My Music Row Story: CRS’ RJ Curtis

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RJ Curtis

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.

RJ Curtis is a 44-year radio veteran and music industry professional who started working in radio as a teenager, eventually logging 30 years in major market radio (Los Angeles, Phoenix, San Antonio) in program director, operations manager, music director, and on-air talent roles.

In 2007, Curtis segued to broadcast and music industry trade journalism, reporting on and providing analysis for all aspects of the radio and record label industries. His 13-year tenure in this sector included oversight of trade journal brands Country Editor, Radio & Records Magazine, and contributor to sister publication, Billboard Magazine. He also served as VP, Radio of All Access Music Group and VP, Radio of Country Aircheck.

Curtis currently acts as Executive Director for Country Radio Broadcasters, Inc. (CRB), an industry service organization responsible for staging the annual Country Radio Seminar (CRS), a three-day educational event which gathers key business leaders in various radio and music industry fields, featuring presentations on best business practices, emerging technology, personal career development, and new music showcases. In February of 2021, CRS successfully pivoted to a virtual event due to the pandemic. CRS 2022 will return to a fully live, in-person event Feb. 23-25.

Curtis, a recent Country Radio Hall of Fame inductee, recently spoke to MusicRow about his journey and some of his favorite career moments.

MusicRow: Where did you grow up? How did you become interested in radio?

We moved a lot when I was a little kid, but we got to Southern California when I was 10. So that’s my growing up experience. I grew up in the San Fernando Valley, which meant Los Angeles radio.

I was always a radio listener. I grew up listening to some legendary signals, like KHJ. As I got older, I segued to the FM part of the dial, like KMET, KLOS, KFI, KABC…all of these big signals in Los Angeles with great personalities. So I really loved radio, but when I got into seventh grade, I met a friend named Rick Minyard. His dad, Ken, did mornings at KABC. I got to know Ken and I thought, ‘That’s a cool job.’ So it really started in seventh grade.

I’m very fortunate because I knew early on that that’s all I wanted to do. I didn’t have any distractions about that. I was narrowly focused on radio.

RJ Curtis with Eric Church at CRS 2020.

How did you start your career in radio?

I started my radio career in Los Angeles. It was my first semester at Valley College, working at the campus radio station KVCR. For a project, I had to go visit radio stations, so I would leave my name and number [at the stations].

KBIG in Los Angeles is now an AC station, but at the time it was a beautiful music station—beautiful music was a big format in the ’70s. A lot of people would call it elevator music because it’s all instrumentals. I got a job there when I was 18 years old working what was called the music line. There was no back-selling and jocking as it were in radio, there were announcers. They didn’t pre or back sell any music, so they hired college-aged kids to come sit by the phone and answer listeners who asked, ‘Hey, what was that song?’ That’s when I learned all about the core artists for beautiful music.

So that was my first job, and I got to know all the announcers. I made some great connections there. Then after that, I got a job outside of Los Angeles in San Bernardino on the air.

What brought you to Nashville?

I was in radio from 1977 until 2006, so for 30 years. In 2006, I was programming KZLA in Los Angeles. It was owned by Emmis and they flipped the format to a rhythmic AC format called Movin’. It was supposed to overtake radio, but it didn’t. [In the meantime], I had been thinking, ‘Am I going to keep doing this? What’s next?’ I had a really great contract and I was compensated for the next six months, so I had time to really think about it.

Radio & Records [Magazine] had undergone a sale. Billboard bought them in the summer of 2006. Lon Helton left R&R after 25 years and they didn’t have a country editor. So I was contacted by Erica Farber, who was running R&R then. We got together and within a few months I was working at R&R as a country editor. I did that for three years. What brought me to Nashville was when R&R shut down, Skip Bishop and Butch Waugh from Arista reached out. Butch said, ‘Have you ever thought about record promotion?’ They moved me out here in 2009. I did promotion for about 18 months and didn’t like it. I kind of knew I wouldn’t, but I’m glad I did it.

It seems like your time at R&R opened the door for you to become VP, Country at Country Aircheck and then the Nashville Editor for the All Access Music Group.

When I was at Arista, I didn’t love record promotion and I didn’t miss radio, but I missed writing about it. I had really taken to it. When I left to KZLA and then ended up at R&R, I didn’t know what to expect from writing about it but not being in radio. But it was such a seamless, smooth, good transition. I enjoyed being exposed to [the whole industry]. When you’re at a radio station, you’re dialed in on that thing. You’re looking at your own station, your own market, and your own team, and you can miss a lot of things that are happening out in the world.

I went to Aircheck in the early part of 2011 and did that until Joel Denver called and asked if I wanted to run the Nashville office for All Access. I had a great time working with Lon and Chuck [Aly], but it was an opportunity to be the editor.

RJ Curtis with Carrie Underwood at CRS 2020.

In 2018 it was announced that you would be succeeding Bill Mayne as the Executive Director of Country Radio Broadcasters/Country Radio Seminar. How did that come to be?

It’s interesting because that journey really started when I first started going to CRS in 1985, although I didn’t know it. I went there as a radio person in 1985. Bill Mayne, who was my program director at KZLA, took me. I went the next year too and started getting involved in helping out with sessions, doing room counts and all those kinds of things. I did that for a long time and then I got on the agenda committee for two years in the late ’90s.

I was elected to the board in 1999. I was 20-year board member, so I became super involved in the format. I became a member of the executive committee, and when you’re on the executive committee, you’re privy to everything. Within three years of being on the board, I was elected president of CRB. So I was a three-year president, a vice president, and then I chaired the Hall of Fame committee. Unbeknownst to me, it prepared me for this role. So in 2018, when Bill Mayne decided to retire, I said ‘I’m stepping up for this. I’ve taken all the steps necessary to be qualified for this.’ The transition from a board member to the executive director has been very seamless.

Next week is the 2022 Country Radio Seminar. How would you describe the work that goes into planning that conference?

I don’t know if it’s the greatest analogy in the world, but I remember growing up in Southern California and watching the Tournament of Roses Parade. Bob Eubanks and Stephanie Edwards would host the parade and they’d say, ‘Right after the parade ends, starting tomorrow, they start planning for next year.’ I thought that was ridiculous, it was a year away! But [what we do is] similar to that in that CRS ends, the staff takes a few days off, we come back in the middle of the following week and [review]. We break down this seminar into certain segments such as registration, sessions, and other things like that. We spend a few weeks deconstructing each of those components and then we start working on how to improve it the next year. So it really is a year long process—except we don’t have a parade at CRS—maybe we should?

When do you feel most fulfilled in your new role?

It’s not the only day [I feel this way], but there is a moment when New Faces ends and I’m with my team. I make it a point to say, ‘Hey everybody, after New Faces and after we do the pictures with the artists and all that stuff, we’re meeting in the bar and I’m buying everyone a cocktail. We’re gonna raise a glass.’ It is very satisfying.

Also the following morning, we typically have a board meeting and we spend three hours deconstructing on the immediate takeaways of the seminar. That’s always fun. Hearing feedback and talking about the event is very fulfilling because it’s a lot of work to get to that point. When it’s done and we know some things have gone exceptionally well, that is a great feeling.

RJ Curtis at the Country Radio Hall of Fame induction dinner.

Who have been some of your biggest mentors?

Bill Mayne is a huge influence on my life. I met him when I was in my 20s, he was my program director for a while at KZLA and he recognized something in me as a programmer and a leader.

He handed me off to Larry Daniels at KNIX. I left KZLA to go work for Larry in Phoenix. He was an amazing example and mentor, he was terrific. He referred to me for my six years at KNIX as ‘his project.’ He was great: an amazing programmer, a fantastic manager, and a great person. In the same organization, Michael Owens was our general manager. He was an amazing broadcaster and incredible business man.

What’s some of the best advice you’ve ever gotten?

It’s not so much advice as it is examples of how to handle or approach certain things. Bill Mayne gave me some great advice.

Larry and Michael taught me this overall style and approach to radio of being prepared, taking care of every detail, and more. And in terms of the artists, it was treating every artist that came through the radio station with respect. No matter if [they had a label deal or not], any artist that came into the radio station was treated with a lot of respect.

What has been one of your proudest moments in your career?

It was in October, being inducted into the Country Radio Hall of Fame. I’ve been involved with that event for a long time. I’ve been on the selection committee and I’ve produced the dinner since 2007. To then be on the other side of it as an inductee was really wild. It blew my mind to be nominated and then to be selected… I’m really proud of that because when you look at the criteria of it, it’s about making a significant contribution and furthering the country music industry. To be considered one of those people, it’s still hard to think about because of the people that I know in the Hall of Fame—it’s hard for me to put myself in that category. It was a very wonderful night and really a proud moment.

Warner Music Nashville Restructures Radio Team

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Warner Music Nashville has reimagined its radio team to reflect the ever-changing landscape of country radio.

Sr. VP Radio Kristen Williams leads the restructuring effort that will create a dynamic and future-facing two-pronged structure within her radio department. The model will supplement the traditional geographic method to securing airplay with a freshly designed account-focused approach.

“Our new model is simultaneously conducive to curated relationships with individual radio stations and high-level, detailed collaboration with radio chains,” Williams says. “With an added emphasis on a national approach, the radio department will be able to super-serve radio on all levels while being focused, creative and nimble with the music and new artists we bring to the marketplace.’

Anna Cage, currently National Director for the WMN radio team, will be promoted to VP Radio. Cage will oversee the WEA, WAR and WMN teams, each of which will have three regional managers and designated coordinators. Stephanie Hagerty will be promoted from Regional Manager to National Director, Radio for the WEA team; and Michael Chase will continue to lead the WAR team as National Director. Williams and Cage are seeking qualified applicants for the role of National Director, Radio for the WMN team.

Tom Martens, currently VP Radio, will transition to the newly created VP, Radio Accounts role. He will manage three directors, each of whom will oversee relationships with radio chains. The accounts team will work on both securing airplay and curating marketing opportunities. Lou Ramirez will be promoted from Regional Manager to Director, Radio Accounts; James Marsh will transition from National Director to Director, Radio Accounts; and Shari Roth will transition from National Director to Director, Radio Accounts.

In addition to these moves, the department will add a radio-specific analyst to gather and interpret key data in order to provide even more rich and digestible data to support radio promotion efforts across the roster.

Exec. VP / GM, Ben Kline, says: “At Warner Music Nashville, we’re a collective group of music lovers who thrive on artistry but recognize the importance supporting our releases with research. Adding this critical resource to the radio department further emphasizes our commitment to radio by delivering them transparent and effective data.”

“It takes a bold move to impact change, and Warner Music Nashville has always been willing to do things differently,” adds WMN Chairman & CEO, John Esposito. “We pride ourselves on being early to identify where the industry is going and taking the steps to meet it there. When we saw that country music was expanding globally, for example, we created touring and international departments. We are now faced with an increasingly centralized radio landscape. Thanks to the expertise, leadership and passion of Kristen Williams, we have designed a targeted approach to meeting the needs of artists and partners at every level.”

Steve Markland Joins Utopia Music As VP For Nashville Office

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Steve Markland

Music publishing veteran Steve Markland has joined Utopia Music, a Swiss Music fintech company. As Vice President for the company’s Nashville presence, Markland will help Utopia Music expand into the United States.

Markland has nearly three decades of experience working with songwriters, most recently in his role as Executive Vice President, Creative in the Nashville office of Downtown Music Publishing. Prior to joining Downtown, Markland served as VP of A&R at Warner Chappell Music. From 1996 to 2006, he was Vice President, Creative Affairs at Windswept Music Publishing. Markland began his publishing career learning from veteran Pat Higdon at Patrick Joseph Music

In his new role, Markland will be responsible for setting up and rolling out Utopia’s activities in Nashville. He will report directly to Utopia Music COO, Roberto Neri, who leads the company’s operations and is responsible for expanding its international office footprint.

“I’m delighted to join Utopia on its mission towards ‘Fair Pay for Every Play’ and ultimately create new income streams for creators,” shares Markland. “Utopia’s vision is to focus on all sides of the music industry in a way that will immensely benefit writers and artists. As the number one growth partner worldwide, Utopia will leave a lasting positive impact on the wider music ecosystem.”

Working alongside Markland is Natalie Osborne, who is also joining the Utopia Music team. Osborne was fundamental in helping sign and develop artists at Downtown Nashville such as Yola Carter, Madi Diaz, Fancy Hagood, Sarah Buxton, Lucie Silvas, the Brummies and more. She also was a key part of developing the successful international writer travel program, Writer’s Across Borders.

“We are so pleased to welcome Steve and Natalie to Utopia Music,” adds Neri. “I have known Steve for many years and throughout his career he has worked passionately for Nashville’s songwriter and artist community, championing local talent and growing the city’s global profile as a music destination. Steve’s commitment to creators chimes perfectly with Utopia’s mission to deliver ‘Fair Pay for Every Play’ on a global scale and we are so excited to start this journey with him.”

Kacey Musgraves Brings Her Awe-Inspiring Artistry To Bridgestone Arena

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Kacey Musgraves performs at Bridgestone Arena. Photo: Courtesy Sandbox Entertainment

When Kacey Musgraves brought her “Star-Crossed: Unveiled Tour” to Nashville’s Bridgestone Arena Friday night (Feb. 11), a wide-ranging demographic of fans came out to see the Texas native’s highly anticipated show.

After releasing her 2018 album Golden Hour to worldwide commercial and critical acclaim, Musgraves has found her music and her fame expanding far past any genre lines. With messages of acceptance in her lyrics that have been present since the beginning, and a sound that incorporates elements of country and pop, Musgraves reaches a wide-base of listeners.

Musgraves put it best during the show when she thanked the fans for allowing her to make music that isn’t bound by genre lines. “Thanks to the day-ones for embracing all these chapters: the ones that sound country and the ones that don’t sound country. They all come from me,” she said.

Kacey Musgraves performs at Bridgestone Arena. Photo: Courtesy Sandbox Entertainment

In keeping with the tragic aesthetic of Star-Crossed, Musgraves entertained from a heart-shaped stage with royal red curtains, white columns, and a golden arch behind her. Concert-goers donned their light up cowboy hats, feathers and rhinestones, and red Star-Crossed inspired attire.

She opened the show with a goosebump-inducing rendition of her cinematic title track “Star-Crossed.” To deafening screams, Musgraves emerged from behind the curtains wearing a red, leather ensemble. A flaming heart outlined a smoldering Musgraves as she set the scene for the rest of the evening.

After getting things started with “Star-Crossed,” a crew member with white angel wings brought the singer her guitar. She went into “Good Wife,” changing the last lyric from “I just wanna be a good wife” to “I know I was a good wife.”

Kacey Musgraves performs. Photo: Lydia Farthing

Confetti in “every shade of pink” fell from the rafters during “Cherry Blossom.” Later in the night, Musgraves would break out her leaf blower to blow off some confetti that landed on the stage. “This isn’t part of the show,” she joked.

As expected, the visuals for the “Star-Crossed” tour were striking. A pair of converse hung on a telephone wire for “Simple Times,” and multi-colored laser beams shot across the arena during “There Is A Light.”

She dedicated a portion of her set to the beloved Golden Hour, playing “Golden Hour,” “Butterflies,” “Lonely Weekend,” “Space Cowboy,” and “High Horse.” While the audience was thrilled to hear songs from Musgraves famed project, her performance had a melancholy feel.

Before launching into another Star-Crossed favorite, the Grammy-nominated “Camera Roll,” Musgraves stopped to address her home-town crowd. She basked in the screaming of her adoring fans before saying, “I moved here at the end of 2008, I was 19. Holy shit, now you’re selling out Bridgestone with me! It’s pretty nuts.

“My general practitioner is here,” Musgraves quipped. “My therapist is in the house!”

At one point in the night Musgraves broke out the karaoke mic. One lucky show-goer got to pick the song she sang. She chose wisely, picking Dolly Parton’s “9 to 5.”

Another special moment came when Musgraves performed her very first single “Merry Go ‘Round” with just her and a guitar.

When it came time for Musgraves to end the show, she went out the way she came in: with drama. The singer sang a perfect rendition of “Gracias A La Vida,” not missing a beat with her Spanish. With a dozen roses in her hand, Musgraves serenaded us goodnight with a haunting vocoder occasionally distorting her vocal. She slowly walked up some stairs before falling backwards, arms crossed, off the stage as the curtain closed.

After a booming crowd demanded her return, Musgraves re-emerged for an encore of “Slow Burn” and “Rainbow,” before bidding the Nashville crowd adieu.

Shane McAnally Enters Top 3 On MusicRow Top Songwriter Chart

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Shane McAnally rises to No. 3 this week on the MusicRow Top Songwriter Chart. He is a co-writer on “23” (Sam Hunt), “Half Of My Hometown” (Kelsea Ballerini feat. Kenny Chesney), “AA” (Walker Hayes) and “Never Wanted To Be That Girl” (Carly Pearce & Ashley McBryde).

Ashley Gorley remains in the top spot again this week, with nine songs currently on the charts. Gorley is a co-writer on “New Truck” (Dylan Scott), “You Didn’t” (Brett Young), “You Should Probably Leave” (Chris Stapleton), “Sand In My Boots” (Morgan Wallen), “Beers On Me” (Dierks Bently, Hardy & Breland), “Slow Down Summer” (Thomas Rhett), “Give Heaven Some Hell” (Hardy), “Steal My Love” (Dan + Shay), and “Take My Name” (Parmalee).

Michael Hardy remains at No. 2 on the MusicRow Top Songwriter Chart.

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

Click here to view the full MusicRow Top Songwriter Chart.

DISClaimer Single Reviews: Tracy Lawrence Serves Up A Helping Of Classic Country

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Tracy Lawrence. Photo: Jon-Paul Bruno

It’s in with the new and in with the old today in DISClaimer.

I’m pleased to report that we have a trio of fine first-timers in the column—Karley Scott Collins, Sacha and our DISCovery Award winner, Stefanie Joyce.

At the same time, we have dandy new music from three veterans—Jeannie Seely, Deborah Allen and our Disc of the Day awardee, Tracy Lawrence.

Spin ‘em all.

THE KENTUCKY GENTLEMEN / “Whatever You’re Up For”
Writers: Brandon Campbell/Chris Sligh/Derek Campbell/Paul Wrock/Ty March; Producers: Chris Sligh/Matt McClure; Label: KG
–I was quite taken with these twins (Derek & Brandon Campbell) when I reviewed their infectious disc debut last year. They’re back with a sexy, good-time come-on that is ready for any country dance floor. This jam is star-making stuff.

TRACY LAWRENCE / “Don’t Drink Whiskey”
Writers: Cassidy Lynn Alexander/Conner Lawrence Sweet/Marla Cannon-Goodman; Producers: Tracy Lawrence/Julian King; Label: TL
–Classic country. This is honky-tonk heartache at its finest, and Tracy’s singing has never sounded more accomplished. Thank goodness someone is still making music like this; it’s what made this genre great.

BLANE HOWARD / “Boot N’ Rally”
Writers: Blane Howard/Keesy Timmer; Producers: John Shaw/Blane Howard; Label: BH
–It’s one of them rock ‘em, sock ‘em thangs with screaming electric guitar and pounding rhythm. The ditty is aided considerably by a cleverly written lyric.

MAREN MORRIS / “Background Music”
Writers: Maren Morris/Jimmy Robbins/Laura Veltz; Producer: Greg Kurstin; Label: Sony
–Her voice emerges from a deep well of echo with only the barest accompaniment. As the ballad progresses, the production adds layers and her singing increases in intensity. Fascinating, ear catching, magnetic.

SACHA / “We Did”
Writers: Brad Rempel/Ben Stennis; Producer: Gavin Slate; Label: Starseed
–This Canadian is on all kinds of artist-to-watch lists. I can certainly hear why. Her dazzling, bopping country rocker is produced like there’s no tomorrow. Her singing has all the verve, joy and delirium of young love. The twirling, swirling sound is utterly celestial. Make her a star.

KASSI ASHTON / “Dates in Pickup Trucks”
Writers: Kassi Ashton/David Garcia/Luke Laird; Producers: Luke Laird/Dave Garcia/Kassi Ashton; Label: MCA/Interscope
–Her quasi-spoken singing has more than a hint of R&B, and vibe here is distinctly hip-hop. In what sense is this record “country” music?”

JEANNIE SEELY / “So Far So Good”
Writers: Penn Pennington/Mitch Ballard; Producer: Don Cusic; Label: Curb
–Delightful. It’s a lively western swinger with scampering piano, twin fiddles and flawless background harmonies by The Whites (Sharon & Cheryl). It left me grinning from ear to ear.

LEVI HUMMON / “Bottled Up”
Writers: Levi Hummon/Mason Thornley/Grant Vogelfanger; Producer: Eric Arjes; Label: Reservoir
–Second-generation country guy Levi is the son of mega-hit writer Marcus Hummon (who recently debuted an opera in Music City). This track from his forthcoming EP is a well-written tune about the repressed emotions of a broken-hearted dude on a barstool. Catchy and commercial.

CHRIS LANE / “Howdy”
Writers: John Byron/Sam Ellis/Blake Pendergrass; Producer: Joey Moi; Label: Big Loud
–Breezy and easy going. His plain-spoken, relaxed delivery sidles up next to you in an instantly-familiar way while the track twangs and thumps in a lulling pattern around him. Gently endearing.

STEFANIE JOYCE/ “Idle Hands”
Writer: Stefanie Joyce; Producer: Kyle Manner; Label: Avalon
–The funky, backbeat production is uber cool. Her drawling vocal is an arrow of truth. The guitar-groove melody is solid and hooky. Best of all, the lyric is a brilliantly fashioned plea for salvation from pills and booze. This is an extraordinary disc debut. I can’t wait to hear what else this singer-songwriter has in her arsenal.

DEBORAH ALLEN / “Blue Collar Baby”
Writers: Deborah Allen/Margaret Phillips; Producer: Deborah Allen; Label: DA
–This romping retro-rockabilly rave up is a rollicking audio party, complete with stuttering guitar, piano plunking and non-stop rhythm.

KARLEY SCOTT COLLINS / “Heavenly”
Writers: Karley Scott Collins/Nathan Champan; Producer: Nathan Chapman; Label: Sony
–Her burlap-and-velvet vocal tone is enchanting. The song is a regulation positive love tune, but she makes it sound like something exceptional. Promising. Send more.

57th Annual ACM Awards Nominees: See The Full List

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The nominees have been revealed for the 57th Academy of Country Music Awards.

The ACM Awards, hosted by Dolly Parton alongside Jimmie Allen and Gabby Barrett, will take place at Allegiant Stadium in Las Vegas on March 7, and will exclusively stream on Prime Video.

Allen and Barrett announced select nominees this morning (Feb. 10) on the ACM official Twitter account. Both nabbed nominations for the Male and Female Artist of the Year categories, respectively.

Leading the ACM nominees this year is Chris Young with seven nominations including for Album of the Year and Single of the Year. He shares three of his nominations with fellow artist and collaborator Kane Brown for their hit “Famous Friends.”

Miranda Lambert receives a record-tying 16th Female Artist of the Year nomination (tied with Reba McEntire), as well as four other nominations. Walker Hayes, a first-time nominee, also receives five nominations; as does Chris Stapleton, including his fourth nod for Entertainer of the Year and his seventh for Male Artist of the Year.

Jordan Davis, Shane McAnally, Josh Osborne, Carly Pearce, Carrie Underwood, and Morgan Wallen each receive four nominations.

Notably, there are women nominated in every single eligible main awards category this year. Female pulled in 37% of nominations this year, compared to an average of 35% in the past 5 years.

Stapleton, Lambert and Luke Combs are nominees for Entertainer of the Year. A win for either artist in that category will also clinch the coveted Triple Crown Award, which consists of an Entertainer of the Year win, plus wins in an act’s respective New Artist (male, female, or duo or group) and Artist (male, female, duo or group) categories.

Lambert and Kelsea Ballerini both receive nominations as producers for the first time, while Nicolle Galyon receives her first Songwriter of the Year nomination. Galyon has previously been nominated for three ACM Awards, winning two, and is the second woman to be nominated for Songwriter of the Year.

Marking a year of collaborations, all videos nominated for Video of the Year are collaborations for the first time in ACM Awards history.

Overall, this year’s nominations include 31 artists and industry creators receiving their first-ever ACM Awards nominations. Cameron Bartolini, Brandon Bell, Ryan Byrd, Priscilla Block, Alexa Campbell, Jacob Davis, Paul DiGiovanni, Jacob Durrett, Kat Higgins, Walker Hayes, Ryan Hurd, Adam James, Josh Jenkins, Matt Jenkins, Billy Justineau, Viktor Krauss, Blake Lively, Todd Lombardo, Josh Matheny, Jason Nix, Kathy Palmer, Lily Rose, Elvie Shane, Caitlyn Smith, Jonathan Singleton, Wesley Stebbins-Perry, Shane Stevens, James Stratakis, Austin Swift, Joe Thibodeau and Lainey Wilson all receive their first ACM Award nomination.

See the full list of ACM nominees below:

Main Awards:
Entertainer Of The Year
Eric Church
Luke Combs
Miranda Lambert
Chris Stapleton
Carrie Underwood

Female Artist Of The Year
Gabby Barrett
Miranda Lambert
Ashley McBryde
Maren Morris
Carly Pearce

Male Artist Of The Year
Jimmie Allen
Luke Combs
Thomas Rhett
Chris Stapleton
Morgan Wallen

Duo Of The Year
Brooks & Dunn
Brothers Osborne
Dan + Shay
LOCASH
Maddie & Tae

Group Of The Year
Lady A
Little Big Town
Midland
Old Dominion
The Cadillac Three

New Female Artist Of The Year 
Tenille Arts
Priscilla Block
Lily Rose
Caitlyn Smith
Lainey Wilson

New Male Artist Of The Year 
HARDY
Walker Hayes
Ryan Hurd
Parker McCollum
Elvie Shane

Album Of The Year [Awarded to Artist(s)/Producer(s)/Record Company–Label(s)]
29: Written in Stone – Carly Pearce
Producers: Shane McAnally, Josh Osborne, Jimmy Robbins, Tony Brown
Record Company-Label: Big Machine Records

Country Again: Side A – Thomas Rhett
Producers: Dann Huff, Jesse Frasure, Matt Dragstrem
Record Company-Label: Big Machine Label Group

Dangerous: The Double Album – Morgan Wallen
Producer: Joey Moi, Jacob Durrett, Charlie Handsome, Matt Dragstrem, Dave Cohen
Record Company-Label: Big Loud Records / Republic Records

Famous Friends – Chris Young
Producer: Mark Holman, Corey Crowder, Chris Young, Chris DeStefano
Record Company-Label: RCA Records Nashville

The Marfa Tapes – Jack Ingram, Miranda Lambert, Jon Randall
Producers: Jack Ingram, Miranda Lambert, Jon Randall
Record Company-Label: Vanner Records / RCA Records Nashville

Single Of The Year [Awarded to Artist(s)/Producer(s)/Record Company–Label(s)]
Buy Dirt – Jordan Davis featuring Luke Bryan
Producer: Paul DiGiovanni
Record Company-Label: MCA Nashville

Famous Friends – Chris Young and Kane Brown
Producers: Corey Crowder, Chris Young
Record Company-Label: RCA Records Nashville

Fancy Like – Walker Hayes
Producers: Walker Hayes, Shane McAnally, Joe Thibodeau
Record Company-Label: Monument Records

If I Didn’t Love You – Jason Aldean and Carrie Underwood
Producers: Michael Knox
Record Company-Label: Broken Bow Records; Macon Music, LLC; BBR Music Group, BMG

You Should Probably Leave – Chris Stapleton
Producer: Dave Cobb, Chris Stapleton
Record Company-Label: Mercury Nashville

Song Of The Year [Awarded to Songwriter(s)/Publisher(s)/Artist(s)]
7 Summers – Morgan Wallen
Songwriters: Morgan Wallen, Josh Osborne, Shane McAnally
Publishers: Big Loud Mountain, Bo Wallace Publishing, Smackborne Music, Sony/ATV Accent, Smackstreet Music, Tempo Investments, Warner Geo Met Ric Music

Buy Dirt – Jordan Davis featuring Luke Bryan
Songwriters: Jordan Davis, Jacob Davis, Josh Jenkins, Matt Jenkins
Publishers: Anthem Music Publishing II, Bentprop Pub, Big Blue Nation Music, Combustion Five, Jentown, Jordan Davis Music, Smackwork Music, Smack Blue, Kobalt Music Group Music, Universal Music Corporation, WC Music Corp

Fancy Like – Walker Hayes
Songwriters: Cameron Bartolini, Josh Jenkins, Shane Stevens, Walker Hayes
Publishers: Songs of SMACK, Rarespark Media Group, Smackworks Music, Smack Blue, Kobalt Music Group, Holy Graffiti Music, Purplebeatz, WC Music Corp

Knowing You – Kenny Chesney
Songwriters: Adam James, Brett James, Kat Higgins
Publishers: 3 Ring Circus, BMG Platinum Songs, Pompano Run Music, Songs of Brett, WC Music Corp

Things A Man Oughta Know – Lainey Wilson
Songwriters: Jason Nix, Jonathan Singleton, Lainey Wilson
Publishers: Sony/ATV Accent, Sony/ATV Countryside, Spirit Two Nashville, Super Big Music

Video Of The Year [Awarded to Producer(s)/Director(s)/Artist(s)]
Drunk (And I Don’t Wanna Go Home) – Elle King and Miranda Lambert
Producers: Angie Lorenz, Wes Edwards, James Stratakis
Directors: Alexa Kinigopoulos, Stephen Kinigopoulos

Famous Friends – Chris Young and Kane Brown
Producer: Jennifer Ansell
Director: Peter Zavadil

I Bet You Think About Me (Taylor’s Version) – Taylor Swift featuring Chris Stapleton
Producers: Jil Hardin, Blake Lively, Kathy Palmer, Austin Swift
Director: Blake Lively

If I Didn’t Love You – Jason Aldean and Carrie Underwood
Producers: Christen Pinkston, Wesley Stebbins-Perry
Director: Shaun Silva

Never Wanted To Be That Girl – Carly Pearce and Ashley McBryde
Producer: Ryan Byrd
Director: Alexa Campbell

Songwriter Of The Year (Off Camera Award)
Jesse Frasure
Nicolle Galyon
Ashley Gorley
Michael Hardy
Josh Osborne

Music Event Of The Year [Awarded to Artist(s)/Producer(s)/Record Company–Label(s)]
Buy Dirt – Jordan Davis featuring Luke Bryan
Producer: Paul DiGiovanni
Record Company-Label: MCA Nashville

Famous Friends – Chris Young and Kane Brown
Producers: Corey Crowder, Chris Young
Record Company-Label: RCA Records Nashville

half of my hometown – Kelsea Ballerini featuring Kenny Chesney
Producers: Ross Copperman, Jimmy Robbins, Kelsea Ballerini
Record Company-Label: Black River Entertainment

If I Didn’t Love You – Jason Aldean and Carrie Underwood
Producer: Michael Knox
Record Company-Label: Broken Bow Records; Macon Music, LLC; BBR Music Group, BMG

Never Wanted To Be That Girl – Carly Pearce and Ashley McBryde
Producers: Shane McAnally, Josh Osborne
Record Company-Label: Big Machine Label Group, Warner Music Nashville

The 2021 Industry Awards and Studio Recording Awards will be presented to recipients at Academy of Country Music Honors, a special event held annually in August at the historic Ryman Auditorium. More details to be announced in coming months.

Studio Recording Awards
Bass Player Of The Year
J.T. Cure
Mark Hill
Viktor Krauss
Jimmie Lee Sloas
Glenn Worf

Drummer Of The Year
Chad Cromwell
Fred Eltringham
Evan Hutchings
Derek Mixon
Jerry Roe
Nir Z

Acoustic Guitar Player Of The Year
Dave Cobb
Todd Lombardo
Bryan Sutton
Ilya Toshinskiy
Charlie Worsham

Piano/Keyboards Player Of The Year
David Dorn
Charlie Judge
Billy Justineau
Gordon Mote
Benmont Tench

Specialty Instrument Player Of The Year
Stuart Duncan
Paul Franklin
Josh Matheny
Mickey Raphael
Kristin Wilkinson

Electric Guitar Player Of The Year
Tom Bukovac
Dan Dugmore
Jedd Hughes
Rob McNelley
Derek Wells

Audio Engineer Of The Year
Brandon Bell
Jim Cooley
Gena Johnson
Jason Hall
Vance Powell

Producer Of The Year
Buddy Cannon
Dave Cobb
Ian Fitchuk
Dann Huff
Joey Moi

Industry Awards
Casino Of The Year – Theater
Agua Caliente – Rancho Mirage, CA
Choctaw Casino – Durant, OK
Deadwood Mountain Grand – Deadwood, SD
Resorts World – Las Vegas, NV
Soaring Eagle Casino – Mt. Pleasant, MI

Casino Of The Year – Arena
Hard Rock (Live at Etess Arena) – Atlantic City, NJ
Laughlin Event Center – Laughlin, NV
Mohegan Sun Arena – Uncasville, CT
Mystic Lake Casino – Prior Lake, MN

Festival Of The Year
Carolina Country Music Fest – Myrtle Beach, SC
Country Thunder – Florence, AZ
Faster Horses Festival – Brooklyn, MI
Tortuga Music Festival – Ft. Lauderdale, FL
Windy City Smokeout Festival – Chicago, IL

Fair/Rodeo Of The Year
Auburn Rodeo – Auburn, AL
California Mid-State Fair – Paso Robles, CA
Cheyenne Frontier Days – Cheyenne, WY
Minnesota State Fair – St. Paul, MN
San Antonio Rodeo – San Antonio, TX

Club Of The Year
Basement East – Nashville, TN
Billy Bob’s – Ft. Worth, TX
Cain’s Ballroom – Tulsa, OK
Coca-Cola Roxy – Atlanta, GA
Georgia Theatre – Athens, GA

Theater Of The Year
American Music Theatre – Lancaster, PA
Andrew J Brady ICON Music Center – Cincinnati, OH
Blue Gate Performing Arts Center – Shipshewana, IN
Ruth Eckerd Hall – Clearwater, FL
Ryman Auditorium – Nashville, TN

Outdoor Venue Of The Year
Bank of New Hampshire Pavilion – Gilford, NH
Red Rocks Amphitheatre – Morrison, CO
Saint Augustine Amphitheatre – St. Augustine, FL
The Wharf Amphitheater – Orange Beach, AL
Whitewater Amphitheater – New Braunfels, TX

Arena Of The Year
BOK Center – Tulsa, OK
Bridgestone Arena – Nashville, TN
Dickies Arena – Ft. Worth, TX
Ford Center – Evansville, IN
Rupp Arena – Lexington, KY

Don Romeo Talent Buyer Of The Year
Brent Fedrizzi
Michelle Romeo
RJ Romeo
Shawn Radley
Todd Boltin

Promoter Of The Year
Aaron Spalding
Adam Weiser
Bradley Jordan
Brian O’Connell
Ed Warm

My Music Row Story: KP Entertainment’s Kerri Edwards

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Kerri Edwards. Photo: Angelina Olivia

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 the founder and president of management firm KP Entertainment, Kerri Edwards is a key figure in the careers of country stars Luke Bryan and Cole Swindell.

The West Virginia native started her career as an intern while studying at David Lipscomb University in Nashville. Edwards interned at Arista Records, and was eventually brought on to the staff who helped guide the careers of Alan Jackson, Brooks & Dunn, Pam Tillis, Diamond Rio and other ’90s country greats.

Edwards later joined EMI Music Publishing, followed by the High Five video production house, and then took a job with producer Mark Bright, before landing at Murrah Music. That’s where she met Luke Bryan, a staff writer at the time, and would start working with him to help further his career.

Now a decade into management, Edwards is the ultimate insider, involved in the touring, publishing, branding and business decisions for some of the genre’s most-sought-after performers. She spoke with MusicRow about her journey to the top, and the special moments along the way.

Pictured (L-R): Former Arista Records head Tim DuBois, Kerri Edwards. Photo: Courtesy KP Entertainment

MusicRow: You started your career at Arista Records. Tell me about those days.

Arista then was ran by Tim DuBois and it was a smaller label. What was awesome about that was you learned a ton of stuff because you heard everything that was going on—whether it was somebody calling a radio station or the mail room guy getting the stuff that was shipping out for somebody’s next single, you just overheard everything. I interned there probably a year and a half and then graduated and they found a job for me there as an A&R assistant.

I have never been in an environment like that. We were so tight. I don’t know that it would ever be repeated, to be honest. It was just a great era.

After Arista merged into RCA, you went into publishing where you met Luke Bryan. How did your relationship start?

It felt natural for A&R to switch sides to publishing, so I stayed in publishing probably seven years or so. During that seven year period, I met Luke at [Murrah Music], the company where he had just gotten signed to his first publishing deal. I really wasn’t trying to get into management at all, I was just trying to help him find his way in town and figure out how to help him eventually get a deal. I was still pitching songs and working with the other writers.

I went and saw him do a show in Georgia and was truly shocked. I think I’d focused so much on writing and the books and all that, I just wasn’t expecting what I saw on stage. Looking back, he was still obviously very green, but he just had this thing about him.

But even at that point I wasn’t trying to be his manager, I really was just trying to help him. I started calling in favors from writers, begging them to write with this guy. That’s how that started and then we just kept working together. I introduced him to Jeff Stevens, who ended up being his producer. Then we got in with Larry Willoughby, who at the time was an A&R at Capitol. Larry [suggested to Jeff for Luke to keep singing demos]. That’s how all the pieces started falling together.

Pictured (L-R): Kerri Edwards, Luke Bryan. Photo: Courtesy KP Entertainment

What pushed you into officially becoming Luke’s manager?

Three or four years later, [Mike] Dungan had agreed to sign him. So I took him around to manager meetings, I thought that’s the next step you do, right?

While we were doing that, he had asked me a few times, “Why don’t you just do it?” I was like, “No, I don’t know how to do that. I’ve never done that nor do I think I want to do that.” But then I thought, if I don’t do this, I wouldn’t be working with him anymore—and that kept haunting me. I called Mike Dungan and said, “Luke keeps asking me to do this, but I won’t do it without your blessing. You’re taking a risk on him and I do not want to walk in and you be in a panic that now he has a brand new manager.” So we talked it out and he graciously gave me the nod. Then I just started trying to stay above water.

When did you feel comfortable in your new role as a manager?

I guess when I truly took a breath was with “Do I.” That felt like a big moment for [Luke]. And then “Country Girl (Shake It For Me)” felt really different.

Truthfully, there’s still always a weight in this business no matter what level you’re at. It’s just a different kind of weight. So it’s not like I felt like we had made it, not at all. But I felt like I could breathe for a second at that moment.

Pictured (L-R): Waylon Weatherholt (KPE), John Esposito (WMN), Cole Swindell, Kerri Edwards (KPE), Michael Monaco (FlyHi Films), Jacoby Plyler (KPE), Luke Bryan, Caroline Bryan. Photo: Courtesy KP Entertainment

After Luke became established, you added Cole Swindell as a management client, who had worked for Luke for years selling merch. What made you decide to take him on?

He obviously didn’t want to sell merch for the rest of his life. His dream was to start writing songs, so Luke and I tried to help him get a publishing deal. Once that happened…when I say workhorse, that guy started writing and writing. To this day, he is probably one of my favorite writers.

One day he calls and he’s like, “Where are you?” I was like, “I’m in the office.” He goes, “Can I play you a song?” So he comes by and he had “Chillin’ It.”

He was pacing. In that moment, with someone staring you down, listening to your song [he was nervous]. I turned it off and he’s like, “Okay, well I probably just got excited.” I just looked over and said, “Cole, do you really want to do this artist thing? Then that’s it.” He was like, “Oh God, I thought you hated it!” (laughs)

Now KP Entertainment has grown to include Dylan Scott, Jon Langston, CB30, DJ Rock and Whitney Duncan. How did you build your team?

I had teamed up with Red Light and Coran [Capshaw] on Luke early on. I still had a standalone office, but I didn’t really have that many employees. I was still doing most of it by myself. Then Waylon Weatherholt came on the team from Capitol Records. He’s been with me 12 years now, but it was he and I forever. It was just so busy, I couldn’t stop to even realize I needed more people. But once I did start hiring a few people, it was obviously life changing. I have great people here. They’re so awesome.

When do you feel most fulfilled in your role?

I truly still pinch myself that I get to work in music every day. I really do love it. The minute that I walked in that Arista door, not even understanding what I was about to get into, I’ve never not felt that. Luckily that feeling has truly stayed this whole time.

Pictured (L-R): DJ Rock, Waylon Weatherholt (KPE), Kerri Edwards (KPE), Dylan Scott, Jacoby Plyler (KPE), Dustin Eichten (KPE). Photo: Courtesy KP Entertainment

What’s something that people may not know about you?

I still do publishing stuff. I’m not in it every single day, because I can’t be, but I love it. It’s not something I’ve hung a separate sign for, but we have seven writers under our umbrella and it’s still something I’m super passionate about.

If someone says “old school Music Row,” what do you think of?

I just go to community. We’re competitive, but we would kill for each other. Even our artists do that with each other. They’re competitive, they don’t want to lose to the other one, but they also are truly great friends. I think that is a special thing in the country music industry.

What is some of the best advice you’ve ever gotten?

I go back to something my parents have said about finding that thing that makes you happy. I do truly feel like I was blessed to find that and fulfill it. I surround myself with artists that I’m super proud to represent. Not to sound cheesy, but I really do feel like I have the best staff. It’s all mind blowing some days with some of the things that they have accomplished with our clients. I guess it’s just surrounding yourself with the people that keep you going and bring out the good in you.

Charlie Cook Signs Long-Term Extension With Cumulus Media

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Charlie Cook

Cumulus Media has signed a long-term contract extension with Charlie Cook, its Vice President of Country Music.

The extension includes Cook’s role with Cumulus Nashville as Programming Operations Manager for Cumulus Nashville’s five-station cluster and as the Program Director for both 95.5 Nash Icon (WSM-FM) and 103.3 Country (WKDF).

Brian Philips, Executive Vice President, Content and Audience, Cumulus Media, shares, “Charlie Cook is a warrior who lives to lead our powerful Nashville stations, the Cumulus country stations and the Nashville music industry. He’s a legendary programmer who serves as a wise teacher and mentor to many at Cumulus.”

“It is always our goal that through our Program Directors and their leadership we bring thoughtful, engaging, and entertaining audio content and music to our audiences. In Charlie, we have a talented and well-respected leader that is driven to harness the very best of what Cumulus and country music has to offer. He has a wealth of radio experience and has built an impressive track record of accomplishments,” adds Vice President/Market Manager, Cumulus Nashville, Allison Warren.

“I have had the pleasure to work as part of, and alongside, our local management team and corporate programming team, and as I continue in this role, I will do my best to help Cumulus innovate, and reach its next phase of growth,” says Cook, a Country Radio Hall of Fame inductee. “It is an exciting time to be a part of the business and realize some of the significant opportunities out there as we continue to grow our audio capabilities.”

AmericanaFest To Return To Music City In September

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AmericanaFest 2022, the Americana Music Association’s marquee festival and conference, will return to Nashville from Sept. 13 – 17.

This year, AmericanaFest will take place over five days in multiple premier venues throughout Music City. The first three days will consist of music business panels as part of its conference at The Westin Nashville. There will also be four nights of music discovery showcases and a variety of daytime special events hosted by friends and supporters of AmericanaFest all week long.

AmericanaFest. Photo: Nathan Zucker

The Americana Music Association’s Americana Honors & Awards ceremony will once again serve as the hallmark event of the week. The roots music community’s brightest musicians will be celebrated on the evening of Wednesday, Sept. 14 at the historic Ryman Auditorium. Tickets for the show will go on sale at a later date.

There will be many types of passes available for those wanting to attend AmericanaFest. For attendees wanting the full experience with access to panels, showcases and all special events, Conference + Festival Passes are recommended. For music fans interested in the nighttime showcases and select special events, Festival Passes are also available.

Passes for the 2022 festival will go on sale this Friday, Feb. 11 at 10 a.m. CT at americanafest.com.

Artists interested in showcasing at this year’s festival can apply online beginning Feb. 15. The first programming announcement for AmericanaFest 2022 will be revealed in late summer.