coffee houses at the college. Something should have clicked in my head at that point that that was my calling, but I only did it because I’m nutty passionate about music.”

After graduating and spending a few years drumming for a band in Pittsburgh, Espo found himself looking for a job in Washington, D.C. On his way to an interview at a radio station, he saw a help wanted sign at a record store called the Harmony Hut.

“So I became a clerk at a record store for damn near minimum wage. To my good fortune, the second day I was at the store, the regional manager came in and said, ‘What the hell are you doing here? You wanna become the assistant manager of one of my stores and I’ll train you how to be in the record store business?’ And that was how my life took off.”

Espo rose through the ranks at Harmony Hut, continuously getting promoted to bigger stores. “The one thing I remember very specifically is I got free albums and free tickets, and that resonated with me, which I would circle back to years later.”

Soon Espo was recruited to work at Macy’s as a buyer. Years later, one of Espo’s suppliers, Mitsubishi, asked him to come work for them as head of sales for the east coast of their operation.

“I was making a really good living at Mitsubishi, but I was seven years in and was bored shitless. I said to my now ex-wife, ‘I have to get into the music business. That’s my calling. I keep spending all my disposable income on instruments, CDs and concert tickets.’”

Following his passion, Espo called up one of his big customers, The Wiz, to see if they could introduce him to music business executives. They, in turn, asked Espo to run their record department. Espo took the job with hopes that he would make connections at a major label. “Within two years I luckily had three different companies pursuing me. Again, no freaking plan.”

By 1994, Espo had his foot in the door of the music business, landing a job at Polygram where he would advance through high-ranking positions before leaving to become the founding general manager and executive vice president at The Island Def Jam Music Group in 1997.

In 2002 he was named president of WEA, Corp., the sales and marketing arm of the Warner Music Group, where he would spend the next seven years. But while Espo was building his career up north, his guiding light of passion caught an interest in Nashville.

“When I was running The Wiz, some people from Sony knew I was a Mary Chapin Carpenter fanatic and asked me if I wanted to go to the CMAs and see her perform. It was 1993, and that was my first trip to Nashville.

Pictured: Espo, second from right, at his post as the Manager of Harmony Hut in Washington, D.C. circa 1980.

“I had no preconceived notions [about Nashville], but I had no idea I was going to enjoy that show so much,” Espo says. “That night I just fell in love with Nashville. I haven’t missed a CMA Awards since 1993, until the pandemic.”

In 2009, Espo was able to follow his love for Music City when he was tapped to become the first president and CEO of Warner Music Nashville.

“I said yes in a heartbeat. I came down here in September of 2009 and never looked back. I had no idea if I’d be successful as a country record label head, but I knew I was going to give it my all and that I was lucky to get that opportunity.”

At the time, Warner’s country music label in Nashville was struggling, with record sales declining. Blake Shelton had been at the label for eight years, and had seen modest success with five No. 1 records, but wasn’t hitting his maximum potential.

“I looked at the roster and the crew that was operating the company and I thought Blake was my greatest opportunity. I thought, I have to help this team make a statement by putting all our eggs in the Blake Shelton basket.”

It worked. Shelton, who is still a WMN artist, boasts 28 No. 1 hits and multiple Gold and Platinum certifications. Over the past two decades he has accumulated more than 8.5 billion global on-demand streams, 13 million career album U.S. sales, and award wins approaching the hundreds.

“I had to convince people that we could win. If we could start winning with Blake, we could win.”

With Shelton on his way to country superstardom, a refined label staff, and success with several key signings such as Brett Eldredge, Hunter Hayes, and Cole Swindell, Espo and his WMN team were in the game.

“Suddenly it felt like a lot of weight was off my shoulders. Everybody at the label was becoming prouder and prouder to be part of a team that was starting to get consideration,” Espo says. “I believe that success begets success. Momentum is so hard to create. When you have it, that’s when you hunker down and work even harder.”

While rebuilding the country label, Espo threw himself into the Nashville music business community, joining the CMA and ACM boards, Leadership Music, NARAS, the Mayor’s Music Council, and more.

“I wanted people to know that there may be people who work as hard as me, but there ain’t gonna be anybody who works harder than me. And I wanted them to know I was committed to being part of this community. I didn’t want anybody to think this was one step on my next path. This was it for me.”

In 2016, Espo celebrated a promotion to chairman and CEO of WMN, and Shelton broke a record for the label with 17 consecutive No. 1 songs on the Billboard Country Airplay chart. In 2018, Espo signed another country hitmaker, Kenny Chesney, who celebrated his 34th No. 1 in January.

Pictured (L-R): Espo, Scott Hendricks, Shay Mooney, Blake Shelton, Max Lousada, Gwen Stefani, Dan Smyers and Ashley McBryde attend the 2020 Warner Music Group pre-Grammy party in Hollywood, California. Photo: Lester Cohen/Getty Images for Warner Music

“One of the good things I observed from New York before coming here is that, if they do it right, a country artist can have a much longer career than most other genres. But they have to be willing to work as hard after years of success as they did when they started. With Blake and Kenny, when we’re about to launch a project, they’re getting on airplanes and flying to visit radio and streaming companies. They display the same hunger they had when they were first trying to break.”

WMN has seen incredible success in recent years with Dan + Shay, who have garnered nine billion global career streams to date, 42 total RIAA certifications and achieved nine No. 1 singles at country radio.

Dan + Shay’s massive commercial appeal has been, in part, due to their embracing global opportunities—something that WMN is privy to.

“We were the first Nashville-based label to put a full-time international team in place,” Espo says.

With fans around the world taking more and more interest in country music, especially country music with pop sensibilities, Dan + Shay were able to harness this global opportunity.

“If an artist is willing to work—knowing that it’s a grind in the beginning just like the beginning part of their career was—and if they are willing to get on airplanes and go play small clubs [overseas] while at the same time they’re playing arenas in the U.S., they have an opportunity to open up markets. And Dan+ Shay were 100% on board, as was their management team, who understands that opportunity as well. They are the poster children with 9 billion global streams. They’ve topped the charts everywhere.”

In 2019 WMN signed another monumental artist, Gabby Barrett. Her now 5x-Platinum debut single “I Hope” was the most-streamed country song of 2020 and reigned atop the Billboard Hot Country Songs chart for a record-breaking 27 weeks. Her follow up, “The Good Ones,” also achieved Platinum certification and spent three weeks at No. 1.

Pictured (L-R): Brett Eldredge and Espo celebrate Glow, Eldredge’s 2016 Christmas album.

“It was an incredibly competitive deal,” Espo says of signing Barrett, who at the time was beginning to make waves with “I Hope” after leaving American Idol. “Every label wanted to sign her.

“I remember people interviewing me pre-pandemic, probably in 2019. We were having success with Gabby and Ingrid [Andress]. They hadn’t chart topped yet, although they were on their way. We were also getting traction with Ashley [McBryde]. And all the questions were about, ‘Did you purposely sign women? Are you crazy for signing women when it’s so tough to break women?’

“Then when we started having success, the questions turned into ‘Is radio making it easier?’ And my answer is, they never make it easy. You’re signing artists. I’m not looking at them as a female artist, a male artist, or a six foot tall artist. Our job is to sign geniuses and we just happen to be lucky that we signed those three.”

In his more than a decade at WMN, some of Espo’s proudest moments are signing his first new artist, Eldredge; Blake Shelton winning CMA’s Entertainer of the Year in 2012; Dan + Shay releasing “Tequila” to massive appeal; welcoming Chesney and Zac Brown Band to the label family, and having Cody Johnson put his faith in WMN, resulting in his massive consumption growth. Just to name a few.

He’s also pretty stoked for WMN’s building remodel on Music Row.

“We wanted to be the major that put a stake in the ground and said, ‘We’re going to be on Music Row,’” Espo says. “[The renovated office building] is going to be so much more artist friendly, so much more inviting to people, and it will still allow us the charm of Music Row.”

Pictured (L-R): Kristen Williams, Espo, Scott Hendricks, Blake Shelton, Ben Kline, Narvel Blackstock and Cris Lacy celebrate RIAA certifications for Shelton

When looking back on Espo’s career so far, and looking forward to the future, one thing is clear: he is led by a desperate passion for music.

“I had no plan other than just keep being successful at what you do so that they’ll keep paying me so I can keep getting tickets,” Espo shares. “[My former boss] Lyor Cohen had a big impact on my life. One of his expressions that I use all the time is: I’ve worked my entire life for an all access backstage pass. That’s the only thing I work for.”

So, how did Espo get his nickname?

“With John being the most common male name on the planet earth, I just decided that being Espo would be easier. When somebody yelled John in a room, a hundred heads would turn. When they say Espo, I’m likely the only Espo in the damn room.”

And with that, Espo has continued to turn heads in every damn room he’s entered during his career. His wit, tenacity, and most of all, passion, have set him apart in his nearly 15 years on Music Row.

DISClaimer Single Reviews: ‘Major New Talent’ Megan Moroney Releases Another Smash

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Megan Moroney. Photo: David McClister

I love gender parity.

After all, we’re each half of the population. So in this stack of sounds, we have six featuring female voices and six that are males.

Do you need to ask which half has the better music?

Completely pinning my ears back was Lauren Watkins, who easily wins the DisCovery Award.

The Disc of the Day belongs to ACM New Female Artist nominee Megan Moroney. And it isn’t even a single.

TRACK45 / “Last Man in Tennessee”
Writers: Ben Johnson/Ashley Gorley/Geoff Warburton/Casey Smith; Producers: none listed; Label: BBR
– This sibling trio (two sisters & a brother) from Mississippi can sure ‘nuff sing. Their harmonies are perfection. On this witty, feisty kiss-off number, they are a snarky delight. Attitude wins the day.

THE WAR AND TREATY / “Have You a Heart”
Writers: Michael Trotter, Jr./Tanya Trotter; Producer: Dave Cobb; Label: UMG Nashville
– It seethes with burning romance. The piano-based track is firmly rooted in gospel tradition and the voices of these two angels are straight from heaven. I can’t even imagine what it must feel like to make music this divine. I love this duo beyond all reason. More, more, more.

HAILEY WHITTERS / “Plain Jane”
Writers: Hailey Whitters/Hillary Lindsey/Cary Barlowe; Producers: Jake Gear/Hailey Whitters; Label: Big Loud/Songs & Daughters/Pigasus
– This kicks serious hillbilly butt. A propulsive tempo catches your rhythmic soul. Her voice remains a priceless county gem. The extremely well written lyric is about self acceptance, no matter how flawed you are. It is high time you started taking this woman’s music seriously.

JUSTIN MOORE & RILEY GREEN / “Everybody Get Along”
Writers: Justin Moore/David Lee Murphy/Jeremy Stover; Producers: Jeremy Stover/Scott Brochetta; Label: The Valory Music Co.
– The outlaw rumble is cool. The lyric is of two buddies who disagree on lotsa stuff, but get along just fine. Both men sound like they are having a ball, and their hillbilly harmony vocal work is stellar.

DOM FLEMONS / “Traveling Wildfire”
Writer: Domonique Flemons; Producer: Ted Hutt; Label: Smithsonian Folkways
– He’s formerly a member of The Carolina Chocolate Drops, but the new album by Dom Flemons emphasizes his troubadour/songwriter/folkie side rather than the band’s old-time music sound. The title tune is a moody portrait of a bleak, downbeat emotional landscape. It is the album’s title tune, but it’s somewhat plodding. I recommend instead his romantic waltz “Slow Dance With You” from the collection.

KIP MOORE / “Kinda Bar”
Writers: Kip Moore/Dan Couch; Producers: Kip Moore/Jaren Johnston; Label: MCA Nashville
– Kinda sweaty, kinda raucous and kinda loud, this anthemic, good-time stomper praises a “neon dive” that’s just his kinda place. Kip Moore’s Damn Love collection containing this is due a week from Friday.

LAUREN WATKINS / “Shirley Temple”
Writers: Lauren Watkins/Nicole Galyon/Meg McRee; Producer: Joey Moi; Label: Big Loud/Songs & Daughters
– Wow. What a debut. The songwriting here is awesome, and her expressive delivery is spot-on. “You’re sipping Shirley Temples and wondering why you can’t catch a buzz,” she croons in a softly intelligent meditation. So far, she’s issued seven sides, all just as worthy. Absolutely send more.

MEGAN MORONEY / “Girl in the Mirror”
Writers: Megan Moroney/Jessie Jo Dillon/Matt Jenkins; Producer: Kristian Bush; Label: Columbia Nashville
– I absolutely adore her “Tennessee Orange” single. Here’s another demonstration that we’re in the presence of a major, major new talent. She gazes into the mirror, but doesn’t recognize her own reflection because he’s bent her all out of shape. “You can’t love the boy more than you love the girl in the mirror,” she sings with a palpable ache in her throat.

RVSHVD / “Reverse”
Writers: Christopher Roen Valenzuela/Clintarius Rashad Johnson/Goodwin Alexander Coburn/Kalvin Austin/Michael Paul Ferrucci; Producer: The Dream Addix; Label: Sumerian Records
– It’s one of those hip-hop, country fusion things. Despite the spelling, his name is pronounced “Ra-Shad.”

MICHAEL RAY / “Get Her Back”
Writers: Michael Tyler/Dallas Wilson/Jordan James/Lalo; Producer: Michael Knox; Label: Warner Music Nashville
– She’s gone, and he wants to get her back. But not the way you think—he wants to get her back for the all the bad things she did to him. He sings it well, but the production rocks harder than it needs to.

NESSA LEA / “Wake Up”
Writer: Nessa Survant; Producers: Mike Curb/Don Cusic; Label: Curb Records
– Bright, poppy and sunny with a semi-Shania vibe. But the message has some shadow, in that she’s telling a no-good guy to change. Promising.

COREY KENT / “Something’s Gonna Kill Me”
Writers: Austin Goodloe/Corey Kent/Joybeth Taylor/Lydia Vaughan; Producer: Jay Joyce; Label: RCA Records
– “If something’s gonna kill me, might as well be what makes me feel alive,” he warbles over a driving beat. So he likes drinking and smoking. Whatever….