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.

As Head of Artist and Label Partnerships in Spotify’s Nashville office, Brittany Schaffer co-leads the office and the development and execution of Spotify’s strategy for growing the country, Christian/gospel, and Americana genres. She and her team oversee the relationships with Nashville’s music industry and look for ways to partner with artists, labels, and managers of all genres to promote their music and connect with their fans. Prior to joining Spotify in January 2018, Brittany spent 7+ years in the Entertainment Department of Loeb & Loeb, LLP, where she was Senior Counsel. She is a member of the Board of Directors for both ACM and CRB.

MusicRow: Where did you grow up?

I moved nine times before high school. I was born in Orange County, California, and lived in California, Tennessee, Virginia, and Georgia. I call Nashville or the Middle Tennessee area home because I lived here when I was younger for several years and then this is where we moved when I was starting high school. I went to Battle Ground Academy in Franklin for high school and went to college at Vanderbilt, so, Nashville’s been home for a long time.

Were you musical growing up?

I always knew I wanted to work in the music business. I was singing and performing in musicals at six years old. I was even one of the little kids in the General Jackson Christmas show for a couple years. For a long time, I thought I wanted to be an artist, but when I was at Vanderbilt, I had the privilege of interning in the promotions department at Sony Nashville on the Arista imprint, and then at ASCAP. Both of those experiences for me confirmed that I definitely wanted to work in the music business, but that an artist path wasn’t for me.

How did you start your career in the business?

During that same time, I had also been considering going to law school. I met a few music lawyers and decided that being a music lawyer would be my entry point into music. I attended Samford University’s Cumberland School of Law for law school. After my ASCAP internship, Connie Bradley was very kind and had given me a list of lawyers that she really respected in town. I sent very formal, written cover letters and emails to all of them. I think I sent 10 out and only one person responded, but I only needed one. (Laughs) It was Bob Sullivan who was running the Loeb & Loeb Nashville office at the time. He told me to come visit him over Christmas. I had no grades back—I really only had a good track record at Vanderbilt and a recommendation from Connie. He said, “Why don’t you come work for us this summer?” So I did, and that turned into two summers.

I had done really well in law school and that made it easier for him to convince some of the other partners, so I received an offer my last year of law school to join them when I graduated. During my last year of law school, I was already attending conferences with the lawyers at the firm and I thought I was coming into a dream job with a perfect cushion to learn. And then about a month before I started work and a few weeks before I took the bar exam, Bob Sullivan was diagnosed with leukemia and ultimately passed away a year later. So I came into the firm at a really challenging time.

To say that I had bath by fire my first year of work is an understatement. There was so much work that others had to take on to fill his shoes that I had no choice but to step up, to ask questions, to learn quickly, to work insanely long hours, and to learn how to manage a lot of different types of people from a lot of different parts of the music business. I was negotiating contracts and sitting in federal copyright jury trials almost immediately. It was really hard for a lot of reasons, but when I look back on it, I’m really grateful. I learned that I was capable of so much more than I thought that I was and it gave me a lot of confidence going forward. It has stuck with me to this day that even when you get in those somewhat overwhelming situations, you’re always capable of more than you think you are.

After seven years as an entertainment attorney, you made a change in careers. Tell me about that.

I really enjoyed the work that I was doing. I loved my clients, I loved the people that I worked with and I definitely had a growing career in the legal field, but I kept feeling this pull that I wanted to be closer to the music business and to really explore the other parts of the industry. I always give the example that my colleagues and I represented the contestants on The Voice and negotiated numerous contracts for them, but no matter how talented we thought someone was, there was only so much we could do to expose that music and those artists as their lawyer. I felt like if I was going to truly help people navigate their way through the music business, that I was going to have to spread my own wings a little bit.

Out of the blue one day, I got an email from an internal recruiter at Spotify asking if I would talk to them. At the time I had no intent on taking the job, but I was going to be in LA the next week and I thought it would probably be smart to know the global head of label services at Spotify. I offered to stop by the office and Spotify ultimately did a really good job of convincing me that Nashville was really important to them and that they wanted to increase their support in this market. Three weeks later I accepted a job. (Laughs) One month later I left the practice of law entirely and started in my current role and I’ve never looked back.

Can you tell me more about what you do at Spotify as the Head of Artist and Label Marketing in the Nashville office?

No day is the same, but I would sum it up by saying that my team and I are responsible for overseeing our partnerships in Nashville. So that’s working with artists, labels and managers; looking out for our relationships with CMA, the Country Music Hall of Fame, the ACM, and all of our different organizations; and looking for how we can continue to partner together. That takes the shape of tracking new releases, so we keep track of all of the new music coming out of Nashville week over week for all genres. Anything that is signed to a label in Nashville or that is originating in Nashville, particularly when it’s independent and unsigned, is what we look over regardless of genre. We try to find different ways of supporting those artists and those releases. That may be everything from how we support on platform through promotional tools, that may be using a billboard, or that may be creating social content or video content. It really just depends on the artist and how we want to engage.

We’re also looking for how we can otherwise engage the fans around the music that’s coming out of Nashville. One of the things that we are responsible for is putting on the Spotify House event at CMA Fest.

CMA Fest starts this week. What can you tell me about the Spotify House event?

Spotify House at Ole Red is one of Spotify’s largest artist fan events. It was the brain child of myself and Sally Williams back in 2018 when Ole Red was still under construction. There is no better place where country fans and artists come together than CMA Fest, and Spotify really prides itself on being the leading destination for fans to discover and explore country music and how we likewise create that artist and fan connection. So it felt like the perfect opportunity to really bring our goals to life in a live setting.

We, in the past years, have programmed over 50 artists. We’re excited to bring that back this year. You’ll continue to see a really diverse mix of established and emerging artists—everything from artists who have been discovered and highlighted through our Fresh Finds program all the way to some of the biggest names in country music today. I have to give a lot of credit to the entire team who has been really working to bring this to life since I had a baby in the middle of all the planning. (Laughs) Alison Junker, Mary Catherine Kinney, Dan Franquemont and Miller Guth are the core Nashville team planning the event this year!

When you look back on your career, what are you most proud of?

Personally, I am most proud of my willingness to jump from a successful legal career that had a very defined career path to a career at Spotify where the path is a little more unknown. Professionally I’m really proud of helping lead the conversation around the importance of streaming and the place that it has in our current consumption habits. When I started at Spotify, audiences were still adopting streaming as a format, particularly in country and Christian music. Today our country and our Christian/gospel consumers have largely adopted streaming and our industry has really embraced strategies and tactics to engage fans through streaming. That’s not to say that radio, sales, touring, merch, and other areas of the industry aren’t incredibly important, but it is to say that streaming is no longer a format of the future. Consumption patterns are changing and we have to change with our audience if we want to continue to reach audiences in a bigger way. I’m really proud that Spotify’s been able to be a leader in those efforts and that I’ve been able to be a leader in Nashville in having those conversations.

Who have been some of your mentors?

I’ve been fortunate to have a lot of mentors and I could probably name three that touch on key areas [of my career]. Early in my career, Connie Bradley was certainly one of those. She helped me get internships in Nashville, she helped introduce me to music lawyers when I was trying to decide if I wanted to go to law school, and she helped connect me with people when I was trying to get my first job. I always really looked up to her and the respect that she had within the Nashville community.

Today, John T. Frankenheimer, my old boss from Loeb & Loeb, is still someone that I call for advice. I really look up to and admire how he’s built his career. And then as I’ve become a mom over the last two years, Cindy Mabe is someone I go to for advice. I really admire how she has become such a successful executive while also raising her kids and having a successful marriage. At this phase in my life, it is really important to have other women that I can look to as examples. I hope I can do that for other people, too.

What moment have you had that your little kid self would think is so cool?

I love Dolly Parton. We have had the good fortune at Spotify of working with her on a few occasions. I recall one time sitting with her in a studio with some other individuals, listening to music while she was talking us through it. I remember thinking to myself, “Oh my goodness, I’m really doing this.” (Laughs) I always say I had never been starstruck until I interned at Sony and she came into the office one day. Everyone made fun of me because my mouth dropped wide open as she walked by. To fast forward all these years later, and to actually be there, getting to engage with her to support her and her music in a number of ways… As a little girl, I would’ve never believed that I would be there. There’s a lot of those moments. I think when you stop having those moments in the music business is maybe when you should get out of the music business. Those are the moments that remind us all why we do this and why we’re so fortunate to be in an industry that brings so much joy to people.

Warner Music Nashville has tapped Fount Lynch as Senior Vice President of its publicity department. The company also announced that Wes Vause will exit after eight years with WMN.

“We are thrilled to welcome Fount to Warner Music Nashville,” says WMN Co-President Ben Kline. “He has the experience and enthusiasm to help develop new strategies that will serve the changing media landscape. Fount, along with the three dedicated and forward-thinking members of his team, will take our publicity department into the future.”

“All of us at WMN thank our friend Wes Vause for his many contributions to the company, its people and our artists over the past eight years,” adds Kline. “We wish him the best of luck on his new venture.”

Lynch joins WMN from Red Light Management, where he served as both an artist manager and a member of the marketing team for the Nashville office. He also helmed his own public relations company, LYNCH PR. Previous stops include publicity roles at Sony Music Nashville, Universal Music Group Nashville and MCA / Lost Highway Records.

Lynch will start on June 13 and will report to Kline.

“Music has always been my passion. Seeing that same passion from the team at Warner Music Nashville has been both exciting and humbling,” Lynch says. “I am grateful to have this opportunity and thrilled to be part of the WMN team. I will miss my Red Light Management family, but I look forward to continued collaboration in my new role!”

Jokes Vause, “Fount came in when I left Sony, and now he’s coming in when I’m leaving Warner Music Nashville… I’m grateful that he’s always there to clean up my messes!”

The news follows Kline and Cris Lacy‘s appointment to Co-Presidents at the label.