The 62nd annual ASCAP Celebrates awards ceremony will take place at an exclusive VIP party on Monday, Nov. 18 in Nashville.
The invitation-only event will celebrate the top performers in country music. Last year’s winners included Ashley Gorley, Jordan Davis and more.
The annual event is during Nashville’s awards week, culminating with the 58th annual CMA Awards on Wednesday, Nov. 20 at 7 p.m. CT at Bridgestone Arena.
Kelsea Ballerini. Photo: Nyk Allen, Courtesy of Black River Entertainment
With her new album Patterns, her fifth project since her launch into country music with her 2014 single “Love Me Like You Mean It,” Kelsea Ballerini delivers an expansive excavation of her truth. Since earning her footing with five radio chart-toppers and multiple industry awards, she’s not only traveled skywards with her most recent projects, but she’s gone deeper, too.
Ballerini’s 2023 project Rolling Up The Welcome Mat, and its predecessor Subject To Change that was released just a few months earlier, marked a shift in her artistry. With the confidence of a genre-leading songwriter, Ballerini embraced a raw honesty, showing more of her true self—polished or not.
As her lyrics became more autobiographical and unfiltered, fans flocked to her music. Now, concertgoers fill rows, displaying her lyrics on posters, clothing and even their skin, “scream-singing,” as she puts it, the words alongside her.
On Patterns, Ballerini is in top form, sharing the realness, complications, acceptance and, ultimately, the wisdom that she’s earned in a 15-track opus of the female experience.
It’s no surprise that Patterns was created with four more of Music Row’s leading ladies, with all songs (other than Noah Kahan‘s verse on “Cowboys Cry Too”) co-written in some combination of Ballerini with Hillary Lindsey, Jessie Jo Dillon, Karen Fairchild and Alysa Vanderheym, who returned as the album’s producer.
Ballerini and Vanderheym began creating Patterns with the tracks “This Time Last Year” and “Cowboys Cry Too.” After the whirlwind of Rolling Up The Welcome Mat, she needed a break to reconnect with herself before starting her next project.
“I had to take a break and be back in my life and in my body—live some life to write about. Then I had to figure out what about Welcome Mat connected like it did, and how do I carry that forward into the present day and who I am now,” Ballerini shares with MusicRow.
“Honestly, I realized that I had accidentally been rounding the edges of my music for a long time. Even though it was about my life and my big feelings and everything felt very tailored to me, I was leaving out details because I wanted it to be for everyone. In Welcome Mat, I didn’t do that. I learned that that level of honesty somehow is more relatable and more connective.”
With this realization, she penned “Sorry Mom” during her first writing retreat with Vanderheym, Lindsey, Dillon and Fairchild. Starting with the line, “Sorry, Mom, I smelled like cigarettes, and my eyes were casa red with a pounding in my head showing up again on Sunday morning,” the song reveals truths she might have hesitated to share a few years ago.
“I’ve always struggled with being palatable and being for everyone. I’ve slowly and gently started to realize that no one is for everyone,” she says. “I do have opinions and I do talk like this—the last thing I ever want to be as a human or an artist is fake. Being surrounded by these women [helped me be brave enough to share]. They not only let me lead in these rooms, they encouraged me and wanted the DNA of this album to be mine with them supporting it.”
It quickly became clear to Ballerini that Patterns needed to be crafted within the sacred space of these female friendships. After writing “Sorry Mom,” “Baggage” and “Two Things,” she knew it was time to “lock the door” and keep this creative energy between them. Together, the five women brought Patterns to life, crafting songs that explore moving on after heartbreak, generational trauma, complex emotions, falling love, doing life your friends and appreciating growth.
In the spirit of unrelenting honesty, Ballerini says the songwriters went for truth even if it meant sacrificing a clever hook or twist of phrase.
“I used to think being a great songwriter meant figuring out the most clever way to say something. Now I think my version of being a great songwriter is asking, ‘What’s the most honest way to say this?'” she says. “There’s little payoff moments, like the bridge in ‘Wait!’ that gives you one little clever bit, and the rest is quite literally word vomit. That interests me more.”
After writing “How Much Do You Love Me,” Ballerini recognized an evolution in her songwriting that illustrates her radical acceptance of the truth.
“On songs like ‘Peter Pan,’ I always twist it to be in power. Even though I’m heartbroken through the song, at the very end, I say, ‘but you don’t know what you lost, boy.’ I always have to be in control.
“‘How Much Do You Love Me’ is one of the first songs where I’m not,” she says. “It reminds me of that movie scene where the girl says, ‘I’m just a girl, standing in front of a boy, asking him to love her.’ Even that in itself is breaking a pattern.”
Lush and organic tracks like “First Rodeo,” “Baggage” and “Cowboys Cry Too” fit alongside seamlessly with “Wait!” and “Deep,” two pop-leaning songs on the album, because of their openness. Ballerini credits producer Vanderheym as an invaluable collaborator on the album’s myriad of sounds, creating a space that allows for both trust and fun.
“Whatever the healthiest version of codependent is, is how I feel with her musically. There’s such a trust that we’ve built and it’s easy—and most of all it is so fun,” Ballerini says. “There’s a real beauty about making record five and remembering that it’s supposed to be fun. She brought that out in me.”
Among the album’s standout moments, Ballerini recalls how Patterns’ title track emerged during a retreat in the Bahamas, when Lindsey spontaneously began strumming chords while the women were taking a break.
“Fresh out of the pool, she grabs the guitar, starts finding these chords and hums the chorus melody. Everyone immediately shut up. She started structurally singing parts of ‘Patterns,’ then I started singing words and Karen started,” she remembers. “It was like watching an Olympic athlete.”
Fairchild was instrumental in shaping “Two Things.”
“We got really stuck on that song. We wanted it to be a power ballad, but we wanted it to have a sense of urgency to it because that song is about an urgent moment in time,” Ballerini recalls. “We had written the verses and were trying to find a chorus that didn’t feel cheesy. She just sat up and sang the melody. She cracked the code.”
And as for Dillon, Ballerini praises her gift for observation. “I call her ‘The Scribe.’ She doesn’t miss a word, and her skill as an editor is invaluable. When we think a song’s done, she’ll challenge it—and she’s always right.”
With Patterns, Ballerini offers a generous, 46-minute journey into her world, wrapped in her conversational voice and a distinctly country-pop sound. Each track resonates with relatable stories of life’s highs and lows, reflecting why her fans carry her lyrics like personal mantras—captivated by her honesty, openness and gratitude.
Ballerini will continue celebrating the new music tomorrow night (Oct. 29) with a mega-release show at Madison Square Garden, which sold out in minutes. She will hit arenas for the first time on a new tour early next year.
Jelly Roll. Photo: Eric Ryan Anderson
Jelly Roll‘s recently-released Beautifully Broken album has helped the singer-songwriter climb up the MusicRow Top Songwriter Chart. He sits at No. 9 this week with “Get By,” “I Am Not Okay,” “Liar” and “Winning Streak.”
Zach Bryan remains in the No. 1 spot for the eighth consecutive week with “28,” “American Nights” and “Pink Skies.” Ashley Gorley jumps to No. 2 with “Fix What You Didn’t Break,” “I Am Not Okay,” “I Had Some Help,” “Liar,” “Losers,” “This Town’s Been Too Good To Us” and “Whiskey Whiskey.”
Chris Stapleton (No. 3), Riley Green (No. 4) and Jessie Jo Dillon (No. 5) round out this week’s top five.
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.
NMPA President and CEO David Israelite gives welcoming remarks at the annual Gold & Platinum Gala in Nashville. Photo: Tony Sarria, Courtesy of NMPA
The National Music Publishers Association (NMPA) held its annual Gold & Platinum Gala last night (Oct. 24) at the Country Music Hall of Fame. A newer event on the Nashville calendar, this year’s gala brought over 500 songwriters, artists, managers and creator advocates together.
NMPA Male Songwriter of the Year Ashley Gorley. Photo: Tony Sarria, Courtesy of NMPA
The event honored over 150 Gold, Platinum and multi-Platinum certified songwriters as certified by the RIAA in the past year, specifically the July 2023 – June 2024 eligibility period. Throughout the night, NMPA team members recognized songwriters from Gold to Diamond, calling them to the stage for a photo with their plaque. As writers made their way to the stage, with their song playing over the loud speakers, the publishers and peers in the crowd hooped and hollered and patted them on the back.
Those that were present to receive plaques included Chris DeStefano, Laura Veltz, Jonathan Singleton, Dustin Lynch, Taylor Phillips, Nicolle Galyon, Ryan Hurd, Jordan Schmidt, Renee Blair, Charles Kelley and many more. A special moment came when TK Kimbrell and Scotty Emerick accepted awards on behalf of Toby Keith.
NMPA Female Songwriter of the Year Jessi Alexander. Photo: Tony Sarria, Courtesy of NMPA
Between plaque presentations, the room was treated to performances from artist honorees. Hailey Whitters performed her delightful “Everything She Ain’t,” Bailey Zimmerman charmed with “Fall In Love” and “Rock And A Hard Place,” Breland impressed with “For What It’s Worth” and “Same Work” and Jordan Davis captivated with “Next Thing You Know” and “Buy Dirt.”
The evening also honored perennial hitmakers who had an incredible year. With six certifications for songs including “The Way I Talk,” “Gone Girl,” “Don’t Think Jesus,” “5 Leaf Clover” and “You, Me, And Whiskey,” Jessi Alexander took home Top Female Songwriter of the Year.
The Top Male Songwriter went once again to Ashley Gorley who achieved an astounding 26 certifications for hits by Lee Brice, Dan + Shay, Morgan Wallen and more. He picked up the same honor at last year’s gala.
Jordan Davis performs at the annual Gold & Platinum Gala in Nashville. Photo: Tony Sarria, Courtesy of NMPA
Hailey Whitters performs at the annual Gold & Platinum Gala in Nashville. Photo: Tony Sarria, Courtesy of NMPA
Breland performs at the annual Gold & Platinum Gala in Nashville. Photo: Tony Sarria, Courtesy of NMPA
Bailey Zimmerman performs at the annual Gold & Platinum Gala in Nashville. Photo: Tony Sarria, Courtesy of NMPA
Dylan Gossett during his Ryman Auditorium performance. Photo: Jessie Addleman
Just six months after his sold-out show at Exit/In, Dylan Gossett stepped onto the historic Ryman Auditorium stage to headline for the first time Wednesday night (Oct. 23) in front of another sold-out crowd as part of his “The Back 40 Tour.”
To open up the night, country singer James Tucker treated fans to his crafty and soul-stirring original songs, including “Parts Of Me,” “The Light” and “October.” After amping everyone up with his opening three tracks, he flawlessly covered Tyler Childers’ “Whitehouse Road,” before singing two songs he wrote for his wife, “Stay Home Tonight” and “Take Me As I Am.”
Dylan Gossett during his Ryman Auditorium performance. Photo: Jessie Addleman
With the audience fully engaged, Tucker began to perform his unreleased “Raised Us,” which he wrote in his grandparents home while sheltering from the recent hurricanes. After the emotional performance, Tucker ended his set showing off his vocals with “Those Days” and “Man I Am,” before leading a sing along to Bob Dylan’s “All Along The Watch Tower” to end his set.
Anticipation was buzzing around the auditorium as fans eagerly awaited Gossett to take the stage. When the lights went out, the singer’s band led a short jam session before the Big Loud Texas/Mercury Records singer appeared with his guitar and opened the night with “Stronger Than A Storm,” off the soundtrack for Twisters.
After addressing the crowd, Gossett pulled out his signature Texas sound with “Lone Ole Cowboy.” A roar of approval ripped through the room, and the singer-songwriter paused to take in the moment.
“This might be one of the most special shows we’ve ever played,” he said. “This is our first time ever playing here at the Ryman, and it sure is special. Thank you all for being here and selling this place out. It blows our minds.” The heartfelt moment set Gossett up to go into the track that started it all for him, “To Be Free.”
Dylan Gossett during his Ryman Auditorium performance. Photo: Jessie Addleman
Entertainment was already at a high, but Gossett turned it up just a little bit more by pulling out his harmonica for “Tree Birds,” which had everyone singing and clapping along. After “If I Had A Lover” and “No Better Time,” Gossett treated attendees to an unreleased song.
“We wrote this song earlier in the year when we were touring in the spring. We were in a sprinter van that wasn’t too big in the back,” Gossett explained. “We couldn’t really fit a guitar back there, so we went to Guitar Center and found the cheapest, smallest, portable guitar, and we wrote some songs on it in the back of that van.” The crowd approved of the track “Song About You,” once again proving the songwriting power of the breakout artist.
The next track was a special one to Gossett, as he wrote it about his wedding day. After serenading with “Beneath Oak Trees,” he played another unreleased track, “Back 40,” which pays homage to his hometown and old job.
“Flip A Coin” had every single person singing along and another unreleased track, “Hanging On,” was well-liked, too. Gossett then led the ultimate country music jam session inside the Mother Church with a stunning cover of Johnny Cash’s “Folsom Prison Blues.”
Pictured (L-R): Brett Saliba (UTA), Patch Culbertson (Big Loud Records), Jon Randall (Big Loud Texas), Sara Knabe (Big Loud Records), Tyler Arnold (Mercury Records), Matthew Morgan (UTA), Sam Katz (Homebase Management), Chloe Brake (Mercury Records), Miranda Lambert (Big Loud Texas), Justin Hill (UTA), Shawn McSpadden (Range Media Partners Nashville), Dylan Gossett, Federico Morris (Range Media Partners), Jake Levensohn (Mercury Records), Matt Graham (Range Media Partners), Candice Watkins (Big Loud Records), Alex Coslov (Mercury Records), Mario Vazquez (Mercury Records), Kelsey Miller (Mercury Records) and Lucy Bartozzi (Big Loud Records). Photo: Jessie Addleman
A soul-stirring performance of “Finally Stop Dreaming” kept the attention of the dedicated audience, which Gossett capitalized on by playing fan-favorite “Better Winds.”
As the night was winding down, Gossett took one more chance to thank the Nashville crowd for an amazing night. “I wasn’t playing or pursuing music like I thought I should last year. I was just working my job until I found the Lord had different plans for me. I’m not much of a talker if y’all can’t tell,” he quipped. “But thank y’all very much from the bottom of my heart.” He topped off the speech with his viral, newly RIAA-certified Platinum hit “Coal,” bringing the whole building to their feet.
Gossett and his band left the stage, but no one in the Ryman’s pews hit the door. After chanting for more, the singer-songwriter came back on stage for an encore performance. He ended the shining night with a rock and roll style cover of The Animal’s “House Of The Rising Sun,” before closing with his own “Somewhere Between.”
Gossett’s “The Back 40 Tour” continues until Nov. 23 with stops scheduled for Atlanta, Toronto, Chicago and more.
Thomas Rhett tops the MusicRow CountryBreakout Radio Chart this week with his song “Beautiful As You.”
The track is a part of his seventh studio album About A Woman, and was written by Rhett, Jacob Kasher Hindlin, John Henry Ryan, Julian Bunetta, Alexander Izquierdo, Joshua Emanuel Coleman and Zaire Kelsey.
Last month, Rhett announced his upcoming “Better In Boots Tour” slated for June 2025. This 30-city run will see the singer visit St. Louis, Buffalo, Virginia, Philadelphia and more through September.
“Beautiful As You” currently sits at No. 12 on the Billboard Country Airplay chart and No. 9 on the Mediabase chart.
Ringo Starr.
Let’s get Latin today.
It has been too long since the country stardom of Johnny Rodriguez, Freddy Fender, Emilio, Rick Trevino and the like. Stepping into this void are veteran Stephanie Urbina Jones and newcomer Moriah, both of whom have excellent new singles.
The biggest current star of the format is on hand today with new music from Morgan Wallen. But even superstars must take a back seat when there’s a Beatle in the house. Ringo Starr wins the Disc of the Day prize.
Taking home a DISCovery Award is Neil Perry with his debut solo release.
RYAN LARKINS / “Buzzin”
Writers: Brad Warren/Brett Warren/Jordan Minton/Ryan Larkins; Producer: Paul Sikes; Label: Red Street Records
– “Nothin’ gets me buzzin’ like you do,” sings Larkins. MusicRow’s Breakthrough Songwriter 2024 awardee is a dandy record maker, too. He sings in a rich, low baritone and conveys warmth and personality with every note. He’s nominated for a CMA Award this year as the co-writer of Cody Johnson’s “The Painter.”
JUSTIN MOORE & DIERKS BENTLEY / “Time’s Ticking”
Writers: Jeremy Stover/Justin Moore/Randy Montana/Will Bundy; Producers: Jeremy Stover, Scott Borchetta; Label: The Valory Music Co.
– Seize the moment and savor it. Don’t put things off—stop and smell the roses, tell folks you love ‘em, “make a memory not just money.” All set to a toe-tapping beat. Well worth your spins.
MÕRIAH / “Hasta Mañana”
Writers: Mõriah/Paul Duncan/Paul Mabury; Producer: Paul Mabury; Label: F2 Entertainment Group
– It’s Hispanic Heritage Month, and it’s high time we had a Latina country star. This breathy, sensuous vocalist puts in her bid with this tuneful bopper. She’ll be releasing a Spanish-language version next week in conjunction with the Day of the Dead holiday.
CLARENCE TILTON & MARTY STUART / “Fred’s Colt”
Writer: Christopher Weber; Producer: none listed; Label: 7814467 Records
– The singing of the Clarence Tilton band’s Chris Weber probably won’t win any awards, but there is a raggedy, rumpled charm in this uptempo outing, enlivened by some red-hot electric guitar picking. Americana programmers take note.
RUNAWAY JUNE / “New Kind Of Emotion”
Writers: Jennifer Wayne/Natalie Stovall/Paul Sikes/Stevie Woodward; Producer: Kristian Bush; Label: Quartz Hill Records
– You just can’t beat this act’s delicious, three-part harmony singing. On this pop track, the trio weaves a lovely audio tapestry of budding romance. “This is what a love song feels like,” they sigh together. It certainly is.
MORGAN WALLEN / “Love Somebody”
Writers: Ashley Gorley/Charlie Handsome/Elof Loelv/Jacob Kasher Hindlin/John Byron/Martina Sorbera/Morgan Wallen/Nicholas Gale/Shaun Frank/Steve Francis Richard Mastroianni/Yaakov Gruzman; Producers: Charlie Handsome, Joey Moi; Label: Big Loud Records/Mercury Records/Republic Records
– This is a breezy, upbeat change of pace for this champ hit maker. He’s looking for love while the Latin-tinged track burbles merrily along. The guitar solo is terrific.
SAM WILLIAMS / “Scarlet Lonesome”
Writers: Ben Roberts/Nathan Sexton/Sam Williams; Producers: Ben Roberts, Nathan Sexton; Label: Mercury Nashville
– The torrid power ballad is about being drawn into an obsessive love. The video illustrates that this is a gay romance.
RINGO STARR / “Time On My Hands”
Writers: Daniel Tashian/Paul Kennerley/T Bone Burnett; Producers: Bruce Sugar, Daniel Tashian, T Bone Burnett; Label: UMG Nashville
– At 84, Ringo still sings splendidly. Sharing the spotlight on this mid tempo meditation is a brilliant, crystal-clear production featuring breathtaking steel guitar work by Paul Franklin. A simply lovely record.
STEPHANIE URBINA JONES / “La Reina De Los Angeles Cielto Lindo”
Writers: Mark Marchetti/Stephanie Urbina Jones; Producers: Preston ‘Shoes’ Sullivan/Stephanie Urbina Jones; Label: Global Eyes Entertainment/Casa Del Rio Records
– Jones and her Honky Tonk Mariachi Band are the sound of joy on this delightfully rhythmic prancer. It practically commands you to get up and go into a happiness dance. I have always loved this good-vibes performer, and never more so than now. The song ends with a coda of “Cielito Lindo,” which I always assumed was a folk song. How pleasant to find out that it has a composer.
WARREN HAYNES, LUKAS NELSON & JAMEY JOHNSON / “Day Of Reckoning”
Writers: Lukas Nelson/Warren Haynes; Producer: Warren Haynes; Label: Fantasy Records
– The track conjures a swampy, bluesy mood while the three voices swap soulful, apocalyptic lines about coming together in brotherhood. Kinda left field, but totally groovy, in an optimistic, Civil Rights anthemic sorta way. Haynes is the frontman for the Americana band Gov’t Mule. This is drawn from his solo album Million Voices Whisper, which drops on Nov. 1.
HARPER GRACE / “Jolene”
Writer: Dolly Parton; Producers: Cooper Bascom, Tedd T.; Label: Curb Records
– The smoky-voiced American Idol alumnus tackles the often-sung Parton classic with vivacious verve. She really rocks it. So much so that she sounds like she’s ready to punch Jolene’s lights out.
NEIL PERRY / “If You Can’t Don’t”
Writers: Neil Perry/Jet Harvey/Jackson Nance; Producers: Nathan Chapman, Neil Perry; Label: NP
– He was always overshadowed as a vocalist in The Band Perry. With his debut solo outing, Neil Perry claims the spotlight he deserves. The take-me-as-I-am song is about loving an imperfect man. The electronic production is loaded with dramatic tension and dynamics that mirror the shifting tones of the vocal. Excellent work.
BRANTLEY GILBERT & ASHLEY COOKE / “Over When We’re Sober”
Writers: Brantley Gilbert/Brock Berryhill/Jason Bradley DeFord/Justin Wilson; Producers: Brock Berryhill, Brantley Gilbert, Scott Borchetta; Label: The Valory Music Co.
– They broke up, but they keep hooking up after they’ve been belting whiskey in the club at night. The song is cool and they both sing great, but the record sounds busy and over produced. Gilbert & Cooke will perform this on tomorrow’s telecast of The Kelly Clarkson Show.
Lauren Spahn
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.
Lauren Spahn is a Shareholder in Buchalter’s Nashville office and a member of the Intellectual Property practice group whose practice operates at the intersection of music, media and technology. She represents the legal and business interests of creators, music and technology companies, including recording artists, songwriters, publishers, executives, record labels, brands, entrepreneurs and other entertainment industry clients. Her practice has a particular emphasis on the live performance industry, where she routinely serves as an outside general counsel to numerous music promoters, talent buyers, venues, events and festivals, as well as advising on international live touring and related vendor deals.
Spahn also handles complex transactional and pre-litigation matters related to copyright, trademark and intellectual property law. She has experience managing international trademark portfolios and advises her clients on branding, sponsorship, marketing and complex licensing matters, as well as infringement claims. In addition, she consults with clients on the development of new businesses and provides advice regarding corporate formation, trademark and intellectual property protection, non-disclosure and confidentiality agreements, employment agreements and other related corporate documents.
Spahn is a regular in Billboard’s Top Music Lawyers list, has been named to MusicRow’s InCharge list each year since 2021 and was named to The Tennessean’s Nashville 30 Under 30 in 2018. She is a University of Miami Distinguished Alumni (2021) and was named to the Leadership Music Class of 2019 and the Grammy NEXT Class of 2019. Spahn is also a member of the Nashville Bar Foundation Leadership Class of 2016-2017 and the 2016 recipient of the Nashville Bar Association President’s Award.
MusicRow: Where did you grow up?
I grew up in Palm City, Florida, about half an hour north of Palm Beach.
Photo: Courtesy of Spahn
Were you into music growing up?
Yes. I played classical piano and sang classical voice from elementary school on. Performing, being in choir and taking lessons really developed my love of music. I played piano and sang through college. It was an integral part of my childhood and shaped what I do today.
Did you always know you wanted to work in music?
Actually, I wanted to be a lawyer. When I was seven, I told my dad I wanted to be the first lady president. No political aspirations now, though. He told me presidents often go to law school, so I decided at seven to become a lawyer. That I stayed with me. When I toured colleges, I saw music business programs. It showed me that I could have a career as a lawyer combined with my passion for music. That solidified my path to becoming an entertainment attorney.
Photo: Courtesy of Spahn
Where did you go to undergrad?
I ended up at Elon University in North Carolina. I was originally a double major in music and political science. I auditioned for the music program and got in, but I quickly realized I didn’t need a music degree to become a lawyer. The workload of being a dual major was overwhelming because the classes didn’t overlap, so I dropped the music major to a minor and focused on the pre-law track.
I had some great internship experiences during undergrad. A key one was with CMT the summer between my junior and senior year, where I interned in music media and licensing business affairs. That really solidified that entertainment law was what I wanted to pursue, and it confirmed that Nashville was where I ultimately wanted to live and work.
How did you come across that internship?
It was hard to find entertainment law experience at the undergraduate level. I’d interned at a law firm and for the Attorney General in DC, but combining law and entertainment was tougher. I focused on cities that had music and positions that combined both things. I did the traditional application for CMT, did the interviews and got the position. It was a great summer that really made me fall in love with Nashville.
Photo: Courtesy of Spahn
Do you have any special memories from that internship that affirmed your career choice?
Definitely the excitement around the CMT awards and CMA Fest. Being submerged in the country music scene here and seeing how fans connect to the music made Nashville feel like a special place.
What was next? Where did you go to law school?
I applied to law schools all over but ended up at the University of Miami. I had no intentions of coming back to Florida, but they had started a joint degree program where you could get a master’s in music business alongside your law degree. It allowed me to get music business experience while getting my law degree, which was perfect way to be able to jump into an entertainment law career.
What stands out from that chapter?
The real-world experience in the music business program—learning how royalties are calculated and diving into the business side, while also getting my law degree. I had great experiences in Miami—I interned for Warner Music Latina and AEG Live—but my heart was still in Nashville.
Photo: Courtesy of Spahn
How did you transition to Nashville?
During my third year of law school, I took a trip to New York and then to Nashville, networking and meeting people. My trip to Nashville ended up being very successful and eye-opening. One of the law firms that I met with asked me how soon I could be here.
I only had one semester left, so I thought creatively and was able to figure out that I could do a visiting semester at Vanderbilt for my last semester and still graduate from the University of Miami. So, I spent my last semester of law school living in Nashville, going to Vanderbilt and interning for an entertainment law firm. Then I spent the summer studying for the Tennessee Bar exam so I could practice here.
What was next?
I passed the bar the first time but struggled to find an entertainment law position. The jobs were scarce and were never posted, and there weren’t as many Nashville companies that were hiring lawyers. So I did volunteer legal work and then landed a job at an IP firm to gain practical law experience. I kept networking, and eventually, Jim Zumwalt from Shackelford, Bowen, McKinley & Norton, LLP, who I’d met multiple times, called me when an associate gave him their notice.
Photo: Courtesy of Spahn
I had dinner with him that night. I flew to a Dallas to interview with the firm three days later and got the job a couple days after that. That job was never posted, it was just an opportunity I got through networking and maintaining relationships. Jim took a chance on a young attorney. That was 11 years ago.
I moved from associate to partner in 2019. Our Nashville office left Shackleford and joined Buchalter in May this year, where I’m now a shareholder.
When you first became an associate, was there anyone who helped you learn the ropes?
I’ve been fortunate to have multiple people champion and mentor me. Mark Robinson, who was in-house at Warner Music at the time, was instrumental in helping me meet Jim Zumwalt. Ever since I was a law student, Mark has been someone who I’ve been able to go to for advice. When I started at Shackleford, John Bider was a great technical lawyer, and I could always go to him with questions. His office was right across from mine. Jay Bowen is also a mentor, he’s a brilliant lawyer. I still go to him for advice.
Photo: Courtesy of Spahn
Do you have a story from early in your career when you realized you were really doing it?
When you’re first starting out as an associate, you do a lot of work for other people, but when you celebrate the success of your own client, it’s special. One that stands out is Ian Munsick. We developed a relationship early on, and I believed in his music from the beginning. He has a very unique brand and is true to who he is—I was a true fan from day one. He made a record that was self-funded, and I helped him and his wife and manager, Caroline Munsick, set up meetings and navigate things. I made the connection with Universal and he ended up getting his first publishing deal. I was subsequently on the team to help facilitate and put together his record deal with Warner Music Nashville. Now he’s having amazing success. It’s been incredible to be part of that journey.
[Another client of mine is] Redferrin. I did his first deal with Tree Vibez and have been a fan of his work from the start. I’m so proud of his success, especially in the past year. Also, Wild Rivers, a Canadian band I’ve worked with for seven or eight years. They’ve gone from playing in front of 20 people to selling out the Ryman, and that’s been amazing to witness.
Photo: Courtesy of Spahn
What are some of your favorite deals to work on?
I love working on the creative artist side when I have that passion, but I’m selective because music is personal to me. A lot of what I do now is on the company side, representing music tech companies, publishers, labels and live event companies. I have a lot of fun in that capacity because I enjoy helping them put all the pieces together and shape their agreements and company structures. It allows me to be creative while staying true to the business side.
What are you excited about with your new firm?
Buchalter has offices across the U.S. We’re not just entertainment litigators and transactional attorneys, so it’s exciting to have access to 500+ lawyers across many practice areas. If a client of mine is interested in starting a wine label or wants to get into NFTs, we have experts in all those fields. We might be looking at tax issues or visa issues with touring overseas. It’s a great resource for me and my clients.
What’s your favorite part of your job?
I love my clients. Eight of my top 10 biggest clients have been with me for six or seven years. I’ve been able to grow with them and be part of their success, which I love.
Photo: Courtesy of Spahn
It sounds like you’ve always been a go-getter. What drives you?
Probably my passion for what I do. Music has always been personal for me. I hated performing, but I loved being part of it behind the scenes. Now, I get to be involved in music in a way that suits my personality and strengths—putting the deals together and helping shape how music is consumed.
What’s the best advice you’ve ever received?
To be true to myself. As a lawyer, everyone has different negotiation styles. To be effective, you need to be authentic to who you are and how you do business. Knowing that has been key to my career.
John Titta. Photo: Courtesy of ASCAP
John Titta, Executive Vice President and Chief Creative Officer at ASCAP, has died following a two-year battle with cancer.
Titta has worked at the PRO since 2013, where he served in the executive role until his passing. At ASCAP, he led the entire membership team and was responsible for signing and working with all of the organization’s members, including the top names in music across genres and generations.
“All of us at ASCAP are heartbroken,” shared ASCAP President & Chairman, songwriter Paul Williams. “John Titta was one of a kind, and truly one of the most beloved music industry executives I have known, with deep ties to songwriters across genres and generations. John—you had a song in your heart always, and you will always be in our hearts. I miss you already.”
ASCAP CEO Elizabeth Matthews added, “John Titta’s warmth, his humor, his kindness, his love of family, and his passion for music were infectious. He was a north star for me personally, and for all of us at ASCAP. John was instrumental in the success of so many songwriters throughout his storied career, and he shared his love of music and songwriters so freely that we all felt the joy. All of us in the ASCAP family are devastated by his passing. Titta—we love you.”
Titta, a lifelong resident of Staten Island, started his career as a musician, songwriter and music teacher. He got into publishing with a job at Screen Gems/EMI Music as Professional Manager, signing such acts as Surface and The Smithereens. He eventually worked with legendary songwriters Carole King and Lou Reed, and had songs covered by Tina Turner, Grover Washington Jr., Alice Cooper, Joan Jett and Dave Edmunds.
Titta then moved to PolyGram Music Publishing, where he was named Vice President of A&R. There, he signed iconic artists like Bon Jovi, Richie Sambora, Pearl Jam, Brian McKnight, K.D. Lang, Billy Ray Cyrus and songwriter Jimmy Webb.
During this time, he was also responsible for individual hit songs including “Save The Best For Last” by Vanessa Williams and “The Folks That Live On The Hill” by Tony Bennett, and he oversaw A&R work on the compilation album Two Rooms, A Tribute To Elton John and Bernie Taupin and multiple movie soundtracks, such as Young Guns II: Blaze of Glory, Days Of Thunder, Scream, Bruce Almighty, Varsity Blues and more.
Titta served as Senior Vice President / General Manager of Warner Chappell Music, Inc. in New York from 1993 to 2006, where he signed such acts as Trey Songz, Fat Joe, Missy Elliott, Kid Rock, Collective Soul, India.Arie, Gavin DeGraw, Cassandra Wilson, Dan Wilson (Semisonic), Uncle Kracker, Shaggy, Simple Plan, Duane Eddy and Bruce Hornsby. He scored with hits such as the Grammy Award-winning “Smooth” by Santana, “Cry Me A River” by Justin Timberlake, “Lean Back” by Terror Squad,” “Waiting For Tonight” by Jennifer Lopez, “One Of Us” by Joan Osborne, “I Love You Always Forever” by Donna Lewis, “Pon De Replay” by Rihanna and many more, including songs recorded by Celine Dion, Ricky Martin, Patty Loveless and Marc Anthony.
Titta started MPCA Music Publishing and Recordings in 2006. The independent company featured the catalog of Blues legend Robert Johnson and songs by Sammy Cahn and Jack Wolf, among others, with songs recorded by Led Zeppelin, Frank Sinatra, Billie Holiday, John Mayer, Bob Dylan, Cyndi Lauper, Aretha Franklin and more.
He joined ASCAP in 2013, where his impact has been indelible.
Also a musician, Titta performed on albums by Ringo Starr and Gizelle D’Cole and played with Michael McDonald, The Doobie Brothers, Duane Eddy, Richie Sambora and Omi. He spent time with Bon Jovi keyboardist David Bryan on the Tony Award winning musical Memphis, and did production and A&R work on albums by Dionne Warwick, Todd Rundgren, Melinda Doolittle, Smash Mouth and Donny & Marie Osmond.
Titta is survived by his wife Lana Titta, his sons Alex and Julian, his daughter Martine, grandson Mason and his brother Michael. The family is planning a private service to be followed by a memorial at a later date.
In lieu of flowers, donations can be made to the John and Rose Titta Fund at The ASCAP Foundation, which Titta set up in memory of his parents to help children on the Autism spectrum through music programs. Donations can be made here or by sending a check to The ASCAP Foundation, 250 West 57th Street, New York, N.Y. 10107. In the memo section write: John and Rose Titta Fund.
The Academy of Country Music has selected its Board of Directors for the 2024-2025 term.
Previously-announced officer roles for the Academy of Country Music for the 2024-2025 term are Chair Randy Bernard, Vice-Chair Cris Lacy, Vice-President Jeff Krones, Treasurer Carmen Romano, Sergeant-at-Arms Gayle Holcomb, Parliamentarian Duane Clark and Secretary Tommy Moore.
This year, 11 of the 13 qualifying professional categories were elected by the Academy’s membership. In addition to those elected, director-at-large positions have been appointed by the Chair, Vice-Chair and Vice-President. Directors are elected from each category based on the number of members in that category. Each director serves a staggered two-year term.
Newly-elected members of the Board of Directors include Adam Weiser, Becky Gardenhire, BJ Hill, Cameo Carlson, Chandra Laplume, Cyndi Forman, Deana Ivey, George Couri, Jon Loba, Kristie Sloan, Lee Thomas Miller, Marcel Pariseau, Margaret Hart, Meredith Jones, Scott Scovill, Tim Roberts and Ward Guenther. Martha Earls and Scot Calonge have been elected to a one-year term to fill a previous vacancy.
Newly-appointed director-at-large members of the Board of Directors include Aaron Spalding, Andy Moats, Benson Curb, Candice Watkins, Chris Lisle, Cindy Mabe, Curt Motley, Emily Falvey, Howie Edelman, Jeremy Holley, Matt Cottingham, Rod Phillips, Sally Seitz, Shawn McSpadden, Storme Warren and Tim Foisset.
“As we enter into a milestone year with the 60th ACM Awards on the horizon on May 8, 2025, this will be a year of reflection on the impact the Academy has made on our industry, and a year to look forward on what the next sixty years will look like for the Academy and country music,” shares Damon Whiteside, CEO of the Academy of Country Music. “With the guidance of these leaders in our industry and on our board, I have no doubt that the ACM will have one of the most exciting, impactful, and successful years to date, and with this dedicated group of individuals, the sky is the limit.”
The complete board is listed below.
OFFICERS:
Chair of the Board: Randy Bernard, RWB Management
Vice-Chair: Cris Lacy, Warner Music Nashville
Vice-President: Jeff Krones, CAA
Treasurer: Carmen Romano, FBMM
Sergeant-at-Arms: Gayle Holcomb, WME
Parliamentarian: Duane Clark, FBMM
Secretary: Tommy Moore, Academy of Country Music
AFFILIATED:
Scot Calonge, Richards & Southern
Ward Guenther, Whiskey Jam
Deana Ivey, Nashville Convention & Visitors Corp
Scott Scovill, Moo TV
ARTIST/MUSICIAN/PRODUCER/ENGINEER:
Gena Johnson
TJ Osborne
Carly Pearce
Derek Wells
DIGITAL MARKETING/ DISTRIBUTION:
Cameo Carlson, mTheory
Margaret Hart, YouTube
MANAGER:
George Couri, Triple 8 Management
Enzo DeVincenzo, 377 Management
Martha Earls, Neon Coast
Kerri Edwards, kpentertainment
MEDIA/PUBLIC RELATIONS:
Marcel Pariseau, True Public Relations
Kristie Sloan, The GreenRoom PR
MUSIC PUBLISHER/PRO:
Cyndi Forman, UMPG
Shannan Hatch, SESAC
BJ Hill, Warner Chappel Music
RADIO:
Mike Moore, Cumulus Media
Tim Roberts, Audacy
RECORD COMPANY:
Jon Loba, BMG
Katie McCartney, Monument Records
Annie Ortmeier, Triple Tigers
Jennifer Way, Sony Music Nashville
SONGWRITER:
Lee Thomas Miller
TALENT AGENT:
Becky Gardenhire, WME
Meredith Jones, CAA
TALENT BUYER/PROMOTER:
Adam Weiser, AEG Presents
VENUE:
Jason Kane, Houston Livestock Show & Rodeo
Kevin Ream, Cheatham Street Warehouse
Troy Vollhoffer, Premier Global Production
VISUAL CONTENT:
Chandra LaPlume, Sandbox Productions
DIRECTORS AT LARGE:
Jake Basden, Sandbox Entertainment
Breland
Ryan Beuschel, The Neal Agency
Johnny Chiang, SiriusXM
Buffy Cooper, Morris Higham Management
Matt Cottingham, Lewis Brisbois
Benson Curb, Curb | Word Entertainment
Howie Edelman, Durango Artist Management
Emily Falvey
Tim Foisset, Spotify
Rusty Gaston, Sony Music Publishing Nashville
Jeremy Holley, FlyteVu
Beth Laird, Creative Nation
Chris Lisle, CLLD, LLC
Cindy Mabe, UMG Nashville
Shawn McSpadden, Range Media Partners
Daniel Miller, Fusion Music
Andy Moats, Pinnacle Bank
Mike Molinar, Big Machine Music
Patrick Moore, Opry Entertainment
Curt Motley, UTA
Chris Parr, MAVERICK
Rod Phillips, iHeart Media
Ryan Redington, Amazon Music
Mike Rittberg, Big Machine Label Group
Shannon Sanders, BMI
Sally Seitz, Apple Music
Aaron Spalding, Live Nation
Randi Tolbert, QPrime
Storme Warren, The Big 615
Candice Watkins, Big Loud
Erika Wollam Nichols, The Bluebird Cafe
PAST CHAIRS:
Chuck Aly, Country Aircheck
Lori Badgett, City National Bank
Duane Clark, FBMM
Ebie McFarland, Essential Broadcast Media
Ben Vaughn, Warner Chappell
Ed Warm, Joe’s Live
EX OFFICIO PAST CHAIRS:
Paul Barnabee, FBMM
Charlie Cook
Rod Essig, CAA
Mark Hartley
Darin Murphy, CAA
Ken Tucker, Wheelhouse Records
Butch Waugh, Studio2bee