Bailey Zimmerman Notches Third Week At No. 1 On MusicRow Radio Chart

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Bailey Zimmerman. Photo: Chris Ashlee

Bailey Zimmerman marks his third consecutive week atop the MusicRow CountryBreakout Radio Chart with “Rock and A Hard Place.”

The tune was written by Heath Warren, Jacob Hackworth and Jet Harvey, and appears on Zimmerman’s first full-length release, Leave The Light On. The project became the most-streamed all-genre debut of 2022 upon release as well as the biggest streaming country debut of all time.

Zimmerman is out on the road with Morgan Wallen on his “One Night At A Time World Tour.” The 39-date trek will visit multiple legendary venues including stadium stops at New Jersey’s MetLife Stadium, Chicago’s Wrigley Field, Los Angeles’ SoFi Stadium and Boston’s Fenway Park before wrapping on Oct. 7 at Tacoma Dome in Washington.

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

Five Talented Artists Take The Stage For CRS New Faces 2023

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Pictured (L-R, back row): Jackson Dean, Jelly Roll and Nate Smith; (L-R, front row): Frank Ray and Priscilla Block. Photo: CRB/CRS/Kayla Schoen

Five new talented artists were added to the prestigious history of the CRS New Faces of Country Music showcase. Priscilla Block, Jackson Dean, Frank Ray, Jelly Roll and Nate Smith all took the stage in front of the country radio industry last night (March 15) to close out the 2023 edition of Country Radio Seminar.

Frank Ray performs at CRS New Faces showcase.

The night was dedicated to Country Radio Hall of Fame member Charlie Monk, who hosted the New Faces show at least 40 times in its 50-plus year history. Throughout the evening, video tributes to Monk appeared on screens, complete with many great stories and jokes from the honorary “Mayor of Music Row.”

Ray was the first New Faces honoree to take the stage. Ray is a former police officer, Texas chart-topper, and bilingual recording artist for BBR Music Group/Stoney Creek. He entertained the audience with his radio-ready “Tequila Mockingbird,” “Somebody Else’s Whiskey” and “Y’all Showed Up.”

A stand-out from his set was his smooth “Country’d Look Good on You,” but nothing got the radio executives on their feet like his debut single “Streetlights,” which let Ray show off his roots with verses of Luis Fonsi, Daddy Yankee and Justin Bieber’s “Despacito” mixed in. A small mariachi horn section and salsa dancers swirling around Ray brought the audience to their feet for the night’s first standing ovation.

Jackson Dean performs at CRS New Faces showcase.

Next up was Big Machine Records’ Dean. The singer-songwriter invited the radio execs in the crowd into his moody and artistic world, kicking hit set off with “Wings.” Before playing his “Heavens to Betsy,” he let the crowd know that it was a songwriter’s song.

The audience was in the palm of his hand by the time he played new single, “Fearless (The Echo).” The track follows his history-making debut hit “Don’t Come Lookin’,” which Dean closed with. “Don’t Come Lookin'” was the fastest debut to reach No. 1 in 2022 and cemented Dean as the youngest solo male country artist to reach the top of the charts with a debut.

Mercury/UMG Nashville’s Block lightened the room when she emerged on stage. As usual, she was funny and charismatic, and she let the radio execs know that she was nervous to be playing for them.

Priscilla Block performs at CRS New Faces showcase.

She kicked things off with “My Bar” and got the crowd on their feet with “Off The Deep End.” Block brought the energy back down for a tender performance of her new song, “Me Pt. 2,” sounding awesome and sincere with every note. She followed that with her breakout hit “Just About Over You,” and tearfully thanked outgoing UMG Nashville CEO & Chairman Mike Dungan for discovering her. Dungan exited his position at the label this month and was celebrated frequently during CRS.

The next artist to take the stage was Sony Music Nashville/Arista’s Smith. The powerful singer also admitted he was nervous when he emerged on stage, but he quickly got comfortable by singing a new song, “Name Storms After.”

Nate Smith performs at CRS New Faces showcase.

The crowd thoroughly enjoyed Smith’s powerful and unique voice on songs such as “Wreckage” and “Better Boy.” They were thrilled with his performance of his very first No. 1 song, “Whiskey On You.”

BBR Music Group/Stoney Creek’s Jelly Roll closed the night with a genre-bending set. The crowd instantly rose to their feet when he made his way on stage. Audience-members danced along to his rowdy “Halfway to Hell” and sang the words to his current single “Need A Favor.” Nothing thrilled the radio programmers more than his performance of his country No. 1 hit, “Son Of A Sinner.”

Brantley Gilbert and Struggle Jennings joined Jelly Roll for “Behind Bars” before he closed out Country Radio Seminar with “Save Me.”

Jelly Roll performs at CRS New Faces showcase.

In addition to the New Faces of Country Music showcase, several awards were given out throughout the night, including the CRS/Country Aircheck Awards.

Tracy Lawerence accepted the 2023 CRS Artist Humanitarian Award for his philanthropic efforts. Before he gave his speech, a video played that showed Lawrence’s commitment to addressing multiple aspects of homelessness with programs such as his Mission: Possible platform, which has raised over two million dollars to help fight the homelessness epidemic.

Radio programmer Brent Michaels received the 2023 Tom Rivers Humanitarian Award for his selfless public service efforts. The Tom Rivers Humanitarian Award is given at the discretion of the CRB Board of Directors to honor an individual in country radio who largely exhibits care and generosity in service to their community through hands-on action and a personal commitment of time, talent and resources.

DISClaimer Single Reviews: Shania Twain Supplies ‘More Hooks Than A Tuna Boat’

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Shania Twain. Photo: Louie Banks

One of the goals of the just concluded Country Radio Seminar is to introduce new country talents, so it’s appropriate that today’s edition of DisClaimer has a flurry of ‘em.

Making their debuts in the column are Meghan Patrick, Avery Anna, Teddy Robb Tony Evans Jr. and Tucker Beathard, with Chase Matthew marking his sophomore appearance. Tony Evans Jr. emerges with the DisCovery Award.

”Queen of Me,” indeed. Give feisty, creative Shania Twain her due with the Disc of the Day prize.

AVERY ANNA / “Just Cause I Love You”
Writers: Farrago/Justin Wilson/Kyle Fishman/Seth Ennis; Producer: David Fanning; Label: Warner
– There is a deliciously throaty quality in her voice that’s hard to resist. The song of being hopelessly enthralled with someone who’s left you behind is heartache on the hoof. For further demonstrations of this youngster’s abilities, check out “I Love You More,” “Narcissist” and “Critic.”

TRAVIS DENNING / “Strawberry Wine and a Cheap Six Pack”
Writers: Travis Denning/Thomas Archer/Jerry Flowers/Paul DiGiovanni; Producers: Jeremy Stover/Paul DiGiovanni; Label: Mercury
– Sunny, summer-y, propulsive and hooky. As always, his cool, furry, country boy vocal is a pure pleasure.

TONY EVANS JR. / “Need Somebody”
Writers: Fred Wilhelm/Tony Evans Jr.; Producers: Ron Fair; Label: TEJ
– He’s a baritone balladeer with a smooth intimacy in his delivery that grabs your ears and won’t let go. The little slides into his falsetto range are magical. I’m in. Please send more.

SHANIA TWAIN / “Queen of Me”
Writers: Shania Twain/Adam Messinger; Producer: Adam Messinger; Label: Republic
– More hooks than a tuna boat. It’s all here: A totally cool vocal performance, an ear-worm melody, fabulous production thump and a self-affirming lyric. She makes records like no one else. This is the title tune of her latest.

TUCKER BEATHARD / “Who I Am With You”
Writers: Tucker Beathard/Nathan Chapman/Jeffrey Steele; Producer: Oscar Charles/Ryan Tyndell; Label: Warner
– It’s heartfelt and thoughtful, yet with an undertow of energy. The production is ear tickling, but his troubadour persona remains in the spotlight. The lyric unspools his desire to live the better-angel side of himself. I think I’m a new fan.

BARBARA FAIRCHILD / “And I Love You So”
Writers: Don McLean; Producer: Aaron Dethrage; Label: Country Rewind/Hindsight
– Fairchild created a string of brilliant discs in the 1970s. This romantic chestnut is one of her previously unreleased performances. It has been given a production update and now serves as the title tune of a new album by her. This is a master class in country singing.

CHASE MATTHEW / “The Way I Am”
Writers: Chase Matthew/Hunter Phelps/Brock Berryhill/Andy Albert; Producers: Austin Shawn/Brock Berryhill; Label: Warner
– It’s a country heartache downer, but it rocks. He reaches into his upper vocal range when he hits the choruses. Radio ready.

MEGHAN PATRICK / “Ours”
Writers: Meghan Patrick/Joey Hyde/Matt McGinn/Lydia Vaughn; Producers: Joey Hyde/Aaron Eshuis; Label: Riser House
– This chugs along handsomely as she sings of running into her ex at “their” bar with another gal on his arm. Patrick is a big star North of the Border, with two CCMA Female Vocalist of the Year honors. I can certainly hear why. That said, the shifts in tempo between verse and chorus kinda interrupted my enjoyment.

TIM McGRAW / “Standing Room Only”
Writers: Craig Wiseman/Tommy Cecil/Patrick Murphy; Producers: Bryon Gallimore/Tim McGraw; Label: Big Machine
– This superstar’s career has been built on his ability to attract great songs. Chalk up another one. On this anthem, he wishes to live a life so worthy that when he dies, it will be standing room only at his wake. McGraw rules eternally.

TEDDY ROBB / “Stay Single”
Writers: Teddy Robb/Pete Good/James McNair/Brandon Ratcliff; Producer: Pete Good; Label: TR
– Nicely done. The tune rolls along with a loping gate while he falls in love, despite the vow in the song’s title. Gently persuasive.

TY HERNDON & TERRI CLARK / “Dents on a Chevy”
Writers: Starner Jones/Leslie Satcher/Will Robinson; Producer: Jimmy Thow; Label: Pivotal Records
– They are both such splendid country singers, so there’s no way this bopper couldn’t come up a winner. There’s a pause in the production that gives him a vocal spotlight, and her harmony work throughout is flawless. Irresistibly catchy.

RESTLESS ROAD / “I Don’t Wanna Be That Guy”
Writers: Colton Pack/Garrett Nichols/Jared Keim/Travis Wood/Zach Beeken; Producer: Lindsay Rimes; Label: RCA
– They swap lead vocals admirably. As always, the trio harmonies are seamless. The single is a bit too slick and overproduced.

My Music Row Story: Sony Music Publishing’s Anna Weisband

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Anna Weisband 

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 VP of A&R at Sony Music Publishing, Anna Weisband manages the daily songwriting strategy for a stellar roster including Miranda Lambert, Kelsea Ballerini, Cole Swindell, Chris Young, Lainey Wilson, Emily Weisband, Josh Kear and MacKenzie Porter.

A graduate of Belmont University, Weisband began her career as a THiS Music intern, and quickly established herself as a young executive on Music Row. Later in her career, Weisband began carrying out A&R duties including talent discovery, collaboration creation, artist management, and song placement for the company’s roster of 14 award-winning songwriters, producers, and artists, including two-time ASCAP Songwriter of the Year Ben Hayslip, Hall of Fame songwriter Tim Nichols, and Emily Weisband. In 2017 Weisband was promoted to Vice President at THiS Music at the age of 23, a position she earned after five years at the Warner Chappell joint venture, led by co-owner/General Manager Rusty Gaston. When Gaston joined Sony Music Publishing in 2020, Weisband followed, becoming VP of Creative.

Weisband will be honored as part of the current class of MusicRow’s Rising Women on the Row on March 23. 

MusicRow: Where did you grow up?

I grew up in Fredericksburg, Virginia. It’s right where Virginia starts to get country.

Photo: Courtesy of Anna Weisband

Were you born into a musical family?

Yes. I come from a big family, I have five siblings. My dad always wrote songs, played guitar and was in bands. We listened to so much music and were obsessed with it, but I never really made music. My sister Emily, who is a year older than me, started writing songs. That was a connection between my dad and her. She would take her songs to him and he would help her. I sang with Emily off and on a little bit, but it was never my thing. I just figured that I would end up on the business side because I wasn’t writing songs. I didn’t have the creativity to write songs, but I loved creative people.

How did you pursue that?

When we got to high school, Emily decided to go to Belmont for its songwriting program. We’re 13 months apart and always did everything together. We had the same friends. The only difference was that she was a true songwriter/creative and I wasn’t that, but I was some type of creative. So she came to Belmont and then I came to Belmont as a music business major.

What happened when you got to Belmont?

I honestly hated it. I didn’t know my purpose yet, so the first couple months, I was thinking, “What am I doing?” Usually I pick up things up really fast, but it wasn’t happening for a few months. I just wasn’t finding where I was supposed to be.

My first semester, I had to write a paper for my Survey of Music Business class. For the paper, you had to interview someone in whatever field you felt like you wanted to go into. I tried to use a loophole and interview Dan Keen, who was an adjunct professor, but I couldn’t connect with him and it was getting close to the deadline. I asked Emily, “What am I going to do? I don’t have anyone to interview.” She had done a Curb Cafe/ASCAP songwriter round the year before. Publishers judge it and Rusty Gaston was one of the publishers that was judging it. He had met Emily through that liked her songs enough to keep in touch with her.

She gave me his information and I reached out to him. He hit me right back—he’s very supportive of anything Belmont. I called him “Mr. Gaston” in the email, which makes me laugh now.

Photo: Courtesy of Anna Weisband

I went over to his company, THiS Music, the next day. I had some questions ready for him but then we just talked for a long time. He told me he had had one intern before, which was Janine Appleton [Ebach], and she turned into the Creative Director of the company. I asked if he needed an intern and he was like, “Honestly, I don’t really do internships, but if you want to help out around here, I have been looking for some more help.” It was right before Thanksgiving or Christmas break. He said, “Go home for Christmas and pray about it to see if you really want to be in publishing. If you really want to be in publishing and really feel like that’s the right thing, then you can come back and you can help.” I started with him pretty soon after that.

Wow, what a great story! What did you do as an intern?

The company was like five or six years old at that point. They were just starting to really take off on an amazing run, so he really needed more help. When I got there, he would just tell me to dust the plaques off and turn all the Cokes around in the fridge. I never said no to anything. Then the writers started asking me to do stuff. Ben Hayslip would ask me to get him a sweet tea when he was writing and then the writers started asking me to get them lunch. About six months after I started, Janine went to run Word Publishing, so then it was just Rusty and I for a little bit before we hired somebody.

Photo: Courtesy of Anna Weisband

When did your internship morph into a full-time job?

It just naturally happened. I really only had two titles there: intern Anna—which is what everyone called me—and then Vice President. At one time, I would go to class in the morning, be at THiS Music all day, go work a retail job at Francesca’s and then go to night class. It was a grind for a few years. It morphed into real job, but I was always working full-time because I was so eager.

What is a fun memory you have from THiS Music?

THiS Music was such a magical experience. I’m so thankful that that was how I learned how to be a publisher because it was definitely a different place. It was a joint venture of Warner Chappell, but we did all the creative. It was like a little creative utopia, honestly. I always sat on Rusty’s couch—I never had an office—and every other room in that little building was a writer room. They all wrote songs in there every single day and it was just amazing. When songwriters walked in, you stopped everything that you were doing and only paid attention to them. The kitchen at THiS Music was super inspiring because it was like the meeting place. There was one way in and one way out, so you had to go through the kitchen. The building was full every day because everyone wanted to write at THiS Music. We took care of everyone—it was just a family.

Photo: Courtesy of Anna Weisband

Were you ever insecure about being a VP of a publishing company at such a young age?

I’ve occasionally been insecure about always being the youngest person in the room, but I really became part of the THiS Music family. It just felt like my purpose. Everything that I did revolved around THiS Music. I loved every writer so much and Rusty has been my biggest champion ever. He just believed in me and he was hard on me, so he knew that what I was doing was earned. He didn’t hand me anything. He was always really nice to me, but I did have to earn my way in meetings like everyone should. Because I was on the ground making relationships with people that I probably shouldn’t have been in the room with yet, I felt like I had big supporters in the beginning. I’ve just had such great supporters, like Brian Wright, Trisha McClanahan, Autumn House, Allison Jones, Mike Molinar and others. They always supported me so much, so I felt very lifted up and and like they believed in me.

How did the transition from THiS Music to Sony Music Publishing go?

We started expanding THiS Music a lot. My sister had signed a record deal, so we were managing her out of THiS Music. We were writer-managing Mike Elizondo, who’s an amazing writer. We had Drew Baldridge, who had a lot of artist stuff going. I was going to LA a lot. Emily was getting some great pop songs and we were expanding into other genres.

I knew our deal with Warner Chappell was coming up and I didn’t know what would happen, but then Rusty got this call from Jon Platt. When he was able to tell me about it, Rusty asked me to go to Sperry’s in Belle Meade. We sat there for a long time. I didn’t say much. He just told me everything from start to finish, his thought process and everything, because it was going to be a big change. He said, “I want you to come with me. I want all of THiS Music to come.” That was amazing, but I just didn’t know what I wanted to do yet. All I knew was independent publishing.

Photo: Courtesy of Anna Weisband

What made you decide to go for it?

THiS Music was amazing and I could have stayed there forever, but I do remember feeling like I needed to grow. I didn’t want to leave THiS Music, so I had decided that meant we needed to grow THiS Music. My mom put it best. She said, “The roots were outgrowing the pot it was in, so it needed to be replanted.” That’s exactly what Jon Platt wanted at Sony Music Publishing, was to replant THiS Music into a big company.

Jon flew to town and talk to me about it, which made me feel like he really cared. He told me, “I want you guys to be yourselves. I need you to keep doing exactly what you’re doing at THiS Music. We’re just going to scale it up to be able to do that at a big company.”

The people that I was connecting with before we came over really made me brave enough. They believed in me and made me feel like I could do it. I think I’m the youngest person ever to have this position at the company. I was a youngster at THiS Music, but now I’m in at the biggest publishing company in the world. The insecurity that you can have there just as a human being is a lot. I feel like as women, too, we are extra humble and don’t shout from the rooftops how amazing we are enough.

Photo: Courtesy of Anna Weisband

Amen. Now that you’re three years in to your role as VP of A&R at Sony Music Publishing. What is the most fulfilling part about your job?

One of the most fulfilling things is just having a relationship good enough and deep enough that songwriters come to you for their entire process. On their insecure days and on amazing days where they’re killing it, it’s important to be part of all of that. To have the foundation of your relationship built that you are a part of all of that. I want to be that person.

When the songs become huge out of those day-to-day moments, it’s amazing. It’s still unbelievable to me that you can start an idea and then all of a sudden it’s a five-week No. 1, like Cole Swindell‘s “She Had Me At Heads Carolina.”

You will be honored as one of MusicRow‘s Rising Women on the Row next week. What has your experience been like as a woman in the industry?

My experience has been amazing, but it is definitely a thing. We just have to work harder sometimes. I love being a woman in the music business because I genuinely think that women have this thing that can connect with people and nurture them in a way that no one else can. I find that so empowering. I don’t know how that I could do any of this without having those traits about me. But there are definitely moments where you see the difference.

As women, it’s important to come together and build each other up. You have to link arms with your peer group. All of my friends that have been doing this longer than I have linked arms with me and brought me into their circles. I’m very grateful for that.

Miranda Lambert Leaving Sony Music Nashville

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Miranda Lambert. Photo: Robert Ascroft for foureleven agency

In a social media post, Miranda Lambert announced that she is leaving Sony Music Nashville after 20 years together. She did not disclose where she is headed next.

Lambert signed with Sony at the age of 19 and released her debut studio album Kerosene in 2005 via the imprint Epic Nashville. Since then, she has gone on to release seven more studio albums, notch 10 No. 1 hit radio singles and win more than 70 prestigious awards. The reigning ACM Entertainer of the Year is the most decorated artist in the history of the Academy of Country Music.

Her award-winning discography includes Palomino (2022), Wildcard (2019), The Weight of These Wings (2016), Platinum (2014), Four The Record (2011), Revolution (2009), Crazy Ex-Girlfriend (2007) and Kerosene (2005). Lambert has also released three albums with her trio, the Pistol Annies, as well as 2021’s Grammy-nominated The Marfa Tapes, a raw and intimate recording with collaborators Jack Ingram and Jon Randall.

In her social media post, Lambert writes, “Over the last 20 years together we have released albums that allowed me to share my story with the world, and we’ve reached heights I’d never even dreamed were possible. I’m so thankful for our time together and everything they made possible for me, yet I wouldn’t be true to myself if I wasn’t constantly looking for the next challenge and a new way to stretch my creativity. With that in mind, I’ve decided to say goodbye to my Sony family. I can’t wait to see what the next adventure holds.”

Johnny Chiang Expands Role To Include Oversight Of Country Music Programming At SiriusXM

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Johnny Chiang

Johnny Chiang, who joined Pandora as Senior Director of Country Programming in August of 2022, has expanded his role to also oversee country music programming at SiriusXM.

The news comes after a series of changes at SiriusXM/Pandora. Earlier this year, it was announced that Head of Country Music Talent & Industry Relations, Beville Dunkerley, was exiting her position at the platform. Additionally, it was announced last June that JR Schumann would exit his role as Sr. Dir./Music Programming at SiriusXM.

Now as the lead programmer for country music at SiriusXM and Pandora, Chiang will continue developing innovative country music programming, including championing new artists and spotlighting legendary acts. He reports to SiriusXM Pandora’s GM/Senior Vice President of Music Programming, Steve Blatter.

Since Chiang joined the team, Pandora’s artist discovery included Bailey Zimmerman, who has garnered 224 million spins to date on the platform since he was first added to Pandora stations and playlists. Two of his songs ended up on Pandora’s Top-100 Most Thumbed list last year with “Rock and a Hard Place” at No. 12 and “Fall in Love” at No. 29. In October, Chiang spearheaded Pandora’s first-ever three station takeover to mark the release of Zimmerman’s EP Leave The Light On. Since the takeover, the tracks on the EP have spun 107 million times on Pandora.

Chiang also led a cross-genre, multi-station Pandora takeover to help launch the release of Hardy’s country/rock album The Mockingbird & The Crow. That multi-format, co-branding effort helped Hardy’s single garner more than one million spins on release day alone.

Chiang is profiled in MusicRow‘s recent Country Radio & Streaming Issue, where he discusses his integration into the platform.

Luke Combs Makes History With 15th Consecutive No. 1 ‘Going, Going, Gone’

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Luke Combs Photo: Jeremy Cowart

Luke Combs continues his record-breaking run at country radio this week as his single, “Going, Going, Gone,” reaches the top of the charts, marking his 15th consecutive No. 1. The tune was co-written by Combs with Ray Fulcher and James McNair, and hit the top of the MusicRow CountryBreakout Radio Chart on three different occasions.

The feat is the longest consecutive streak of No. 1 hits for an artist since their debut single, and makes Combs one of the fastest to accumulate 15 No. 1s, joining the ranks of Garth Brooks, Alan Jackson and Alabama.

Combs is having another monumental year, and will release his new album, Gettin’ Old, a companion to his acclaimed 2022 record, Growin’ Up, next Friday, March 24 via River House Artists/Columbia Nashville. Produced by Combs, Chip Matthews and Jonathan Singleton, Gettin’ Old is Combs’ fourth full-length album following Growin’ Up, 2019’s triple Platinum What You See is What You Get and his 4x Platinum debut, This One’s For You. Ahead of the release next Friday, Combs has unveiled three additional album tracks, including “Joe,” “Growin’ Up and Gettin’ Old” and “Love You Anyway.”

The superstar will kick off his massive world tour next weekend with sixteen North American stadium shows, which sold out immediately. With 39 shows across three continents and 16 countries, the record-breaking run is one of the largest tours ever for a country artist.

Top 10 Hold Steady On MusicRow Top Songwriter Chart

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Morgan Wallen. Photo: Ryan Smith

The hitmakers filling the top 10 on the MusicRow Top Songwriter Chart hold their positions this week.

Morgan Wallen notches his fourth week at No. 1. He is a co-writer of an impressive eight currently charting songs—six of which are his own with the other two being “Brown Eyes Baby” (Keith Urban) and “Wild As Her” (Corey Kent).

The top five also includes Ashley Gorley (No. 2), Zach Bryan (No. 3), Luke Combs (No. 4) and Michael Hardy (No. 5).

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.

Brittany Schaffer To Exit Spotify, Appointed Dean Of Belmont University’s Curb College

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Brittany Schaffer

Belmont University has appointed Brittany Schaffer as the new Dean of the Mike Curb College of Entertainment and Music Business. Effective May 1, Schaffer fills the role of Doug Howard, who retired last fall.

Schaffer will exit her position as Head of Nashville Label Partnerships and Music Strategy at Spotify on April 13. At the DSP, she co-leads the development and execution of Spotify’s global strategy to grow the Country, Christian/Gospel and Americana genres, and is responsible for overseeing all new music releases and campaigns out of Nashville. Prior to joining Spotify in 2018, Schaffer spent more than seven years in the Entertainment Department of Loeb and Loeb, LLP, where she was Senior Counsel.

“My career has focused on being a champion of people, ideas and innovations that bring the music and the broader entertainment industry together to fuel growth for the future of the business and to bring joy to those who enjoy the creativity and stories we share,” Schaffer says. “My career has also centered around my love of Nashville and its potential to be the creative center of the music business and a major player in the larger entertainment industry. Belmont—and the Curb College in particular—offer a unique opportunity to align these passions and be part of the legacy Belmont is leaving on its students and ultimately the global entertainment business as a whole. I am honored to help steward the Curb College into its next chapter, focusing on how we continue to be radical champions for our campus community, city and industry as we look toward, plan for and create the future we want for the global music and entertainment business.”

Schaffer adds, “I’m also forever grateful to Spotify for their incredible support of me and the Nashville music industry, which was beyond anything I ever imagined when I joined the company over five years ago. I will continue to be a champion of the company and the incredible Nashville team and look forward to partnering with them in the future as we shape the leaders of tomorrow.”

At Belmont, Schaffer will work alongside Associate Professor of Creative & Entertainment Industries, Dr. Sarita Stewart, who has served as Interim Dean for this academic year. Stewart will become Senior Associate Dean for Curb College and will work alongside Schaffer on programming and curriculum.

Schaffer will report to Belmont University’s Provost/Executive Vice President of Academic Excellence and will serve approximately 100 faculty and staff and over 2,700 students in Curb College programs.

Belmont Provost Dr. David Gregory shares, “Brittany will bring extraordinary passion, faith and experience to her new role as dean of Curb College. Her legal background and familiarity advocating for artists, writers, producers and more within the industry provide a unique perspective on the holistic education our students need to be successful in a variety of entertainment fields. Plus, through her time with Spotify, she has been on the leading edge of where these content rich fields are heading and is well prepared to ensure Curb College stays at the forefront of modern storytelling.”

Belmont President Dr. Greg Jones adds, “Belmont’s Curb College has long been recognized for developing artists and executives who bring innovative leadership and creative storytelling to their roles throughout the entertainment industry. We are delighted Brittany Schaffer has accepted the role of Dean, and I am confident that she will elevate our programs even further, deepening our connections within music, motion pictures and media while establishing new partnerships in Nashville, across the U.S. and around the globe. Her significant achievements and the tremendous respect she’s earned as a leader signal a bold and bright future ahead for Curb College and our students.”

A magna cum laude graduate of both Vanderbilt University and Samford University’s Cumberland School of Law, Schaffer currently serves on the Board of Directors for the Country Music Association and Country Radio Broadcasters as well as the St. Jude Country Cares Advisory Board. Schaffer is also a Class of 2022 Leadership Music graduate.

She will be honored as one of MusicRow‘s Rising Women on the Row later this month.

First-Ever People’s Choice Country Awards Coming to NBC, Peacock This Fall

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Carrie Underwood accepts The Country Artist of 2022 Award on stage during the 2022 People’s Choice Awards. Photo: Rich Polk/E! Entertainment/NBC via Getty Images

The long-running People’s Choice Awards is launching the People’s Choice Country Awards with a live telecast at the Grand Ole Opry. The date for the awards has not yet been announced, but it will reportedly take place in September.

In distinction from some of its competitors, the People’s Choice Country Awards’ winners will be entirely fan-voted. Several honorary awards will be bestowed that night as well.

“We’re excited to partner with the Grand Ole Opry to bring the year’s biggest celebration in country music to Nashville,” says Cassandra Tryon, Sr. VP of Live Events, NBCUniversal Television & Streaming. “Country fans are passionate about their music and there’s no better place to host this event than from country music’s biggest stage.”

The People’s Choice Awards, airing annually in December on NBC, has included country categories and performances. Most recently, Music Icon Award-winner Shania Twain performed a four-song medley at the 2022 awards and Carrie Underwood won Country Artist of 2022.

Marking NBC’s re-entry into the country music awards game, this new project follows NBCUniversal’s investment in Opry Entertainment Group alongside Atairos. Den of Thieves is set to produce the two-hour show with Jesse Ignjatovic, Evan Prager, and Barb Bialkowski slated as executive producers.