Terry Hemmings To Exit Provident Entertainment, Holly Zabka Named President

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Terry Hemmings

Renowned music business executive Terry Hemmings will exit Provident Entertainment at the end of August. Holly Zabka will succeed Hemmings as President, reporting directly to Randy Goodman, Chairman and CEO, Sony Music Nashville.

Hemmings has played an integral role at Provident Entertainment, signing and building its roster for 20 years. His impact at Provident has expanded the profiles of faith-based artists such as Zach Williams, CAIN, Casting Crowns, Kirk Franklin and more.

Holly Zabka

“Over the last two decades, Terry has played an important part in shaping Provident and we are grateful to him for his commitment to leading the business and supporting our artists, songwriters and creators for so long” shares Goodman. “As Sony Music Nashville continues to work even more closely with Provident, we are committed to strengthening that connection under the leadership of Holly as she further elevates Provident, our artists and our songwriters.”

Hemmings says, “Provident Entertainment and Sony Music have been my home for 20 years. I am grateful for the many inspiring artists, songwriters, and our community at Provident with whom I have had the privilege to work. My career here has been an incredibly special and rewarding part of my life. I wish our entire team at Provident and Sony Music Nashville the very best as I move ahead to explore new elements of my life for which my time here has equipped me. I am excited to see a new generation of leaders take this business forward and further the foundation we have built together.”

Zabka is a 14-year veteran of Provident. With decades of experience in leadership roles across the music industry on both the publishing and creative sides of the business, she most recently served as Senior Vice President, Essential Music Publishing (EMP) and Head of Creative for Provident Label Group (PLG). Since Zabka joined the company, Provident has celebrated more than 60 No. 1 songs and has partnered with top artists and songwriters such as Williams, CAIN, Jason Ingram, Ethan Hulse, Matt Maher, Mia Fieldes, Jonathan Smith, Red Rocks Worship and more.

“For the last 14 years, I have had the great joy of championing an incredible roster of artists and writers at Provident Entertainment,” she shares. “In my new role, I am honored to continue advocating for our creatives and leading an amazing staff in developing our business, writing exciting new chapters for growth and opportunity, and ushering in a vibrant season of significant songs and stories. I am confident that the future of faith-based music and films is Provident Entertainment.”

Pop And Country Great Olivia Newton-John Passes

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Olivia Newton-John. Photo: Michelle Day

Grammy and CMA award winning Olivia Newton-John has died at age 73, following a long struggle with cancer.

Husband John Easterling announced her passing on social media yesterday. She died at her Southern California ranch on Monday, August 8.

Olivia Newton-John had seven top-10 country hits, including “Let Me Be There” (1973) and “I Honestly Love You” (1974). Newton-John was the CMA Female Vocalist of the Year in 1974. Her pop smash “Hopelessly Devoted to You” (1978) was drawn from the soundtrack of her much-loved movie musical Grease. “Physical” was No. 1 on the pop hit parade for 10 straight weeks in 1981. She has sold more than 50 million records worldwide.

Olivia Newton-John was born in England in 1948, but her family moved to Melbourne, Australia when she was five. Her parents divorced four years later, and she was raised by her mother. At age 14, she began singing with three female friends in folk and jazz clubs. A year later, her older sister got her a job on a local TV show.

This led to winning a national talent contest. The prize included passage to London and a recording contract. Her debut pop single appeared in 1966. In England, she formed the duo Pat & Olivia with singer Pat Carroll. When Newton-john returned to solo singing, Carroll’s husband John Farrar became her producer.

Her early singles included versions of the American folk song “Banks of the Ohio” and Bob Dylan’s country tune, “If Not for You.” The latter became the title tune of her debut LP in 1971. The record also included versions of Kris Kristofferson’s “Me and Bobby McGee” and “Help Me Make It Through the Night.”

Executives at her record label decided to market her as a country singer. “Let Me Be There” hit the country top-10 in 1973, became a Gold Record and earned her a country-music Grammy Award. She followed it with the Gold-selling, back-to-back, top-10 country smashes “If You Love Me (Let Me Know)” and “I Honestly Love You” in 1974. The latter won the Grammy as Record of the Year, plus a pop Grammy. She was named the CMA Female Vocalist of the Year.

This created controversy in Nashville. Johnny Paycheck, Billy Walker, Jean Shepard, Bill Anderson, Barbara Mandrell and others objected to Newton-John, John Denver, Marie Osmond, Bonnie Tyler, Pia Zadora and other pop acts being embraced by country radio. Newton-John confessed that when she was told she was being marketed as “country,” she had no idea what that meant.

When the CMA voters chose her over Loretta Lynn, Tammy Wynette, Dolly Parton and Tanya Tucker, the pot boiled over. Dissidents formed an anti-CMA organization called the Association of Country Entertainers (ACE) in protest.

“Have You Never Been Mellow” became another Gold Record country smash for the singer in 1975. Olivia Newton-John moved to the U.S. in 1976 and successfully courted Nashville when she recorded in Music City. The totally countrified “Please Mr. Please” became another Gold Record, and she recorded the works of such Nashville songwriters as Mickey Newbury, Dolly Parton, Rory Bourke and Bob Morrison. She also began to write songs, herself.

In 1976, she took Linda Hargrove’s “Let It Shine” into the country top-10. “Every Face Tells a Story” and “Don’t Stop Believin’” also became country hits that year. The latter became the title of her first Nashville-recorded album, as well as her 2018 autobiography.

She was 29 when she was reluctantly cast as teenager “Sandy” in the 1978 movie Grease. It became the most successful movie musical of all time. “You’re the One That I Want” was a duet with costar John Travolta that earned a Platinum pop record. The soundtrack’s ballad “Hopelessly Devoted to You” went Gold and became her last significant country-crossover hit.

She received the prestigious Order of the British Empire in 1979. Thus, she became Dame Olivia Newton-john.

The pop hits “Magic,” “Xanadu” (with the Electric Light Orchestra) and “Suddenly” (with Cliff Richard) emerged from the soundtrack of her 1980 film Xanadu. A year later, the Platinum-selling “Physical” became an aerobics-class staple and the biggest pop smash of her career. Olivia Newton-John’s other pop hits of the 1980s included “Make a Move on Me” (1982), “Heart Attack” (1982), “Twist of Fate” (1983) and “Soul Kiss” (1985). Elton John produced and co-wrote her 1988 single “The Rumour.”

By this time, she had racked up multiple accolades from the American Music Awards, the Academy of Country Music, ASCAP, NARM, the People’s Choice Awards, Billboard, Cashbox and Record World. She became a global touring attraction. Eight of her album earned Gold and/or Platinum certificates. She earned a star on the Hollywood Walk of Fame.

In 1983-92, she and Pat Carroll Farrar operated Koala Blue, a boutique chain selling Australian clothing and other products. She wed actor Matt Lattanzi in late 1984, and they had daughter Chloe in 1986. The couple divorced amicably in 1995.

The star’s commitment to animal welfare and ecological responsibility resulted in her 1990 appointment as the goodwill ambassador for the United Nations Environmental Program. Her 1989 LP Warm and Tender contained lullabies inspired by her daughter. The record was packaged in recycled cardboard and contained tips on how to help the environment.

Olivia Newton-John was diagnosed with breast cancer in 1992. After successful chemo, alternative medicine, a partial mastectomy and spirituality, she became a tireless advocate for breast-cancer awareness. She founded a women’s cancer center in Australia. In 1994, she released the album Gaia: One Woman’s Journey, which chronicled her ordeal.

She resumed recording country music in Nashville in 1997. She co-wrote with Gary Burr, Victoria Shaw, Annie Roboff, Chris Farren, Steve Seskin and other Music Row tunesmiths. Her resulting Back With a Heart CD was released the following year. The album’s “Love Is a Gift” won Newton-John a Daytime Emmy Award for Outstanding Original Song after it was featured on the soap As the World Turns.

She teamed with Shaw, Garth Brooks, Faith Hill, Bryan White, Billy Dean, Neal McCoy and Michael McDonald on 1998’s “One Heart at a Time.” The record was a benefit for the Cystic Fibrosis Foundation.

Tis the Season, a Christmas album with Vince Gill, was marketed by Hallmark in 2000. Her 2006 album Grace and Gratitude coincided with the marketing of her line of women’s wellness products, both by Walgreen’s. In 2008 she wed businessman John Easterling via an Inca ceremony in Peru.

Her cancer returned in 2013, but she again persevered. In 2016, she teamed up in a female trio with Nashville’s Beth Nielsen Chapman and Canada’s Amy Sky. The album was titled Liv On. All three singer-songwriters were breast-cancer survivors. Newton-John returned to Music City to sing for Chapman at the latter’s 2016 induction into the Nashville Songwriters Hall of Fame.

Olivia Newton-John was diagnosed again in 2018, and this time she found that the cancer had metastasized to her back. She withdrew from performing and sought alternative forms of treatment. She advocated cannabis therapy; her daughter established a marijuana farm in Oregon.

In addition to her husband, Olivia Newton-john is survived by daughter Chloe Lattanzi, sister Sarah, brother Toby and 15 nieces and nephews. Funeral arrangements have not been announced.

Ben Vaughn Calls For Cutting More Outside Songs, And He Brings The Receipts (Opinion)

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Ben Vaughn

At three separate No. 1 parties recently, there has been a recurring sentiment made by all three artists—“I should cut more outside songs.”

When songwriters Jesse Frasure and Josh Thompson celebrated their outstanding song “Whiskey & Rain,” which is performed by Michael Ray, the artist-writer said, “I love writing songs. I feel like I’m getting into my best years of writing; I feel like I know who I am as an artist, and I know what I want to say. That being said, we wouldn’t have the foundation of Nashville if it wasn’t for songwriters, and I feel like they’re the last person on the totem pole a lot of times.”

Ray added, “When I go back to my heroes—Kenny Chesney, George Strait, Jason Aldean, Lee Brice, and Merle Haggard—they cut outside songs. My heroes cut outside songs. We’re a town that was built on songwriters. It means more to me than y’all know to say that I did not write this song.”

I’ve heard a similar sentiment from Maren Morris, who along with her hubby Ryan Hurd, delivered “Chasin’ After You” to the world. The well-traveled Music Row song and masterpiece written by Jerry Flowers and Brinley Addington rose to No. 1 and became Hurd’s very first chart-topping hit as a recording artist.

At the No. 1 party for “Chasing After You,” Morris said, “Once in a blue moon, an outside cut will go No. 1. I need to listen to this advice, too: artists can write songs, but every once in a while, for God’s sake, can you just let the professionals do it for you?”

As a long-time publisher, I will give a “Hallelujah and an Amen” to that statement.

Nashville is Music City USA—home of the best songwriters in the world. That has always been Nashville’s identity and a big part of Music Row’s legacy—the Songwriter is King & Queen here.

I vividly remember the days of tracks coming together after thousands and thousands of songs were pitched to create the perfect project for that artist. “Best song wins” was a phrase on everyone’s lips. Landing that perfect pitch and listening to the finished record while driving around Music Row was about the best high you could get as a publisher.

If you look at the charts, you’ll see that over the last few years, about 75% to 80% of the singles released in country music were co-written with the artist. Now, obviously Nashville is blessed with tremendous artist-writers that have strong voices and something to say, but it does seem that the ecosystem is out of balance.

To all industry friends—you wanna talk consumption?

Hurd & Morris’ “Chasin’ After You,” written by Flowers and Addington, earned more than 500 million streams. Jon Pardi’s “Dirt On My Boots,” written by Rhett Akins, Jesse Frasure and Ashley Gorley, notched over 800 million streams. Morgan Wallen’s “Whiskey Glasses,” written by Ben Burgess and Kevin Kadish, garnered over 1 billion streams. And of course, the biggest streaming song in country music is an outside song—artfully chosen and performed by one of the best songwriters ever—Chris Stapleton’s “Tennessee Whiskey,” written by Dean Dillon and Linda Hargrove, has achieved over 2 billion streams. Yes, those are billions with a B, and guess what? All of these songs are still racking up impressive consumption numbers years after their initial release.

It’s not easy to make a living as a songwriter these days. You are depending on your words and your music only—there are no ticket sales, merchandise or sponsorships providing you with income like an artist has.

If you really want to think about what it’s like to be a songwriter, imagine that every day when you show up for work you are tasked with creating something completely original… every damn day. The men and women that unlock this mystery are some of the most uniquely gifted human beings walking this planet. Period. End of sentence.

Cody Johnson understands. He was effusive in his praise of the Ben Stennis and Matt Rogers-penned mega hit “‘Til You Can’t.”

“Thank you for writing it,” Johnson said at the No. 1 party. “There are thousands of people out there that it’s changed. I realize that I got to be the microphone for it, but it’s changed me. It changed who I am at my core—the way I view my stress, the way I view my anxiety or whatever is going on in my career.”

Michael, Maren, Ryan, Cody and their teams, thanks for digging deep and finding these great songs. The Songwriters and Publishers of Music City appreciate you.

*Streaming Data from Luminate of total On-Demand + Programmed Audio Streams

Luke Combs Remains At No. 1 On MusicRow Radio Chart

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Luke Combs continues his reign on this week’s MusicRow CountryBreakout Radio Chart with “The Kind Of Love We Make.” This is his second No. 1 of 2022 following “Doin’ This” which peaked in March. 

This also marks his fifth multi-week No. 1 following “Cold As You,”“Forever After All,” “Lovin’ On You,” and “Even Though I’m Leaving” which each remained on top for two weeks. He also had a two week No. 1 as a songwriter for Carly Pearce and Lee Brice’s single “I Hope You’re Happy Now.”

“The Kind Of Love We Make” was written by Combs, Dan Isbell, Reid Isbell, and Jamie Davis.

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

DISClaimer Single Reviews: Luke Combs & Miranda Lambert Are A ‘Match Made In Heaven’

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Luke Combs. Photo: Jeremy Cowart

Somebody opened the flood gates at UMG this week.

The company’s Dierks Bentley, Jon Pardi, Little Big Town and Brothers Osborne dominated this week’s country listening session, and all vied for a Disc of the Day award.

But there’s no denying the superstar power of Sony’s Luke Combs & Miranda Lambert, who ride off with the prize.

Songs and Daughters singer-songwriter Madison Kozak is our DISCovery Award winner. Along with Brooke Eden and Stafani Joyce, she illustrates the ongoing insurgency of country’s female talent.

PILLBOX PATTI / “Suwannee”
Writers: Nicolette Hayford/Aaron Raitiere/Ashley McBryde/Park Chilsolm/Benjy Davis/Connie Harrington/Joe Clemmons; Producer: Park Chilsolm; Label: Monument
–The pop production is echoey, murky, atmospheric and awash in electronics. The Deep South lyric extolls the virtues of Florida-swamp culture. It would be better if you could hear it more clearly. Pillbox Patti is Nicolette Hayfield, one of seven (!) songwriters credited.

LITTLE BIG TOWN / “Rich Man”
Writer: Jimi Westbrook; Producers: Little Big Town; Label: Capitol
–Tender and touching. It’s an ode to the simple joys of family and fatherhood. It’s also a reprise of one of country music’s greatest themes, that money doesn’t buy happiness, but love can. Westbrook takes the heartfelt lead vocal in an airy, acoustic production.

BROOKE EDEN / “Left You For Me”
Writers: Brooke Eden/Kyle Schlienger/Jon Stone; Producer: Jesse Frasure; Label: BBR
–Very appealing. A ringing, chiming instrumental bed surrounds a forceful soprano vocal on a strong song of survival. In-the-pocket contemporary femme country. She walks it like she talks it: Eden engaged with the campers of the YWCA’s Girls, Inc., sharing how music empowered her and encouraging them to find their own inspirations.

DIERKS BENTLEY / “Gold”
Writers: Ross Copperman/Luke Dick/Ashley Gorley/Dierks Bentley/Trent Dabbs; Producers: Ross Copperman/Jon Randall/F. Reid Shippen/Dierks Bentley; Label: Capitol
–This is a top-down, summertime-drive, open-air, traveling tune. The rhythm track is irresistible. The strumming guitars are rockin.’ The everyman, rosey-glasses lyric is a face-wide smile. Play it on repeat.

CUTTER ELLIOTT / “Heartache Waiting to Happen”
Writers: Paul A. Reeves/JD Simo; Producer: Paul Reeves; Label: CE
–He’s a traditionalist with plenty of stuttering guitar, pedal steel runs and roadhouse rhythm. The uptempo tune is a promising disc debut for this honky-tonk baritone.

LUKE COMBS & MIRANDA LAMBERT / “Outrunnin’ Your Memory”
Writers: Luke Combs/Miranda Lambert/Dan Isbell; Producers: Luke Combs/Jonathan Singleton/Chip Matthews; Label: River House / Columbia
–This is match made in heaven, for sure. The track rolls along relentlessly while these two superb country singers have a harmony fiesta and swap verses. Deliciously listenable as well as a breezy change of pace for the usually more amped-up Combs.

STEFANI JOYCE / “Love Thy Neighbor”
Writers: Stefani Joyce/Mary Heather Hickman/SJ McDonald; Producer: Kyle Manner; Label: ONErpm
–A thumpin,’ swampy cheating song that’s uber cool. If the skillful songwriting doesn’t have you hanging on every line, her sultry, conversational, sensual vocal delivery will. I remain a huge fan of this newcomer.

BROTHERS OSBORNE / “Skeletons”
Writers: John Osborne/Andrew DeRoberts/TJ Osborne/Adam DeRoberts; Producer: Jay Joyce; Label: EMI
–Barreling through this chesty rocker, the siblings tore it up on the CMA Music Fest TV special Wednesday night on ABC. As an audio experience, the title tune of their current album packs a potent punch, as does T.J.’s macho, snarling lead vocal. A performance this mighty vividly illustrates why the Osbornes ascended to stardom.

MADISON KOZAK / “Loud House”
Writers: Madison Kozak/Aaron Eshuis/Emily Falvey; Producer: Chris LaCorte; Label: Big Loud
–A complex, fascinating recollection of growing up in a crowded, busy, chaotic and maybe a little abusive household. She can’t wait to get out, but yearns for the noisy familiarity she leaves behind. Kozak is yet another gifted soul to emerge from the Songs and Daughters franchise.

THE LONG & SHORT OF IT / “Midnight Choir”
Writers: David Baird/Kenneth Royster/Patricia Westray Toop; Producer: Ken Royster; Label: LS
–This is an award-winning, Australian male-female duo, David Baird & Patsy Toop (he’s the Short one). The title tune of their current album is a well-sung, toe-tapping romper celebrating a Cheers-like gathering spot with loads of warmth, good humor and honky-tonk merriment. Sing along.

JON PARDI / “Fill ‘Er Up”
Writers: Ross Copperman/Brice Long/Jon Pardi; Producers: Jon Pardi/Bart Butler/Ryan Gore; Label: Capitol
–It’s a straight-ahead drinking song. Now that’s country. If you loved “Last Night Lonely,” belly up to the bar for another round.

Nada Taha Talks Filling A Gap In The Artist’s Circle As A Creative Director [Interview]

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Nada Taha. Photo: Ford Fairchild

Industry innovator Nada Taha‘s resume includes a wide swath of unique experience.

She spent 10 years of her career in radio, five of which as an on-air personality and Digital and Branding Director for country radio giant The Bobby Bones Show. In 2017, she launched the creative services company, Blind Copy Creative, to which she applied her influencer and brand specialist expertise.

In 2020, she began working as a radio presenter at Apple Music, where she interviews talent, hosts events, and is featured in pieces of content for the brand.

In recent years, Taha has taken her valuable experience and created a unique space for herself within the traditional artist circle in Nashville.

With her company GoodCopBadCop, she serves as a creative director for clients such as Breland. Though creative directors are prevalent in other genres, including pop and hip-hop, the country music industry hasn’t quite caught on to the trend.

“When I started my first company [Blind Copy Creative] in 2017, it was a creative services firm. That was always the goal, to shift the way creative and branding was done for artists,” Taha shares with MusicRow. “I met Robby Towns shortly thereafter, who is my business partner now. He left Spotify around the same time [I left radio] and we were connected. We just started working in tandem, and then in 2019, we decided to start GoodCopBadCop.”

After forming her new company, Taha met Breland coincidentally via their mutual connection with Apple Music Radio. Their meeting was fateful, as Breland was on the hunt for someone who could help oversee his creative vision.

Nada Taha & Breland on set. Photo: Alaina Mullin

“He is creatively brilliant,” Taha says. “At the time, I had seen a few things he had done and knew he was doing something different. I have always been different and always tried to do things differently. I was drawn to that energy from him, not even having known him.”

Now, as his creative partner, Taha helps Breland keep his brand consistent across all points of his career, from releases, to music videos, photo shoots, social media content and more.

“The biggest thing is that we’re a creative filter. We help creatively strategize an entire plan. A lot of times things are very fragmented, so you have one person doing this and one person doing that, and there’s not a funnel where it can all become cohesive and understood.

“With Breland, I’m involved in every capacity,” she says. “I make sure that when he’s on set, everything is aligned, so when you see him, you always see Breland in the capacity that we want him to be seen. I understand his vision to its core, so then everything that comes off of that points back to the original vision.”

Breland agrees. “Nada has almost as clear a vision for who Breland is as I do, and her fingerprints are on every aspect of my brand from how I dress to what we want the album to feel like, and beyond,” adds the rising artist. “Nada and I are constantly coming up with ideas throughout the day, but she understands that a lot of my best ideas come while I’m watching sports. A typical creative session with her might involve something as casual as watching a basketball game, and before halftime we might have a whole music video treatment on our hands. Being able to create without boundaries, with someone who can meet me where I am, makes Nada a dynamic partner and a valuable member of my team.”

Taha believes that a creative director should work alongside an artist’s manager, not in place of.

“Breland’s manager, [WHY&HOW’s] Bruce Kalmick, gives me autonomy and understands the importance of creative. That’s really important to make the whole team function really well.”

With Taha by his side, Breland has become one of the most talked about new artists in the Nashville music business. He’s been recognized as an artist to watch on multiple industry lists, watched his collaboration with Dierks Bentley—”Beers On Me”—become a No. 1 song, and earned a Gold (“Throw It Back” feat. Keith Urban) and Platinum (“My Truck”) record. His highly anticipated debut album, Cross Country, arrives Sept. 6 via Bad Realm Records/Atlantic Records/Warner Music Nashville.

“We want to shift the way that creative is viewed in the music industry, and especially in the Nashville music industry. It’s not really known—it doesn’t come with your artist pack,” Taha explains. “You have your publisher, attorney, agent and manager—creative director is not in that starter pack. Breland coming out of the gate with a creative director has helped get us to this point.”

Breland concurs. “I’m different than a lot of artists in that I am consistently creating outside of just the songwriting process. Whether it’s a partnership with a brand like Chevrolet, a music video concept, a branding idea, or a business venture, having a creative director to bounce ideas off of and flush ideas out has proven to be one of the most productive partnerships I’ve ever had.”

My Music Row Story: Sony Music Publishing Nashville’s Rusty Gaston

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Rusty Gaston

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.

Respected music publisher Rusty Gaston took the reins as CEO of Sony Music Publishing Nashville in January 2020. In this role, he leads all creative and operations, including the signing of new songwriters and development of strategies to exploit its catalog. As a lifelong country music fan, Gaston is focused on continuing Sony’s legacy through songwriter empowerment.

MusicRow: Where are you from?

I am from Van, Texas. It’s little town in east Texas. There were about 1,000 people there when I was growing. I knew nothing about the music business or how to get into it. I didn’t know anybody in the music business.

My mother was a huge George Strait fan, so there was a period of time where if he played anywhere in Texas, my mom and my aunt would go. Lots of times, I would go with them, because it was a Saturday and nobody was around to keep me. I’ve slept through more George Strait concerts than most people will attend in their whole life. (Laughs) I was a little kid. I would get tired so we’d pull some chairs together for me to lay down. By the middle of his set, I’d be asleep.

Rusty Gaston

Were you musical?

Growing up in such a small town, I spent all my time in the record store, going to the music department of Walmart, and sitting in my room and reading liner notes for hours on end. I was super lucky to have some defining moments in life. I remember being in the locker room in elementary school, standing on a bench and looking down on some friends of mine who were singing a new Beastie Boys song. I remember thinking to myself, “Why are y’all just now singing that? I played that for you last school year.” I don’t know why that stuck out to me as a moment, but it did.

I noticed the songs that I was always attracted to on these records I would buy, eventually became popular. I didn’t know those were called singles or what they were, but I had somehow pieced together, “Somebody has a job figuring out which songs on this record should be played on the radio. That’s what I’m good at. How do you do that?”

What did you do with that realization?

I was in choir and drama in school. One weekend during my senior year of high school, some friends of mine who were in college said, “We’re going to Dallas to Six Flags Over Texas to audition for performer jobs. Do you want to go with us?” So we rode two hours away to Dallas and auditioned for performer jobs at Six Flags Over Texas. Long story short, I got the job and none of them did. So, my senior year of high school, they let me graduate early and I moved two hours away to Arlington, Texas and performed, sang, danced and played guitar at Six Flags.

I was planning to go back to east Texas to go to college. There was another performer in my show and he was an alumni of a college in Fort Worth called Texas Wesleyan University. He said, “My buddy is the dean over there and they’ve got some scholarship money. You’re pretty good at this. You shouldn’t move back, you should stay here and keep doing this.” I went and met with this dean at Texas Wesleyan University and he gave me a full scholarship. I stayed there in the metroplex and worked for three years as a performer at Six Flags.

Rusty Gaston, Ben Hayslip, Dallas Davidson, Rhett Akins, Ben Vaughn

How did you go from being a performer to being in the music business?

While at Six Flags, I had another real defining moment. I saw an interview on TNN with Trisha Yearwood. She said she was an intern at a record label and that she went to Belmont. I asked another performer on my show, whose full-time job was as a school teacher, if he had ever heard of an intern. He said, “It’s where you work for free and you get experience.” I was like, “I’ll do that in a second! How do I do that?”

I ended up cold calling the production company in Dallas that produced my show for Six Flags and asked to be their intern. I had no interest in being a performer or being an artist, but I wanted to be in the music business. This was my only way to try to figure out how to get into the music business.

That production company still operates today in Dallas. The guy that runs it, Mark Brymer, he’s the number one print arranger in the nation for Hal Leonard Music Publishing. He arranges music into choral arrangements, so when The Lion King would come out, they would send the music to this guy in Dallas and he arranges it into choral arrangements that they could sell to churches, choirs, and show choirs. So I started learning about print publishing that way. He produced Looney Tunes records—like Bugs Bunny and Daffy Duck—so I got to be around the studio aspect. I learned about live stuff and print publishing.

What was next?

There were some people from Sony coming to Six Flags to see a singer in our show. After that performance, we got to have a meet and greet with these music business executives. One of them was a publisher named Jerry Smith. Jerry had a joint venture at Sony called Fire Hall Music. His venture existed for him to sign singer-songwriters and get them record deals. The first three people he signed were Terri Clark, Rhett Akins and Lonestar. The rest was history.

He and I met at that meet and greet and he started explaining to me what he did. I had this God moment, thinking, “Oh my gosh, this is it. This is what I’m supposed to do.” He had told me he was leaving Sony and he was starting a new company with Warner Chappell. Off the cuff, he said, “If you ever come to Nashville, call me up. You can help me.” I took that as an invitation. I left all my family, I left a full ride scholarship to college, I broke up with my girlfriend, I quit my job, and I packed it all up and moved here. It was August 17, 1996.

I enrolled at Belmont. I took my classes early in the morning and late in the evening so I could work for free all during the day. Jerry was the best boss for me possible. He had an office inside the Warner Chappell building. We had seven or eight songwriters. He had a filing cabinet behind the desk that had all the contracts he had ever been involved in. He told me I was free to go through them and check out anything I wanted. He said, “Whatever you want to do in this business, I’ll help you do it, just help me build my company.”

Connie Harrington, Tim Nichols, Chris Young, Rusty Gaston

Where did you go from there?

I worked with Jerry Smith for about five years. One day I got a cold call from a producer named Byron Gallimore. He had a company with Warner Chappell. This was when Byron was really busy with Tim McGraw and Faith Hill. They were firing on all cylinders.

He called me and said, “I’ve got this publishing company and people tell me you’re the guy that should run it. Would you be interested in talking about it?” I said, “Yeah, absolutely. When do you want to get together?” He said, “Right now. I’m at the Waffle House on 65 and Harding.” For five years, I ran that company called Song Garden Music. We had some wonderful songwriters and had some big hits.

How did you start THiS Music?

During that time, both of the companies I’d worked for were joint ventures at Warner Chappell and, contractually, they just weren’t set up for success. Even though both companies were having success on paper, it wasn’t looking that way [behind the scenes]. I was at a point where I wasn’t married, I didn’t have a family and I could really risk taking a chance on myself. I had approached Warner Chappell about an idea I had and to my complete surprise, they did not laugh at me and shut the door. Fast forward six months or a year later, Tim Nichols‘ Warner Chappell deal was up. He was wanting to do something different, so he and I got connected. Tim and Connie Harrington had just written two big hits together. We all got together and started the idea of THiS Music.

We started THiS Music in January of 2006. The first writer we signed from was Ben Hayslip. As good as we laid out the business plan of THiS Music on paper, it went better. What started out with me and three writers ended up being me, three or four other employees, and a dozen songwriters. We ended up having 50 to 60 ASCAP and BMI-award winning hits. It was incredible.

Mike Molinar, Jeff Stevens, Rusty Gaston, Luke Bryan

Then Sony Music Publishing called. You started your current role as CEO of the Nashville office in January of 2020. What went into that decision?

Jon Platt cold called me on June 19, 2019. I was at a Thomas Rhett and Dustin Lynch concert in Charlotte. I was standing backstage and my phone rang and it was Jon Platt. At this point, he had became the chairman of Sony, but he had only actually been on the job about three months. We knew each other and it wasn’t weird that he would call, but he never calls. (Laughs) I’ll never forget looking at my phone and thinking, “My God, this is weird. I better answer this.” I answered it and he just said, “Hey man, can you come to New York next week?” I said, “Absolutely.” He said, “I’ll make all the arrangements. Don’t tell anybody you’re coming, just your wife.”

I flew to New York a few days later, not having any idea what was going on. He laid out his idea and said, “I’ve watched you build a destination that songwriters want to come to and a culture that writers want to be a part of. That’s what we need.” I just started laughing. I thought, “What are we talking about? I’m a kid from Van, Texas. How am I in New York City overlooking this park?” I’ve never been accused of having a lack of confidence, but Jon Platt makes me feel that he believes in me more than I do. He didn’t just make me feel that way, he backs it up every day. He’s a fantastic leader.

Needless to say, it was a no-brainer. Especially in Nashville, Sony is the premier legacy of the history of country music. When I moved here, this building was the hottest place in town. If you were a writer, you wanted to write over there. If you were recording, you wanted to be in that studio. If you were a song-plugger, you wanted to work there. I worked right across the parking lot, so I saw it every day. You couldn’t get a parking spot in this lot because it was packed. The idea of helping be a part of bringing that legacy back to life is overwhelming and the biggest honor I could think of.

Cole Swindell, Rusty Gaston

You’ve talked about some defining moments you’ve had in your journey. What are some of your proudest, now that you’re on this side of your career?

When I lived in Texas and was just dreaming of this, there was an article in the Dallas Morning News about a local realtor who had written a No. 1 song. His name was Tom Douglas. He had just written “Little Rock” for Collin Raye. I had read this article in the paper and didn’t know about publishing or anything like that, but was enamored with songs. I knew this song because I just worshiped country radio.

I went to my grandparents’ house and by the telephone, they had a Yellow Pages and a White Pages [phone book]. I pulled out the White Pages and looked up Tom Douglas. I just cold called this guy up. He answered and I just said, “Hey, could I come talk to you? I’m interested in being in the music business.” He invited me to his house. I sat with him for an afternoon and talked to him about songwriting.

All these years later, technically I’m now Tom’s publisher and get to work with him… It goes to show God’s plan is bigger than your plan. I am a big dreamer but I never dreamt this big.

I grew up in a town of barely a thousand people. I never met a soul in the music business. It was nothing more than I’m a kid that loved music who wanted to chase this down. If it can happen to me, it can happen to anybody if you’re willing to put in the work and be nice to people.

Haley McCollister Named President Of Messina Touring Group

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Haley McCollister

Haley McCollister has been promoted to President of Messina Touring Group’s Nashville office. The 12-year veteran of the company will continue to oversee operations and expansion, and lead the next generation of MTG.

McCollister, a Billboard Women in Music honoree, spearheads North American touring for Ed Sheeran, whose last “North American Stadium Tour” in 2018 reported 1.14 million in ticket sales. She has also been at the helm of North American touring for The Lumineers, who are currently on the road with their “Brightside World Tour,” which has reported 462,223 in ticket sales across 34 dates with over $26 million in revenue to-date, with 19 dates remaining. Additionally, McCollister has played an integral role in promoting Taylor Swift’s touring since she joined the company in 2010.

“I knew Haley was going to be a superstar from the day I hired her. I asked her what she wanted to be, and she said she wanted my job. Twelve years later, she is knocking on that very door,” shares MTG CEO Louis Messina. “We want MTG to have a big presence in Nashville, and I can’t think of anyone better to lead the way.”

“I’m excited for the opportunity to collaborate more closely with the Nashville managers, agents and artists who’ve been part of our success and to continue to build new relationships across the industry,” adds McCollister. “I’m grateful to have found such a special place to put down roots and grow my family, and I’m looking forward to the opportunity to do the same with the MTG office.”

Applications Now Open: MusicRow’s 2022 Publisher Issue Directory

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New applicants for inclusion in the Publisher company directory for the upcoming MusicRow Publisher Issue print magazine are now being accepted through Aug. 12. Along with the directory with contact information for Nashville’s publishing community, the issue also features exclusive editorial content focused on this essential segment of our business.

To submit your company for consideration, complete and submit this form.

For questions, please contact LB Cantrell at lbcantrell@musicrow.com. To reserve ad space in the 2022 Publisher issue, contact srobertson@musicrow.com. Rate card information is available here.

Become a subscribed member of MusicRow here to make sure you don’t miss the annual Publisher Issue.

Nashville Songwriters Hall Of Fame Announces Class Of 2022

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The Nashville Songwriters Hall of Fame (NaSHOF) has announced its class of 2022.

Shania Twain, Steve Wariner, Hillary Lindsey, Gary Nicholson and David Malloy will join the iconic 223-member Hall in October, according to an announcement made on Tuesday (Aug. 2) by Sarah Cates, chair of the organization’s board of directors, and Mark Ford, the NaSHOF executive director.

Pictured (L-R): Mark Ford (NaSHOF executive director); inductees Steve Wariner, Hillary Lindsey, David Malloy and Gary Nicholson; Sarah Cates (chair of NaSHOF Board of Directors). Not pictured, inductee Shania Twain. Photo: Bev Moser

“This is always one of my favorite days of the year—when we announce our incoming class and begin their journey to the Nashville Songwriters Hall of Fame Gala in October,” shared Cates at the 2022 inductee announcement. “I’m especially gratified to note that—for the first time since 2009—two of our inductees-elect are women.”

Ford introduced each member of the new class to make remarks. Lindsey and Nicholson represent the contemporary songwriter category, Malloy is in the veteran songwriter category, Twain is the contemporary songwriter/artist and Wariner is the veteran songwriter/artist.

The talented songwriters will be officially inducted during the 52nd annual Nashville Songwriters Hall of Fame Gala on Sunday, October 30, at the Music City Center.

Hillary Lindsey’s songwriter credits include “Jesus Take The Wheel” (Carrie Underwood), “Girl Crush” (Little Big Town) and “Blue Ain’t Your Color” (Keith Urban). Gary Nicholson’s resume is known for “That’s The Thing About Love” (Don Williams), “One More Last Chance” (Vince Gill) and “She Couldn’t Change Me” (Montgomery-Gentry). David Malloy’s hits include “Drivin’ My Life Away” (Eddie Rabbitt), “Suspicions” (Eddie Rabbitt; also Tim McGraw) and “Love Will Turn You Around” (Kenny Rogers).

Shania Twain recorded many of her self-penned hits, including “You’re Still The One,” “Come On Over” and “Forever And For Always.” Steve Wariner popularized many of his own compositions, including “You Can Dream Of Me,” “Where Did I Go Wrong” and “Holes In The Floor Of Heaven.”

“This is just absolutely mind-blowing to me. It truly is,” Lindsey shared when giving her remarks. “I am extremely humbled to be a part of this year’s class of nominees. The thought of my name even being thrown in the hat is mind-blowing to me. I want everyone to know I am so grateful and thankful for this honor.”

“I came here in 1980 and I’ve attended many Hall of Fame inductions through the years. I never imagined things would evolve and, after these 42 years, this would actually occur,” said Nicholson. “I am a product of this environment, this community of amazing songwriters and publishers. It was that synergy and that community that shaped me and gave me a way.”

“I never really thought I would be in here,” said Malloy. “To be here with these great talents who I admire so much, I’m so grateful and so thankful to the Nashville Songwriters Hall of Fame.”

Wariner told the story of forming his publishing company and of his training as a writer. “There’s so many other writers who probably deserve this more than I do, but none that will appreciate it any more, I can guarantee you that,” he said.

Twain wasn’t able to attend.