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

/by

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.

My Music Row Story: Big Loud’s Stacy Blythe

/by

Stacy Blythe

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.

Leading Big Loud Records in achieving 14 No. 1 singles in seven years of business, Stacy Blythe is a vital part of the ever-changing game of radio promotion, storming right out of the gate in 2015 with the label’s first-ever single release, and driving it to the top of the charts for then-newcomer Chris Lane’s Gold breakout, “Fix.” As SVP of Promotion, she spearheads a team of 10, securing and maximizing airplay for the label’s roster, including Morgan Wallen, Jake Owen, Lauren Alaina, Hardy, MacKenzie Porter, Ernest, Hailey Whitters, Ben Burgess, Larry Fleet, Lily Rose, Ashley Cooke and Jake Worthington.

Blythe has contributed to the Big Loud roster earning multiple Gold, Platinum, and multi-Platinum certifications and accounting for more than 17 billion global streams to date, making Big Loud Records the Billboard Hot Country Songs label of the year for the last two years. The Pittsburgh native is a graduate of Middle Tennessee State University (MTSU) with other notable career stops at Category 5 Records, 1720 Entertainment and Stoney Creek Records.

Blythe will be honored as part of the current class of MusicRow’s Rising Women on the Row on March 23. For more details about the class and the event, click here.

MusicRow: Where did you grow up?

I grew up in a really small town north of Pittsburgh, Pennsylvania. I lived there until I moved to Nashville when I was 19. I’ve now been in Nashville as long as I was there, so Nashville also feels like home. I graduated in a class of 150 students, so the move to Nashville was a big deal.

I started college up there at Grove City College. I went there for two years. I knew I wanted to move to Nashville and that I wanted to be in the business, so I started exploring music business programs, but ultimately looked at internships here for record labels. At that point in time, they wouldn’t even consider you unless you were working towards a music business degree, so I had to transfer. I transferred to MTSU.

Photo: Courtesy of Stacy Blythe

How did you know you wanted to be in the music business?

I knew from a very young age. My parents were both very musical—they sang in church. That was really the start of music for me; being involved in singing and music in church. I fell in love with Randy Travis at a really young age and my parents were so great to take me to see him every time he came through Pittsburgh. I started watching what was going on on the side of the stage and just around me. As I got older, I realized that that was someone’s job. That blew my mind that that was even a possibility. At a young age, I knew that I wanted to be involved in music somehow I just didn’t know in what capacity.

What happened when you got here?

I’m a numbers nerd. I love math and Excel spreadsheets make me very happy. At the time I wanted to be in sales, putting CDs on shelves, so I applied for a sales internship at Sony. They had all of those spots full and Jordan Pettit called me and said, “Hey, there’s nothing in sales, but there is an opportunity in radio promotion if you’d be interested in that.” I didn’t even know that radio promotion was a thing. I grew up listening to country radio but I never put it together that it was someone’s job to get that music on the radio. So I interned at Sony with Jordan. He was probably the first person that I met that was incredibly impactful as far as my path and where I went from there.

Everything that they were doing [in that department] was so outside of my comfort zone. I did not want to be loud. I wanted to be behind a computer just doing my thing. I would listen to Bill Macky and Larry Pareigis on the phone. Listening to their conversations, I thought, “Man, how amazing is it that they’re making such an impact on an artist’s career.” There were some regionals there at the time and I would really just listen to what’s going on. That’s when I began to think maybe this was something that I could do. Bill really believed in me. I think he believed in me more than I believed in myself, and I just kind of fell into the path.

Photo: Courtesy of Stacy Blythe

What happened after that internship?

I graduated and my first job out of college was working as a studio assistant for a songwriter in town. I worked out of his home studio. It was great but definitely a stepping stone for me. One day, Bill Macky walks into the studio. We hadn’t seen each other since the internship and he said, “What are you doing here? I’ll call you this week.” He was on his path from Sony to his next opportunity and he called me and said, “Hey, I’m, I’m going to this start-up label, Category 5 Records, would you be interested in being my promotion coordinator?” It was an instant “Yes.” It was my dream opportunity to work with him.

Category 5 had some rocky times and Bill went to another company called 1720 Entertainment and took me with him there. He eventually promoted me to Northeast Regional. We worked with an artist named Rissi Palmer there. We have so many great memories from that period of time. She was the first Black woman to chart a country song since Dona Mason in 1987, so we were making history there and Rissi just became such a great friend.

What was next?

1720 Entertainment started to end. Then Broken Bow launched Stoney Creek and I went over there to be the Northeast Regional. We were working Megan Mullins and Ash Bowers. I was there for a good period of time and then Big Machine launched Republic Nashville. I got a call one day that they were hiring a Southeast Regional and asked if I would be interested in it. I was like, “I don’t know if this Pittsburgh girl can survive in the south.” I remember walking into WKXC in Augusta and Chris O’Kelley gave me the biggest hug and I was amazed at how they skipped business pleasantries and went straight to fast friends in the south.

I was there for about six years. It was such an important time in my career. We were launching Florida Georgia Line and The Band Perry. We did so many cool things with Martina McBride and Eli Young Band.

Photo: Courtesy of Stacy Blythe

How did you get to Big Loud?

While I was working with FGL, I met Seth England, who was managing them at the time. In 2015, Seth called me and said, “Big Loud is going to start a label. Would you be interested in coming over here to run the promo team?” That was a big jump. He sent me what ended up being Chris Lane‘s very first EP. I got three songs in and I called him back and said, “I’m in.” So in 2015, I came to Big Loud. We built this team and the rest is history.

I came on as national and then in 2018, we were growing and we knew that we needed help. We started to have some success with Morgan Wallen‘s “Up Down” and there was just a lot going on. We knew that we needed another body so that’s when we started the search for a national and they elevated me to VP. Beyond that, we kept growing. We went from working two or three records at a time to working five or six. So then we elevated Tyler Waugh to National, Ali Matkosky to VP and me to SVP. Now we’re in a really great place where everything feels like a well-oiled machine. So much has happened in seven years, we’re so blessed.

What do you remember about the early days of Big Loud?

When we were going for No. 1 on “Up Down” with Morgan, we were in a really tight race with Warner and Blake Shelton. It was the first at Big Loud for me as a leader that was that close. Saturday night, a bunch of my friends from other labels came to my house. We were FaceTiming programmers, everyone brought wine. Having that support from my friends, who are also competitors, was so special. We were all one family. That night is one of my favorite memories from the beginning of this.

Photo: Courtesy of Stacy Blythe

What is the most fulfilling part of what you do?

Watching an artist’s dreams come true. Watching an artist have their first charted single or have their first No. 1. All of those little moments that we get to be a part of are so incredible. It’s so special to be a small part of someone’s big dream.

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

When I started, there were not a lot of women on the radio promotion side at all. Especially in leadership positions. Now, there are so many and that makes me so happy. We have a team of 10 total here on our promo team and three are men. We’re 70 percent female on this team and I know you wouldn’t have found a team when I started that was that heavily female. That made it a little bit more intimidating when getting into the field, but I think of all of these strong women like Kristen Williams, Katie Dean and Cindy Mabe that are all leading teams now and so impactful.

At Big Loud, we have a female head of marketing, a female running the publishing company, a female head of international and myself. Seth, Joey [Moi] and Craig [Wiseman] really empower females. They have never made any of us feel lesser than.

My Music Row Story: RIAA’s Jackie Jones

/by

Jackie Jones

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.

Jackie Jones is the Senior Vice President, Artist and Industry Relations for the Recording Industry Association of America (RIAA) and serves as the organization’s chief representative in Nashville.

Jones helps elevate creators across genres while also translating copyright reform, trade negotiations, and creative policymaking for the industry. She brings together artists, songwriters, managers, labels, venues, advocacy groups, tech companies and distribution services to work towards common goals through events, conversations and educational opportunities.

Jones will be honored as part of the current class of MusicRow’s Rising Women on the Row on March 23. For more details about the class and the event, click here.

MusicRow: Where did you grow up? How did you get into the music business?

I grew up in Memphis, so I have always been surrounded by so many kinds of music. I was also super interested in television growing up so it would make sense that my dream was to produce [the VH1 show] Behind The Music. In college I studied TV and film, but I kept coming back to the music side of entertainment. Once I transferred to MTSU, an internship at CMT turned into a full-time position and I worked as a producer and writer before I joined the talent team, where I produced and booked talent for both music programming and live events.

Pictured (L-R): Jason Derulo, Jackie Jones, Luke Bryan. Photo: Courtesy of Jackie Jones

What were your favorite things you got to do at CMT when you were a writer/producer?

I got to work with a team of producers to create original content for online programming, which was so special because no one at CMT had done that before. We were able to try a lot of new ideas while creating everything from scratch, including producing the first online awards show—hosted by Taylor Swift with Lady A as the house band. It was a blast!

What did you do once you joined the talent team?

I had never been a part of live productions and helping to create musical moments on TV until CMT Music Awards and Artists of the Year, but once I started working in that realm, there was no turning back. The rush and thrill of creating a live television show is still one of my favorite things in the world.

You joined RIAA in 2019. How did that happen?

I had never really thought about this advocacy side of entertainment, but the more I got to know Mitch [Glazier, Chairman & CEO] and Michele [Ballantyne, COO], I could see how the work RIAA does truly impacts the entire music community. Their overall approach was really appealing to me because they not only believe that if the advocacy groups work together, we can advance legislation, but their passion reminds me of my own. There are advocacy groups representing every part of the industry, and we know that if we go to legislators together as one voice, we can accomplish so much more.

Now that you’re a few years into your work at RIAA, what are some of your biggest focus areas?

My focus now is to help protect and connect the music community. Whether it is through educating policymakers on how to support our industry or educating the industry on how we need to approach new technologies, it is vital that our united voices are heard. Creators deserve to be compensated fairly for their work and that can only happen when the industry grows in a healthy way.

Pictured (L-R): Maverick’s Chris Parr, RIAA’s Jackie Jones, Darius Rucker, UMG Nashville’s Mike Dungan. Photo: Strange Bird Media

What’s a day in the life look like for you?

From the start, it has been important to see where we have needs as an industry, then begin to foster relationships where they didn’t exist or needed a bit of nurturing. From different advocacy groups to artist management teams and other industry executives, it is vital that we all educate each other and collaborate on issues. One of my primary goals has always been to show legislators why creating and protecting music is so important. I spend a lot of time planning and hosting events that encouraging conversation between artists, industry leaders and members of Congress.

When the pandemic quickly halted in-person engagement, RIAA quickly pivoted to meet the needs of our industry and worked hard to protect all sectors with the COVID relief bills. I also worked one-on-one with creators to help them find and apply for any available resources that could help during that time.

We also moved to virtual events that focused on other issues such as a panel on mental health with JoJo and Miles Adcox, a conversation with Jimmie Allen about race in country music and began a program called Music Matters to highlight artists’ advocacy and charitable acts.

The last several months as we’ve been able to come back together, I served as executive producer for RIAA Honors: Pioneers of Hip-Hop in DC, booked a panel with Caitlyn Smith and her all-female team to both celebrate and discuss their experiences of women in the industry, am helping to launch the second iteration of the Music Business Accelerator program at TSU, among other initiatives.

In 2019 you produced the inaugural RIAA Honors. Tell me about that.

This event is a great example of us giving legislators a behind-the-scenes experience with artists, songwriters, and their teams to actively show them why protecting music and creators is so important. It’s fascinating to see the impact of these visits, whether it’s legislators talking to a songwriter and hearing about the creative process, speaking with an artist whose music they love, or just learning about how a record is made. These moments open the door for us to have more meaningful conversations and engage our community goals with policymakers’ priorities. The inaugural RIAA Honors recognized Miranda Lambert for her support of women throughout her career and Co-President of Black Music at Atlantic Records Lanre Gaba, who has fostered careers of Lizzo, Cardi B, Jack Harlow and many others. Lanre shared how she finds artists and why labels play such an important role artists’ careers. The event also acknowledged policymakers who were instrumental in helping us pass the Music Modernization Act.

After a two-year hiatus due to COVID, we were able to again host the celebration in 2022 with RIAA Honors: Pioneers of Hip-Hop. Grandmaster Flash, MC Lyte, UMG’s Jeff Harleston and Minority Democratic Leader Hakeem Jeffries were recipients of the accolade for their contributions in moving the genre forward. It was a really impactful event that shared the importance of music on culture and allowed so many legislators to get a real feel for why music matters.

Pictured (L-R): Brandi Carlile, Jackie Jones, Wynonna Judd. Photo: Courtesy of Jackie Jones

RIAA is probably most known by its lauded Gold & Platinum program. What goes on behind the scenes in presenting those?

It’s interesting because prior to working at the RIAA, I only knew about the Gold and Platinum plaques because an artist would post a photo, a label would host an event, or I’d see the multi-Platinum accolade used as an awards show introduction. As I started talking to Michele and Mitch, I learned RIAA not only celebrates these commercial successes but is an advocacy group that lobbies for music rights and content protection. The Gold & Platinum program not only helps us to celebrate artists’ creativity, consumption milestones, labels at work and fan engagement, it is also great way for RIAA to engage policymakers. There are a lot of people who do not know the breadth of what the RIAA does, which is part of why I’m here: to educate and help people understand the full scope of how we are working on behalf of the industry.

It sounds like RIAA does a lot more than people realize. What do you want people to know that RIAA does?

In addition to the Gold & Platinum presentations, which are important and a lot of fun, there is advocacy going on behind the scenes where we are lobbying for the music industry as a whole. First and foremost, we are fighting for the rights of our entire community. That also includes content protection, and the RIAA has people scouring the internet for stolen music 24/7 in addition to filing federal and state court cases. Our team balances state and federal law to make sure that we’re protecting rightsholders.

Our research team is dedicated to analyzing trends and consumption, which is shared in a mid-year report and a year-end report as an asset to the broader industry as well as education tool for policymakers. As with each advancement in technology, and currently AI, protecting human creators is the priority. We are working hard to ensure that our creators are protected and that we can use AI to enhance human art, not replace it.

When do you feel most fulfilled in your role?

When an artist, industry leader or songwriter really connect with a representative, it makes me feel like the work we are doing matters on a human level. Getting to witness when it clicks that music has a broader impact on society and connects on a personal level, it’s really special.

Music and politics are two worlds that are shockingly similar—comprised of well-known people with a substantial amount of influence—so when they get together and realize that they share interests or when a representative gets excited about a project that a creator is working on, that is really motivating. It makes me feel like we all really can find common ground and be a part of something together. That’s when I feel the most fulfilled.

Pictured (L-R): Jackie Jones, Missy Elliott, RIAA Chairman & CEO Mitch Glazier. Photo: Courtesy of Jackie Jones

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

Have grace under pressure.

Who have been some of your mentors?

I was so fortunate to get to work with Chet Flippo, who was the Editorial Director at CMT when I started. Being in the room as he talked about new artists and new music was fascinating. He always had a clear opinion and was always kind about whatever opinion he had. He taught me that being direct and honest could also be kind. He made all of us better.

I have also been really lucky to come up alongside some strong, talented and brilliant women. I have learned so much from each of them and love that we have built this community that supports and cheers each other on. Finding peers you admire is an important part of building your network and will provide you with lasting friendships and advisors throughout your career.

What is one of your most fun career memories?

When Dolly Parton released her children’s album, she invited members of the media to bring their kids to a “Storytime with Dolly.” Just like her mother, my daughter has grown up listening to Dolly her whole life. When she met Dolly she said, “I love you Aunt Dolly,” and Dolly said, “Well I love you too sweetie.” It will forever be one of my favorite memories.

Pictured: Jackie Jones & family with Dolly Parton. Photo: Courtesy of Jackie Jones

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

Nashville has an incredible music community, and I think we are lucky to have many leaders working to create environments that are welcoming to all people. There is still a lot of work to be done, but it has made me proud over the last several years to come together with others who believe in having more voices represented and celebrating our diverse experiences.

As a woman who has a young daughter, I also think it is vital that we create an environment where there are adequate benefits and support systems that enable women to thrive both at work and home. If we truly want to make space for more women executives, we need to make it possible. I am fortunate to work at a company that enables me to be a mom and an important contributor to this industry. But not everyone is so lucky. Which is why I am working to change that for future generations through my work as a founder of Family Alliance in Music.

What advice would you give new execs looking to you as an example?

Treat people well and be honest. In a business that can sometimes be known for schmoozing, nurture real relationships with people who support and encourage you. Those are the people that will be standing next to you in the good and bad times, no matter what path you take.

My Music Row Story: Spotify’s Brittany Schaffer

/by

Brittany Schaffer

The “My Music Row Story” weekly column features notable members of the Nashville music industry selected by the MusicRow editorial team. These individuals serve in key roles that help advance and promote the success of our industry. This column spotlights the invaluable people that keep the wheels rolling and the music playing.

As Head of Nashville Label Partnerships, Music Strategy, Brittany Schaffer co-leads Spotify’s Music Team in Nashville, with responsibility for setting the vision of the team and cultivating and nurturing industry partnerships across the greater Nashville market. Schaffer co-leads the development and execution of Spotify’s global strategy to grow the country, Christian/Gospel, and Americana genres, and has been a leader in an era-defining shift in country music consumption habits.

Her work includes the transformation and marketing of the flagship playlists Hot Country and Indigo, bringing country music to fans through Spotify’s annual four-day activation at CMA Fest, extending the St. Jude t-shirt campaign into streaming, and ongoing global artist marketing campaigns. Schaffer has also been instrumental in strategically acquiring and retaining an impressive team to meaningfully bolster Spotify’s presence in the Nashville market and has built a culture of teamwork and collaboration that fuels Spotify’s partnerships across Nashville.

Outside of Spotify, Schaffer is a highly engaged board member of CMA, CRB, and St. Jude Country Cares. Prior to joining Spotify in January 2018, Schaffer spent more than seven years practicing law in the Entertainment Department of Loeb & Loeb, LLP, where she was Senior Legal Counsel.

Schaffer will be honored as part of the current class of MusicRow’s Rising Women on the Row on March 23. For more details about the class and the event, click here.

 

MusicRow: Where did you grow up?

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

Were you musical growing up?

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

Brittany Schaffer and Leighanna Smith as interns at CMA Fest 2006 with Rhett Akins

How did you start your career in the business?

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

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

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

Loeb & Loeb team at the BMI Awards

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

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

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

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

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

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

Spotify House at CMA Fest 2019 with Lil Nas X and Billy Ray Cyrus

Looking at the rest of 2023, what excites you about what Spotify has planned?

2023 feels like an exciting next phase for Spotify in Nashville, with a growing team and more great music from all genres coming out of Nashville than ever before. This year will focus on how we can bring together the music community within Nashville and continue to lean into key cultural moments—particularly around Nashville’s core genres. We will help more independent and diverse artists break through the noise, tap more into our global footprint, and spend more time with the songwriting and publishing community. There is a lot of energy amongst the team this year, and I think you’ll see that filter into everything we do throughout the year.

We will be honoring you at next month’s Rising Women On the Row event. When you look back on your career, what are you most proud of?

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

Spotify team with Reba at the announcement of her Spotify Podcast in Nashville 2019

Who have been some of your mentors?

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

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

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

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

My Music Row Story: Neon Coast’s Martha Earls

/by

Martha Earls. Photo: Angelea Presti

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.

Martha Earls is the owner of management company Neon Coast, and personal manager to Platinum-selling artist Kane Brown. Signed to Neon Coast is country band Restless Road along with other music and non-music clients. Together with Brown, under the Neon Coast name, she started Sony joint venture record label, 1021 Entertainment, and production company Demasiado.

Demasiado has produced award-winning music videos, awards show performances and television commercials. More recent signings to the management company include Nightly, Dylan Schneider and Feather. Earls started her management company following a successful run in music publishing. She has been honored multiple times by Billboard and the Nashville Business Journal.

Earls will be honored as part of the current class of MusicRow’s Rising Women on the Row on March 23. For more details about the class and the event, click here.

MusicRow: Where did you grow up?

I was born in Ohio, but grew up in central Pennsylvania. I obviously had no idea about the music industry. I was good at playing the piano and I was good at track and field. I got a really great college scholarship based on my piano playing, so I went to a small music school in New Jersey. That’s where I met Mike Molinar and how we became friends. He’s from El Paso, but he moved up there to go to this music school.

What a coincidence. Did you know what you wanted to pursue while in college?

You had to declare a major and I didn’t know what I wanted my major to be. I didn’t want to be a teacher and I didn’t want to be a performer. I didn’t even really like playing the piano that much, I just got this great scholarship. While looking at majors, I found one and was like, “Oh my God, that job only works twice a week and makes a full salary. I’m going to major in church organ!” [Laughs] It was so ridiculous.

Two or three weeks into it, I was miserable, but I toughed it out for a year. The school was really small with only around 350 students, but there was one girl there who was graduating and going to NYU for law school. She said she was going to be an entertainment lawyer. That opened my eyes to the entertainment industry. Over the summer after my freshman year, I started looking online and discovered MTSU and Belmont. I knew I wanted to move out of the northeast, and being from a small town, country music was massive. I came down here to visit and just loved MTSU.

Pictured (L-R): Martha Earls, Kent Earls, Chuck Wicks, Luke Bryan, Rusty Gaston

How did you start your career while at MTSU?

I started interning at Warner Chappell. Dale Bobo was there at the time. Him and Michael Knox hired me for my internship. Tim Wipperman ran the company and he was amazing. I was in the catalog room, which was the last stop writers would make before they went out the side door into the parking lot at Warner Chappell. They would always drop by and hang out. I loved it. I really fell in love with the creatives. That was the start to my music industry career.

I interned that summer of my senior year and then told them I was having such a great time and didn’t want to leave. They let me do another internship. They didn’t have the budget to pay me but I didn’t care. Then the receptionist left and they offered me that job. I was still in school and taking a decent number of classes, but I was like, “Yes, absolutely.” In March of my senior year, they promoted me to a full time position in the tape room.

About a year later, they promoted me to a junior song plugger. I found during my time at Warner Chappell that I really liked working with the artists-songwriters even more than the regular songwriters. I really enjoyed taking the meetings with artists rather than going and meeting with other A&R people. For whatever reason, I could really dial into the artists. I got to work with Jason [Aldean] early on and Little Big Town.

What was next for you?

Next, I went to BMG publishing. At the time, Karen Conrad and Ron Stuve were there. That was great because it was different than Warner, where we had like 100 songwriters. At BMG, Ron and Karen ran it more like an independent—they only had about 20 songwriters. And again, I kept [being drawn to] signing artists. We signed Jake Owen, Chuck Wicks, and a couple other guys.

Pictured (L-R): Braeden Rountree, Martha Earls, Kane Brown, Liz Kennedy, Randy Goodman

Then you started a publishing company with Mike Molinar.

I felt a constant pull to do more. Mike was working for Cal Turner at the time. We decided we needed to start a company. I always felt a desire to have my own company and Mike was ready to spread his wings. We went around town and pitched our idea to start a publishing company to everybody. Nobody was really into it. We finally found an investor and he really believed in Mike and I.

He invested in our company and it was very family-oriented. Mike and I signed three or four songwriters. We had some success, we had some big cuts, and we got it going. The investor ended up buying us out, which was great. It gave us the capital to start the 2.0 version of the company, but it was all very bare bones.

When we started building the next version of the publishing company, I started feeling like I wasn’t maximizing myself. I always felt like the shoe didn’t quite fit. So when Mike and I started the 2.0 version of the company, we decided to sign more artists and producers. We signed an artist named Greg Bates, who was at Belmont at the time. Jimmy Harnen heard about him and invited him to come to Big Machine. He played at Big Machine and Jimmy signed him. Then I just started handling everything for him.

So that’s how you got into artist management.

I don’t even know if she knows, but Kerri Edwards is such an important example for female managers in the music industry. At that time, I was thinking, “Kerri started working with Luke [Bryan] out of the publishing company. I’m just going to follow that mold until it doesn’t work anymore.” It came so much more naturally to me to manage an artist’s career than this literal decade of publishing experience. That was what got me into management.

Things were going well with the company that Molinar and I started. Scott Borchetta didn’t have anything like that, so our company became what is now the publishing company that Mike Molinar has. He’s done such amazing things with it. I was able to be at Big Machine for a year while we transitioned that company over, and that was amazing. Even though everybody knew I was going to do management full time, I got to learn so much. It was right when Taylor Swift was releasing Red and making her jump from being a huge country artist to being a global superstar. That’s what I got to witness.

Fast forward to now, with what I’m doing with Kane, that experience was such a gift. It was placed in front of me for me to learn anything is possible. Scott had no fences built around anything.

What did you do after your time at Big Machine?

I knew I wanted do management full time, but I felt like there was more to learn. I went over to Sandbox and was there for two years. That was a whole different experience. They released Kacey Musgraves‘ Same Trailer, Different Park album on a Friday and I started on the next Monday. It was really interesting to watch an artist blow up without having the traditional country radio piece.

At the end of that, I was asked to be a consultant for Michael Blanton and his company. In exchange for two hours of consulting a week, he gave me an office. Jay Frank, who had his own digital marketing company, called me and asked me to run his independent label. I had never done anything for an independent label before, but he needed somebody to oversee it. That was crazy, too. I learned how to make a music video for $5,000, how to get vinyl pressed, and all that kind of stuff.

Pictured (L-R): Kane Brown, Martha Earls

How did you end up working with Kane?

One day Jay said, “We have this guy that somebody on our staff found online. He’s country and we signed him to a management agreement if you want to help out with that.” I don’t think Jay really knew what he had with Kane at the time. I met Kane and I was like, “Jay, all this other stuff you’re working on is nonsense. This is the thing. Kane is the thing.” I just jumped in feet first with Kane.

In 2016, it became just me and Kane. We’ve just been building what we’re doing ever since. It’s kind of a mixture of the tenacity that Scott had that says we can have great success and do anything, and then also the understanding of you don’t have to do things the traditional way. From having created my own publishing company and really struggling, I didn’t get defeated by anything.

Now Kane is a multi-Platinum superstar, but what were those first few years like?

[The first thing we did] was put out an EP called Chapter One that had “Used To Love You Sober” on it. Florida Georgia Line and Seth England could see things early with him, so they put him on tour. He was first of four and got to play for 15 minutes, but it was amazing. We were having trouble at country radio with “Used To Love You Sober,” and there was a lot of preconceived notions about who people thought Kane Brown was, because of how he looks. He’s biracial, he had tattoos, he had success on social media.

Kane met Dann Huff. Dann cut “What Ifs,” a song that Kane wrote. “What Ifs” wasn’t a single yet, so we put that [Kane Brown] album out with no single on the radio, and it still did really great. In 2017, we got a new radio guy at RCA when Dennis Reese came over. He’s been Kane’s biggest champion at the label. He’s such a wonderful guy. He came from the pop world, so he didn’t have any boundaries. [With Dennis on board], “What Ifs” became an eight-time Platinum single. It’s one of the biggest songs in the history of country music. That got things going and we’ve just been building on that ever since.

Pictured (L-R): Clay Bradley, Michael Giangreco, Ernest, Rusty Gaston, Kane Brown, Stevie Frasure, Jesse Frasure, Kent Earls, Levon Gray, Vanna Moua, Martha Earls, Spencer Nohe, Dennis Reese. Photo: Steve Lowry

In the last few years, your company has grown substantially. You and Kane have built a joint venture record label with Sony Music Nashville, as well as a publishing company with Sony Music Publishing.

We were out in LA for for the “Saturday Nights” video shoot. I was feeling like it was time to start growing. I asked him, “How do you see yourself? Do you see yourself as an artist who tours six months out of the year and then takes six months off and chills with his family? Or do you see yourself like a Florida Georgia Line, who when they’re not touring, they’re still writing, producing, signing artists, running a publishing company and a clothing store?” He said, “I want to be like that. I don’t know how long everything will last.”

That was when we decided to expand the company. I saw all these different verticals. I could see a joint venture label, where we sign artists, as well as a publishing side of things. We started a production company and signed other management clients, too. Kane gets a taste of all of it because I want him to feel invested in everything.

We will be honoring you at next month’s Rising Women On the Row event. If someone were to ask you how to be successful in this industry, what would you tell them?

That’s a great question. You can measure success so many different ways. I feel like what it is is being comfortable, satisfied and proud of the work that you’re doing. Owning your space and acknowledging to yourself that you deserve to be there.

My Music Row Story: City National Bank’s Diane Pearson

/by

Diane Pearson

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.

Diane Pearson is Sr. VP, Manager at City National Bank’s Nashville office. With over two decades of entertainment banking experience she provides financial solutions to music industry professionals including artists, songwriters, business managers, producers, artist managers, performing rights organizations, agencies, publishing companies, entrepreneurs, labels and law firms.

Pearson helped launch City National Bank’s Nashville office in 2011, co-managing the Nashville Entertainment Division with Lori Badgett. She serves multiple philanthropic organizations, including sitting on the board of Musicians On Call and Leadership Music.

MusicRow: Where did you grow up?

I grew up in a small town in Kentucky called Lewisburg. I tell everybody, though, that I’m from Russellville, Kentucky because they’re right next to each other. Russellville is near Bowling Green and people have actually heard of Bowling Green.

What was your dream job then?

My dream job was to be a stay-at-home mom and have about six kids. [Laughs] No music business. No working. But as you can tell, that did not happen.

Photo: Courtesy of Diane Pearson

When did that desire change for you?

My parents moved me my senior year of high school to Nashville. That was a huge difference coming from a very small town—there was a bit of culture shock. I started working as a relief teller for Third National Bank while I was taking classes. When you’re a relief teller, you go around to different offices and fill in for people while they are on vacation or out sick. So I didn’t really have a home office until I landed at an office called South Madison.

There was a lady there by the name of Ellen Kemp, who was one of my very first mentors. There was just something about Ellen. She was just the epitome of class. She loved sports—I do, too. She had the best clothes, the best jewelry, she was just always dressed perfectly. She was well respected and loved in the community, everyone looked up to her. She managed the office, but was primarily responsible for all of the lending. That’s when I realized lending was something I would like to get into someday.

Photo: Courtesy of Diane Pearson

Now that you had a different example to look up to, how did you start your career?

Ellen took me under her wing, but unfortunately for me, she was also at the age of retirement. So I knew I was going to lose Ellen. Another friend of mine, Kim, was working at South Madison and was picked to help launch the Entertainment Division of Third National Bank (a SunTrust Bank) as an FSR (Financial Service Rep). She knew my passion was the lending side, so once a position opened up, she told me. I applied for the job and was lucky enough to get an interview with Brian Williams. I was not qualified for the lending position at all, but he saw something in me and decided to take me on. I later found out that once Ellen Kemp found out I went and interviewed, she picked up the phone and called Brian to tell him she believed in me.

Brian truly was the pioneer of music industry banking. To be able to work WITH him (he never let you say you worked “for” him) for almost 20 years before he passed away was just the best experience I could have ever asked for. He taught me everything about the music business and how to make work fun.

Photo: Courtesy of Diane Pearson

What do you remember about those days?

I hate to call it the “roaring nineties,” but it was. There was always something going on, whether it was a No. 1 party or a Gold or Platinum Party. There were all these events. Brian made sure I was armed with everything I needed to know about the industry, but he also was such an advocate of introducing me to people. I was always welcome at the table and that was something I’m very appreciative of. He taught me the ropes, he taught me about how to give back to the community and to make sure you’re heavily involved in non-profit work.

When Brian passed away in 2006, it was devastating. Not only to me because I had lost my mentor and my friend, but the bank lost its visionary for the Music Industry, because Brian was the one who created it. I stayed there for five years after that. I felt like if I left, I was leaving his legacy behind, which was really hard. But in walks Martha Henderson, she was an angel who came in and made me realize I could continue Brian’s Legacy working with her at City National Bank as she was the Division Leader for their Entertainment Division. She is in her 40th year at CNB and recently was promoted to Vice Chairman.

She is Ellen Kemp and Brian Williams all rolled into one. She is just phenomenal. She can go toe-to-toe with anybody and win. She’s compassionate. She’s kindhearted. She truly treats her employees and clients great.

Photo: Courtesy of Diane Pearson

You helped Martha start the City National Bank office in Nashville from the ground up. What was that like?

March 31 is when we started. We were in the old MCA building and then we moved into our new office right next door in August of 2011. Nobody had heard of City National Bank 12 years ago. They knew us but they didn’t know City National, so we didn’t have to sell ourselves because people knew who we were, we had to sell the bank.

Again, Martha was the visionary just like Brian was. When we came on board, it was almost like we were taking a step back in time in some way. We like the office to feel like Mayberry from the Andy Griffith Show. It’s a small town, it’s a small community. We want a Cheers atmosphere, where everybody knows your name. We don’t ever want to be “the big bank,” even though we are a big bank.

When was a time that you struggled at the beginning of building the City National Bank office?

I can tell you when it didn’t feel like it was going to be a success. I work a lot with business managers and artists. I always keep up with CMA and ACM Awards and see [which nominees] are clients and who are not.

I always wanted a hundred percent sweep, meaning every on air award winner was a client. The first CMA’s I attended as a CNB employee was hard. That was the year everybody that had been my client won an award.

There was the sweep I longed for but not everyone had made the move yet, it was just like a gut punch. This [had been a goal of mine] my whole career, to have clients in all of these categories. I remember walking out of that award show and Martha Henderson looked at me and said, “Honey, I’ve been through this before. It’s a marathon, not a sprint. Don’t worry they will come.”

She was 100% right. After the first year, I started getting more and more clients.

Photo: Courtesy of Diane Pearson

That’s awesome! When do you feel most fulfilled in what you do?

I feel most fulfilled when I get an artist on the very beginning of their career and [see them] get their first record deal or first publishing deal. Seeing them have a No. 1 party, play their first time at the Grand Ole Opry, or sell out Madison Square Garden. That’s when I’m most fulfilled. Every little step along way. They’re like my children. I’ve got all these kids now running all over the place. What fulfills me the most is seeing them succeed.

Does any particular story come to mind about supporting an artist from the beginning?

Roger Murrah, who owned Murrah Music Publishing, had signed Luke Bryan to a publishing deal. Roger called me and said, “I’m sending this new kid from Georgia over to you. Take care of him, I think he’s got something.” So Luke comes over to my office and we start a friendship.

I remember pulling into my driveway one day and my phone rang, it was Luke. He said, “Hey baby”—that’s back when I thought I was the only one he called “baby”…ha! He told me he got his record deal and I cried. He was like, “Oh my gosh. Are you crying? You’re worse than my mama.”

When he played the first time on the Opry, I was invited to come. I was standing backstage and Luke was walking out on stage. I’m known as the CEO “Chief Emotional Officer”. So someone looked over at me and said, “Oh God, Diane’s getting ready to cry.” Mike Dungan turned around and I was waiting for him to say something sarcastic. He said, “Are you seriously getting ready to cry? I think that’s the sweetest thing. We need more people who actually care about the artists.” It’s like your kid getting on stage for the first time, and then now look at all that he’s accomplished. That’s what fuels me. I love celebrating everybody’s successes.

My Music Row Story: SMACK’s Robin Palmer

/by

Robin Palmer

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.

Born and raised in Amarillo, Texas, Robin Palmer arrived in Nashville in 1979 to attend MTSU, majoring in Recording Industry Management. She interned and worked for Jim Ed Norman’s publishing company, Jensong before it sold to Tree Publishing. Soon after, she went to work for Eddie Rabbitt’s Deb Dave/Briarpatch Music, making tape copies and pitching songs, working with such writers as Even Stevens, Thom Schuyler and Paul Overstreet. In 1984, James Stroud formed The Writers Group with songwriters Schuyler, Overstreet, and Fred Knobloch and Palmer joined as their song plugger. The company was successful with songs such as “Forever and Ever, Amen, “You Can’t Stop Love,” “When You Say Nothing At All” and “On The Other Hand,” among others.

Screen Gems-EMI (now EMI Music Publishing ,part of Sony Music) purchased The Writers Group catalog and Palmer began a 10-year stint as Creative Director, and Senior Creative Director under the leadership of Celia Froehlig. In 1996, Celia and Robin started their own Froehlig Palmer Music, and had many notable cuts, especially “Where The Green Grass Grows” (Tim McGraw) and “We Were In Love” (Toby Keith.)

In 2008, she re-connected with past acquaintance Shane McAnally, and they started working together, eventually getting their first No. 1 with “Somewhere With You” recorded by Kenny Chesney. Many more hits have followed, and the collaboration has grown to become SMACK Songs, which currently has a roster of 21 writers. Palmer currently serves as Chief Creative Officer of SMACK and continues her favorite role of developing and nurturing writers.

MusicRow: Where did you grow up?

Amarillo, Texas.

Were you into music as a kid?

Always. My mother played records constantly. She played Ray Charles, Marty Robbins, The Oak Ridge Boys, Kenny Rogers, Ronnie Milsap and even Broadway musicals. I would look at all the liner notes and read every bit, so I knew who some people were before I moved here.

Did you play any music?

I played piano.

Pictured (L-R): Marc Beeson, Robin Palmer, Bryan Kennedy and Celia Froehlig

Did you know you wanted to be in the music industry then?

No. I never would have gotten here if it hadn’t been for my brother Randy. He lived in Nashville and was working on songwriting. I wanted to see what was outside of Amarillo, and he offered me the chance to move to Nashville. He said, “You can come be my roommate and go to MTSU. It’s just down the road.” That’s how I got here. If it hadn’t been for him offering that, I don’t know what I would have done.

Did you study music business at MTSU?

I did but I didn’t mean to. I had no sense of direction. I thought I might want to do advertising or something in mass communications. On orientation day at MTSU, I walked into the Recording Industry Management department by accident because they were in the same building as mass comm. When I walked in, Geoff Hull, who was the head of the department, was talking about the music industry. I changed my major that day.

For my internship, they sent me to Jim Ed Norman‘s publishing company called Jensong. Walter Campbell was the plugger there and I interviewed with this woman named Paige Rowden, who later became Paige Levy.  She said, “We’ve had the worst male interns. If you’re you’re willing to work and have ovaries, you’re our intern.” [Laughs] She said, “I need help and an ally.”  

During my internship, I made tape copies, typed lyrics and just absorbed everything. I was keeping track of everybody that came in. I did notice there weren’t many women that came in to play songs or drop off cassettes.

Did that intimidate you or motivate you?

It made me want to do it more. I knew of the women pluggers in town who people thought were really good. You’re just a sponge taking it all in at that point. I would hear about Celia Hill, who became Celia Froehlig. I would hear about Pat Rolfe, Karen Conrad, and Judy Harris.

What did you do after your internship?

They ended up hiring me part-time, which was great. Then they sold that catalog to Tree, so I was in need of a job. After that, I did this series of fill-in-the-blank jobs—thanks to recommendations from Paige and Walter—where I would fill in for people. There was a company called Don Gant Music and their tape copy guy was going on the road with Tanya Tucker to play drums for the summer, so I filled in to make tape copies and clean the building there. I filled in at ATV Music and at Silver Line Gold Line, where I got to know Pat Halper and Noel Fox. I met a lot of people by being around all these different companies and seeing how they all did it differently.

Pictured (L-R, back row): Josh Osborne, Matt Jenkins, Ryan Hurd, Sam Hunt and Josh Jenkins; (L-R, front row): Robin Palmer and Shane McAnally

What was next?

I worked for a company called DebDave Briar Patch. Their plugger, Mason Cooper, helped bring me in.

It was Eddie Rabbitt, Even Stevens, Jim Malloy and David Malloy. Thom Schuyler was a writer there, and Paul Overstreet and Fred Knobloch would hang out there a lot. There were just so many great people there. They let me pitch which is unbelievable since we’re talking early ’80s and I had no experience.

We had a studio in the back and James Stroud played sessions there on a lot of records. James decided he was going to start a publishing company and Thom Schuyler was going to go with him. They asked me if I wanted to come over there too, and I did. Paul Overstreet ended up coming over there later. Cliff Audretch Jr. was there too. It was called The Writers Group and it did really well. It was during the early career of Randy Travis and we had all those Paul Overstreet songs [that Randy cut]. Thom and Fred were having hits too.

What was your first hit?

When I was at DebDave, one of the guys I’d filled in for at Don Gant Music—Chris Dodson—called me and asked if I had any songs for John Conlee. He said, “I can give them to Bud Logan, his producer.” I gave him a tape and then he called me and told me John Conlee cut this song called “Years After You,” which was a Thom Schuyler song. It became a top 5 hit.

How did you start working with Celia Froehlig?

Writers Group became really successful and sold to EMI Music. I went with it so I could go with the catalog. Charlie Feldman, who was running it, went to work at BMI in New York, so Celia Froehlig got hired to run the office, so one of the women I had heard about during my internship ended up being my boss.

It’s funny because I had an A&R executive—a female—call me and say, “Hey, if you need me to put a word in for you somewhere else, let me know.” When I asked why, she said, “Women don’t work well together.” The first day that Celia came in the building, I made sure to be there when she walked in. She was always so great to me and became a  mentor.

EMI was great. We had an awesome staff and great writers and had a great run of success. While there, I met and pitched songs to Shane McAnally, who was a Curb Records artist at the time.

Eventually, Celia offered me a chance to help start a new company, Froehlig Palmer Music. I had always dreamed of some ownership of what I loved so much: songs. We had some hits and some great times and I learned a lot.

Pictured (L-R): Shane McAnally, Whitney Daane, JT Harding and Robin Palmer celebrate “Somewhere With You.” Photo: Ed Rode

And thus, a new chapter opens.

Yes, I got reconnected with Shane McAnally around 2007, thanks to Erin Enderlin. She was borrowing a writers room and working with Shane. He brought in a CD and “Somewhere With You” was on there—along with some other great songs including the work-tape of “Last Call.” He mentioned that he heard Lee Ann Womack liked it but he wasn’t sure. The next time he came in, Lee Ann had cut it.

Renee Bell called and said, “Kenny Chesney needs one more song. We’re having a thing at Cabana. Kenny’s going to tell everybody exactly what he wants, but if you would just bring one song on a CD, he’s going take it out and listen to everything on the road.” I brought “Somewhere With You.” Then I got an email from Buddy Cannon‘s assistant that Kenny heard “Somewhere With You” and asked if he could get a lyric sheet. That’s when things turned around.

Wow. Then you two started building what is now SMACK.

Shane had all these other amazing songs. He was writing with Brandy Clark, Josh Osborne, Trevor Rosen, Jessie Jo Dillon, Matt Jenkins, Matt Ramsey and more.

We decided to rent an office in the basement of Carnival. Frank Liddell is a good friend and he rented us some space down there. We had two rooms, my little office and then Shane’s writer’s room. Sam Hunt and Kacey Musgraves were coming in to write. I had an amazing front row seat.

Matt McGinn was the first writer we signed together and then we signed Trevor Rosen with Wrensong.

SMACK writer Josh Jenkins celebrates SESAC’s 2022 Song of the Year, “Fancy Like.” Photo: Terry Wyatt/Getty Images for SESAC

Did you realize then how big this was going to get?

No. I always dreamed but it was bigger than any dream I could have had. Although I know Shane’s dreams—he probably planned the whole thing. [Laughs] I’ve learned how to dream bigger.

Now, as Chief Creative Officer at SMACK, what is most fulfilling about what you do?

Working with songwriters. Providing a safe environment and a home. Giving people what they need to be their best. That’s what we hope to do.

When you look back on your career, what sticks out about your journey?

I’ve been so lucky.  The way you’re successful is if you’re surrounded by really good people and I have been.

My Music Row Story: Red Creative Group’s Jeremy Stover

/by

Jeremy Stover

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 an acclaimed producer/songwriter, Jeremy Stover has celebrated multiple chart-topping hits including Tim McGraw‘s “How I’ll Always Be,” LoCash‘s “I Know Somebody” and Jack Ingram‘s “Wherever You Are.” Stover has worked alongside Justin Moore since his debut in 2009, resulting in multiple hits, including “Small Town USA,” “Bait a Hook,” “Til My Last Day,” “Lettin’ the Night Roll,” “Why We Drink,” “The Ones That Didn’t Make It Back Home,” “We Didn’t Have Much,” and more.

In 2014, Stover founded independent music publisher Red Creative Group. Since its inception, the company has celebrated more than 300 cuts and 40 singles on the country charts, with hits including “How Not To,” recorded by Dan + Shay; “Sleep Without You,” recorded by Brett Young; and “After A Few,” recorded by Travis Denning.

In addition to publishing, Red Creative Group serves as an artist development and management company, releasing music as Red Creative Records, with a growing roster of artists, including Noah Hicks, Matt Koziol and Tylynn Allen.

Jeremy Stover

MusicRow: Where are you from?

Elijay, Georgia.

Were you musical as a kid?

I would say so. My mom sang in church. My grandmother on my mom’s side always had a guitar sitting around and she would play gospel songs periodically. She’s passed away now but she was a big influence on me.

After I moved to Nashville, I went to college at Belmont University. She never understood what I was doing, but every time I would go home she would say, “I’ve been watching the Grand Ole Opry and I still haven’t seen you on it.” (Laughs)

You wrote many songs that have been performed there! Did you want to be a songwriter growing up?

I did. Belmont was not the first school I went to. I started at Southern Tech. My dad was in the carpet industry at that time. He had started a business in the mid-eighties and the plan was that I was going to take over his business. So I was getting a degree in textile engineering, which leads into the carpet and yarn business. I had a roommate there and I was driving him nuts playing guitar and learning songs. I was trying to write songs by myself; they were not very good. I don’t know if it was out of me driving him nuts or him just being a good friend, but he said one day, “I have a friend that goes to a school in Nashville called Belmont.” The next morning I skipped class, got in my car and I drove to Nashville.

As I was driving back, I just decided I was going to go home to my parents and say, “I’m moving to Nashville.” That’s how the decision was made to move to Nashville. I went to Belmont and finished school there.

My dad is one of 15 kids. None of them graduated high school because they had to go to work to support the family. So one of the promises I made my parents was that I would finish college. Not to pat myself on the back, but I was the first one out of the family to graduate college. I owe a lot of that to my dad and his hard work to get me to that spot. Since then, there’s been a few others that have finished college, but that was a big point in our family for one of us to do that.

Rodney Clawson, Justin Moore, Jeremy Stover and children

How did you find your way while at Belmont?

It was just a process. Fortunately for me, I got in a circle of three or four friends after I got there that I really related with in a lot of ways. We all became friends and we would write songs together. It was really a good circle of people—a couple that I still work with. When I got out of Belmont, it wasn’t like I just jumped in and I had songs on the radio.

What was your first job in the industry?

I worked at a smaller publisher for probably the first six months to a year. I got an interview for what they used to call the tape copy job, which is where you would make CDs that the song-pluggers would pitch. I got that job at Muy Bueno Music, which was George Strait‘s publishing company. Through working there over a couple years I got to meet a lot of writers. At that time, I was taking the time probably three or four nights a week trying to write songs with my friends at first. Then I was able to start incorporating some of those songwriters that I’d met that were willing to sit down with me in the evenings and write some songs.

After a couple of years, I’d saved up enough money to do demo sessions of 10 songs that I thought were my best songs. Through working at Muy Bueno, I had met musicians and engineers that I liked. I had kept [my songwriting] under the radar, but I had obviously met a bunch of the other publishers, so I went to five different ones that I really believed in and played them my songs. They all offered me beginner publishing deals, so I signed my first publishing deal at Starstruck. Six months into that deal, they sold to Warner Chappell. That was the beginning.

Dean Dillon, Jeremy Stover

When did you start to have songs on the radio?

It took two to three years to get the relationships going and for people to start recording my songs. I had my first single in 2003 on Emerson Drive, which did really well. From there, it’s been a steady, slow build through my songwriting, which led to producing. Success in those couple of things led to me starting my own company.

How did you get into production?

I started with my demos. I think a part of me getting my first publishing deal was, for the time, how the demos sounded and the possibilities of me growing into a production career as well. That was part of the big picture for me.

Through the process of having my first hit on Emerson Drive, I met Scott Borchetta when he was running Dreamworks Promotions. He was really cool. When he started Big Machine Records, he gave me the opportunity to record Jack Ingram. Jack’s “Wherever You Are” was my first No. 1 as a writer and a producer. It just continued to grow from there.

You soon started writing with and producing Justin Moore, which has been a very fruitful relationship. How did you meet?

I met Justin Moore in 2003. He just came into my writer’s room and sang a couple songs. In my mind with my outlook on how I grew up, his voice was something that I really attached to. In a certain way it gave voice to what I’d always wanted to project. That was a big moment. But we met in 2003 and he didn’t have his first No. 1 until 2009, so he and I worked together for a really long time through that process.

As things started to work for him, I had experienced some production success and writing success through those first six years. With Justin is where I found some focus on being able to help grow something that I really related to.

Pictured (L-R, back row): Taylor Lamb, Brooke Antonakos; (L-R, front row): Chase McGill, Justin Moore, Jeremy Stover, Paul DiGiovanni

Why did you want to put your publisher hat back on and start Red Creative Group?

That just happened naturally. I was able to establish myself in a way where people would take my calls. I had developed those relationships through some success. I felt like I had reached a certain level of success that I wouldn’t say I was happy with, but gave some confidence in what I was doing. I wanted people that I believed in to experience what I experienced.

Some of the most fun times [of my career] were the early times when you didn’t know if something was going to happen and then it happened. Having some people around you that believe in your talent and that are preaching that you can do it is as satisfying as having the success.

Do you think you approach publishing differently because of your songwriting journey?

I think so. Especially in the last three or four years, [I’ve learned] that I need more diversity musically within the Red Creative Group. I don’t need to understand everything to trust the people that I have around me at the company who say that we need to move on something.

What I’m most proud of about the company is everything isn’t driven through me. It’s grown to have this big, diverse, wide-spanning success outside of things that I generate just through what I do. That aspect of it for me has been really exciting to watch. It feels good to know that we’re helping people have success the way that I did.

Red Creative Group’s Travis Denning, Adam Hambrick, Kelly Archer, Jeremy Stover

Who have been mentors for you?

Early on it was co-writers. Steve Bogard was super encouraging to me. He wrote with me when I didn’t have any songs on the radio. Byron Gallimore was a big encourager for me as a producer. He helped me understand some things about the way he makes records and how the song always comes first.

If you could go back and talk to your college-aged self on your way up to Nashville for the first time, what would you tell yourself?

Be who you are in your writing. People recognize people being genuine. Try not to look across the fence and compare yourself to the other person because this is not a show-up-and-it-happens-in-a-moment kind of success. It really is something that you commit to. It’s a lifestyle.

I’ll be the first one to say that there’s been people that are way more talented than me that, if it didn’t happen in two years, they moved on to something else. For me, I’ve always just wanted to be a part of the creative community and you have to have some acceptance that it just takes time.

My Music Row Story: BMG’s Chris Oglesby

/by

Chris Oglesby

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.

Chris Oglesby has been in the music publishing industry for more than 30 years. He joined BMG in 2013, where he now serves as Sr. VP of Creative, overseeing the creative publishing team in Nashville and furthering the collaborative efforts between BMG’s roster of artists and publishing clients in both Los Angeles and New York, as well as BMG’s BBR Music Group (Broken Bow Records, Stoney Creek Records, Wheelhouse Records).

Oglesby has been involved with numerous hit songs, including George Strait‘s “Check Yes or No;” Kenny Chesney‘s “Young;” Kane Brown’s “Heaven” and “Good As You;” Carrie Underwood’s “So Small,” “Temporary Home,” and “Last Name;” Keith Urban’s “God Whispered Your Name” and “Only You Can Love Me This Way;” and Martina McBride’s “God’s Will.”

Oglesby began his career at Almo/Irving Music, signing Grammy award-winner Craig Wiseman, before joining Dreamcatcher Music. He would later join former BMG Music Publishing where he spent a decade working with a roster of established songwriters and emerging talent.

MusicRow: Where did you grow up?

I was an Army brat. We moved around a lot. I was born in Hawaii and we moved to Taiwan, Colorado, Illinois [and other places]. After the military, my dad became a minister, so we continued to move around. I claim western Kentucky is home because that’s where my family came from, but I grew up mostly in southern Illinois.

Photo: Courtesy of Chris Oglesby

What brought you to Nashville?

The music industry, of course. I came to be this country music star who was bigger than Kenny Rogers and Ronnie Milsap put together. I discovered music publishing, which I knew nothing about, and it changed literally everything about my life as soon as I did.

How did you discover the music industry as a kid?

I grew up singing. My dad was trying to be a star in the music industry, so when he became a minister, our family sang southern gospel music. We traveled with an evangelistic team called the Donaldson Brothers. In a two-pole tent, we would go set up in different communities and our family would sing. When I went to college, I continued to sing. My hope was that I would move to Nashville and be discovered.

Photo: Courtesy of Chris Oglesby

What happened when you got to Music City?

I enrolled in Belmont. I somehow convinced Karen Conrad to give me an internship at AMR Publications. After I was there for a year, she encouraged me to meet and talk to her husband, David Conrad, and I went to work for him. Karen and David really set me on my journey as a music publisher. They had big influence on me—they taught me how to treat people.

Why do you think you fell in love with the publishing aspect?

It’s interesting because I knew nothing about music publishing, but the first time I heard a song being written, being tweaked up a bit, being demoed, put on hold and recorded, and then heard it on the radio—it was unbelievable. Life changing stuff. It was actually a song called “Love Won’t Wait” that was on The Whites‘ greatest hits album. I was there when that was written. I started meeting all these amazing songwriters who wrote these songs that I had just spent five years going through college singing. I started hearing the stories about the songs. Then the creative aspect of music publishing took over. [I was asking myself] what makes this song work for this artist or what makes these writers work together. It’s very creative and the creative part of music publishing is what drew me in.

Photo: Courtesy of Chris Oglesby

After you worked for both the Conrads, where did you go from there?

I went to work for Bob Doyle and Kye Fleming. They had started a little publishing company called Dreamcatcher Music. I did that for a little bit and then went to work at BMG following that.

Now you are head of creative for BMG’s Nashville office. How did you develop your style of music publishing?

I’ve learned so much along the way from different people. Karen had a very unique approach to music publishing, which was very successful. Her approach was blanketing the town with all of the songs, making sure that A&R people are covered with a bunch of new music. David was more of a sharp shooter. His approach was, “Let’s send this one to this person.” They both worked with writers differently. I took a lot of what they did and how I saw them interacting with writers, and then tried to apply as much of it to me as possible. Obviously in those situations you see things that work and you see things that might work well for them, but maybe not well for you, so you’ve just got to mix and match. It was great to see both of their approaches.

Photo: Courtesy of Chris Oglesby

In addition to Karen and David, who have else have been some of your mentors?

Troy Tomlinson has been a massive help, as has Jody Williams, Kerry O’Neil and Tim DuBois. One mentor that I’ve had for probably 25 years that I did not meet until last year—which is kind of a weird thing to say about a mentor—is John Maxwell. All of those people have had a profound effect on me in my path and journey through the music industry.

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

I had one of those moments right before Thanksgiving. I went to Kansas City to see Carrie Underwood and Jimmie Allen, and I got to take my 11-year-old niece. It was her very first concert. We were hooked up from top to bottom. I look at that experience through her eyes and I just feel so blessed to be able to do that. To go to those things and be fully in the moment of what’s happening, but at the same time, it’s my job. Sometimes it’s hard to be in both those things at the same time, but how cool is it that we get to go to a concert or No. 1 party? That’s our job!

Photo: Courtesy of Chris Oglesby

When are you most fulfilled in what you do?

When I see opportunity put in front of a songwriter for growth followed by success—and I had a small hand in it—that’s the most gratifying thing that you can do. Not only do I love it, but somebody’s dreams are coming true. Somebody’s not going to have NES come turn their electricity off. When you can pull all those things together, I can’t think of anything else that would be more rewarding than watching someone else succeed where you played a small role in their success. I love that part of it more than anything.

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

To live like you’re dying. [Laughs]

In addition to that, just add value to people. When you add value to somebody else, it’s going to come back to you a hundred times over.

What are some of the best attributes about our Music Row community?

The friendly, competitive nature that exists within our community is so healthy. We’re all after the same things. We’re all very competitive, but at the same time, we know that the success of somebody else helps us all. That for me has been incredible to be a part of through my whole journey.

I feel like our two streets have laid an incredibly strong foundation, not only for a genre of music, but how to work together in unison and in a harmony with one another, no pun intended.

My Music Row Story: Triple 8 Management’s George Couri

/by

George Couri

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 Founder of Triple 8 Management, George Couri leads a team of 31 staffers overseeing artist management, marketing, and radio promotion efforts from offices in Nashville, Austin, and Los Angeles.

Among the Triple 8 Management roster is Scotty McCreery, who recently notched his fifth consecutive No. 1 hit, as well as multi-Platinum group Eli Young Band, breakout star and new Sony Music Nashville signee Corey Kent, Australian-born country phenom Morgan Evans, and road warrior Pat Green, among others.

Triple 8 is also a founding partner in Triple Tigers Records, which celebrated its first eight singles reaching No. 1 and continues to have success outside of country mainstream with a variety of rock, pop, and Christian artists, as well as songwriters.

MusicRow: Where did you grow up? 

Johnstown, Pennsylvania.

George Couri and Scotty McCreery

What was your dream job? How did you get into the music business?

I started by writing film scores for students at USC Film School. Then I realized one day that I would rather help those more talented than me realize their potential. [That led me to] an internship at the Los Angeles offices of Arista Records, assisting the west coast regional Lori Hartigan. I was working country records to radio.

What was next?

The internship at Arista Records really solidified my path. Next I took a job in a Los Angeles management company that eventually moved to Austin, Texas. From there, I started a management company that later joined forces with a concert promoter, and that ultimately spun off to become Triple 8 Management. It is named after its founding date: August 8, 2008. Triple 8 Management was born out of wanting to serve artists better than the typical management company.

Most of the Triple 8 Management team gathered for their holiday party. Photo: Ashtin Paige

Now, Triple 8 is a 31-member team with team members in Nashville, Austin, and Los Angeles with a roster that includes Scotty McCreery, Eli Young Band, Corey Kent, Morgan Evans and more. What’s a day in the life usually like?

As you can imagine, it varies every day, however it essentially involves talking with our artists about how we grow their careers, and, in turn, talking with the team—internal and external—to make sure we are supporting the team as well. No team members are on their own to manage artists, and it takes conscious effort every day to continue to make sure that remains the case.

[I am also a] co-founder of Triple Tigers Records. We support the record label team as they continue to expand and thrive.

What is a lesson you learned early in your career?

I learned early on that artists do in fact want someone to tell them the truth. Additionally, that I want to work with artists that are willing to hear it.

George Couri, Corey Kent, Nate Towne (WME), Chris Fox (Triple 8)

When do you feel most fulfilled in your role?

I am fulfilled being in service to other people. When that service results in bringing artists and team members closer to their own dreams, I am most fulfilled.

Who are some of your mentors?

My mentors early on were the late Frank Callari, TK Kimbrell, Joey Lee, Rob Light, and most definitely Chuck Flood. They’re all friends, and I definitely listened and learned from them all.

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

To remember that none of us have as much time here on earth as we think we have. Do not waste time. Handle your business and actions such that later on, you will not have regrets on how you did anything.

What is something a lot of people probably don’t know about you?

I can speak a bit of Portuguese.

George Couri with Eli Young Band and agent Brian Hill

What is one of your favorite experiences in the industry that you will share for the rest of your life?

There was a Triple 8 holiday party at our house a couple months after first signing Scotty McCreery to management. Just as the party was starting, David Crow, Scotty’s attorney, called to say Scotty was free and clear entirely of any previous recording agreements. We celebrated the freedom that comes with re-imagining what is next all night, toasting to the future we would go create!

What remains so memorable is that Scotty was absolutely on fire that entire night—he was happy, celebrating, and truly the most rowdy life of the party. It was infectious and unforgettable and absolutely set the tone for the road ahead. I still laugh when I think about things that happened that night, and it just makes his successes today even sweeter knowing they were fueled from a sense of creative freedom that remains absolutely contagious.

What are you most proud of in your career?

When the general industry consensus has been that a certain artist is not going to have success—or that a particular thing cannot be done— and then actually sometimes managing to do it. It is far more satisfying being a part of delivering that redemption or rediscovery for someone than the money that follows it ever will be. Overcoming difficult odds, not being afraid to bet on the underdog, and continuously fighting for that fuels me every day.