Black River Entertainment Restructures Marketing Department

/by

Nikki Abbamont, Ainsley Barry, Megan Hazeltine

Black River Entertainment announced a restructuring of their Marketing Department today (Jan. 15). Nikki Abbamont elevates to Associate Director of Project Management, Ainsley Barry to Social Media Coordinator, and Megan Hazeltine to Marketing Coordinator.

Upon announcing the restructuring, Black River’s EVP Rick Froio acknowledged the three team members, “We are grateful for their willingness to adapt to the changing landscape by assuming these new roles within the team. With these changes now in effect, we know it will continue to make us a stronger company in 2021.”

Originally from Doylestown, Pennsylvania, Abbamont joined Black River Entertainment in May 2017 as the Publicity and Marketing Coordinator before fully transitioning to Marketing Coordinator in 2018 and Marketing Manager in 2019. Now serving as the Associate Director of Project Management, Abbamont reports directly to Froio and will oversee organization, management, and general oversight of the progress and execution of ongoing Black River label releases and projects.

Ainsley Barry joined Black River Entertainment as the Copyright and Licensing Coordinator in August of 2019. The Malvern, Pennsylvania native now serves as the Social Media Coordinator, and reports to Black River’s VP of Marketing, Tanya Schrage.

Hailing from Dover, New Hampshire, Hazeltine joined the Publicity Department at the beginning of 2020. Now serving as the Marketing Coordinator, Hazeltine also reports to Schrage, and is responsible for all traffic flow within the Marketing & Creative departments.

Black River’s President and CEO Gordon Kerr added, “At Black River, we believe in leaving this place better than we found it. That’s what we’re doing with our team in 2021. By utilizing our people’s strengths in areas that will benefit most, this new configuration makes us stronger. With resilience, passion for our artists and songwriters, and hard work, we are looking forward to a strong year.”

Sidewalk Prophets To Kick Off Reasons For Joy Virtual Tour In February

/by

Sidewalk Prophets

Curb | Word Entertainment’s Sidewalk Prophets are hosting a series of livestream events with their new “Reasons For Joy” tour which kicks off Feb. 17 and runs through Feb. 27.

The all-new livestream trek consists of eight entirely live shows broadcasting each night from Sidewalk Prophets’ Great Big Family Studios in Nashville. Tickets are pay-what-you-can, including a free option, and all paid tickets grant fans entrance to a special devotional with front man Dave Frey. A VIP Pre-Show Party ticket is also available, which includes a Q&A with the band, games and more fun. In addition, fans can purchase a season pass for access to all eight shows, devotionals, and pre-show parties. Tickets are sold per household and are on sale now and available for purchase here.

All dates on the “Reasons For Joy” tour will feature interactive moments, plenty of hits from Sidewalk Prophets’ extensive catalog, and fresh favorites from the band’s latest full-length album, The Things That Got Us Here, featuring new songs like “Smile” and “Chosen.”

Along with launching the new tour, in response to the violence at the Capitol last week, Sidewalk Prophets decided to release a live performance video of their new song, “The Comment Section,” captured at the Ryman Auditorium last year. With a message of spreading kindness, the video has already received more than 42K views on YouTube in just five days.

Ian Munsick Readies Major Label Debut ‘Coyote Cry’ For February

/by

Ian Munsick

Ian Munsick is releasing a soundtrack for the modern Western lifestyle with his new album, Coyote Cry, due out Feb. 26. He celebrates the album’s announcement today with the release of the rollicking new track “Humble.”

The project comes five months after signing his first major label deal with Warner Music Nashville. Co-produced by Munsick, Coyote Cry features 10 tracks including “Long Haul” and “Me Against The Mountain.” As he readies for the album’s release, Munsick is welcoming fans into his official fan club, The Heard—aptly titled for the ranch-bred musician, which launches today (Jan. 15). Fans who run with The Heard will receive access to exclusive merch, advance music and more.

“Coyote Cry is a soundtrack for the modern western lifestyle,” Munsick said. “A firm handshake between cowboy and hippy, traditional and contemporary and everything in between. It’s the life I’ve lived so far and the lessons I’ve learned along the way. No matter who you are, I think you’ll find a piece of yourself in there and maybe even lose yourself to the howling in the hills. Cowboys have always been the people I’ve looked up to most and aspired to be like. I don’t mean the cattle rustling, heart-thieving, Hollywood kind. I mean the first one to work, give the shirt off his back, Chris Ledoux kind. The kind you want as your neighbor. The kind I think of when I hear the word Cowboy. Humble.”

Music Industry Responds to DOJ Consent Decree Review Ending Without Action

/by

U.S. Department of Justice (DOJ) Anti-Trust Division head Makan Delrahim addressed the DOJ’s review of the ASCAP and BMI Consent Decrees today (Jan. 15), stating that the DOJ has ended its ASCAP and BMI consent decree review without taking action.

Many organizations in the music industry have issued responses to the news.

Nashville Songwriters Association International (NSAI) agrees with Delrahim that compulsory licenses “are not the answer,” but cautions against his suggestion that the DOJ consider reviewing ASCAP and BMI Consent Decrees every five years.

NSAI’s Bart Herbison tells MusicRow, “With a five year review, it’s very hard to know the certainty of business. The only way that we would say that it was a good idea would be if there is a five year review with a stated goal that we’re going to eliminate these decrees.”

NSAI joins Delrahim in praising ASCAP and BMI for launching their new SONGVIEW database.

In an open letter from ASCAP CEO Elizabeth Matthews and BMI President and CEO Mike O’Neill, the performance rights organization heads expressed their disappointment that no action was taken, but encouragement to see “how the DOJ’s approach to these issues has evolved.”

The full open letter is below:

Two years ago, the U.S. Department of Justice (DOJ) announced that it would conduct a review of the ASCAP and BMI consent decrees to determine if they still served their intended purpose.

Today, the DOJ has formally closed its review and will take no action to modify or terminate the decrees but left open the possibility of changes in the future.

While we were disappointed that no action was taken, we are encouraged to see how the DOJ’s approach to these issues has evolved. In his closing remarks, AAG Makan Delrahim recognized several important truths that we have long understood: Songwriters are the backbone of the music marketplace and must be paid fairly; blanket licensing is incredibly efficient; ASCAP and BMI are innovating to serve the needs of the industry; greater competition and not compulsory licensing is the answer; and the value of music is best decided in a free market.

While BMI and ASCAP have long advocated for updating and modernizing our consent decrees, it has become clear over the course of two different reviews by two different DOJ administrations in the past eight years that modifying or terminating our decrees would be extremely challenging.

This latest review was part of a broader effort by the DOJ to examine many of the nation’s oldest consent decrees and to terminate those that no longer served their intended purposes. When faced with that possibility, ASCAP and BMI joined together and put forth a proposal to the DOJ and the industry that would help facilitate a thoughtful transition to a free market while avoiding potential chaos in the marketplace.

We knew that reaching consensus would not be easy. It soon became clear that key industry participants could not agree on how best to move forward. Unfortunately, we also found that some were using this review to advocate for even greater restrictions in our decrees, either for their own benefit or in an effort to regulate the marketplace as a whole through BMI and ASCAP.

We were concerned that the lack of consensus in the market could lead to a legislative push resulting in unwarranted government regulation of our industry in the form of compulsory licensing. In addition, our victory in confirming the industry-wide practice of fractional licensing would have been revisited. These factors would absolutely not be in the best interest of our songwriters, composers and publishers, and indeed, would represent a major step backward. Although it would have been wonderful to see our decrees modernized, we would rather they remain as they are, than see an outcome that could adversely affect music creators for generations to come.

The formal close of this review means we can put this matter behind us for the near future and continue to champion the rights of our songwriters, composers and publishers, protect the value of their creative work, and partner with our licensees to help ensure music is delivered to the public.

It’s important to remember that BMI and ASCAP have operated with consent decrees for over 80 years, and that has not prevented us from innovating along with our changing marketplace. We recently joined together to launch the Songview data platform in order to respond to a growing industry need to provide greater transparency around copyright ownership shares. We appreciate the DOJ’s support of this initiative. In addition, we have each independently experimented with new forms of licenses, and we successfully advocated for provisions in the Music Modernization Act that will drive fairer negotiations and allow the introduction of more marketplace-pricing evidence in rate court proceedings. Whether we operate under consent decrees or not, that spirit of innovation and focus on continual improvement will never change.

Again, although we were disappointed no changes were made, we would like to thank Makan Delrahim, Assistant Attorney General, Antitrust Division, for his attention and efforts throughout this review as he evaluated the best way to move our industry towards a free market. We would also like to thank the many ASCAP and BMI songwriters and composers who shared their views with the DOJ.

While we are both looking forward to the day when ASCAP and BMI are no longer under consent decrees, we were buoyed by the DOJ’s comments that it will pay to revisit these decrees as a result of new market developments. When the appropriate time comes, BMI or ASCAP may wish to seek a future review.

For now, we’ll turn our attention to the opportunities that lie ahead in 2021 and, of course, all of the incredible new music the year will bring.

– ASCAP CEO Elizabeth Matthews
– BMI President and CEO Mike O’Neill

2020 Country Radio Hall of Fame Honorees To Be Inducted During CRS 2021

/by

The Country Radio Hall of Fame Class of 2020 will be honored during CRS 2021: The Virtual Experience. Due to COVID restrictions, the annual Country Radio Hall Of Fame induction ceremony and dinner could not be held as a live event. Country Radio Broadcasters will now feature individual presentations presented by Curb Records in the morning and afternoon of each day, Wednesday, Feb. 17, through Friday, Feb. 20. Exact times will be available through the event website closer to the date.

The 2020 Country Radio Hall of Fame inductees include off-air radio broadcasters Jim Duncan, Victor Sansone, and George Beasley, and on-air radio personalities Tim Wilson, Chuck Edwards, and Mark “Hawkeye” Louis. Read more about the inductees here.

Country Radio Hall of Fame Co-Chair, Joel Raab, comments, “We’re thrilled to finally honor The Country Radio Hall of Fame Class of 2020, giving them their overdue recognition at this year’s CRS 2021: The Virtual Experience. Please join us in honoring this incredible class of broadcasters.”

In addition to honoring the Hall of Fame inductees, the 2020 President’s Award and Career Achievement Award recipients will also be recognized during the Opening Ceremonies on Tuesday, Feb. 16 at 12:30 p.m. CT.

Nominations for the Country Radio Hall of Fame Class of 2021 are being accepted through the end of March.

BREAKING: Department of Justice Ends ASCAP/BMI Consent Decree Review Without Action

/by

The U.S. Department of Justice (DOJ) Anti-Trust Division head Makan Delrahim addressed today (Jan. 15) the DOJ’s review of the ASCAP and BMI Consent Decrees, in a webinar sponsored by Vanderbilt Law School. The DOJ has ended its ASCAP and BMI consent decree review without taking action.

Delrahim said compulsory licenses “are not the answer” and that any future changes Congress may consider should allow songwriters the ability to negotiate in the free market. Delrahim—who submitted his resignation letter on Jan. 13, effective on Jan. 19.—also suggested the DOJ consider reviewing ASCAP and BMI Consent Decrees every five years. He applauded ASCAP and BMI for launching their new SONGVIEW database which will allow music users/licensees to more easily find song ownership data.

The consent decrees were put in place to prevent anticompetitive behaviors and determine sensible licensing rates. The ASCAP consent decree was modified in 2001 and the BMI consent decree was modified in 1994. The decrees require ASCAP and BMI to issue licenses covering all works in their repertory upon request from music users. If the parties are unable to agree on an appropriate price for a license, the decrees provide for a “rate court” proceeding in front of a U.S. district judge. Neither decree contains a termination date.

Many publishers, songwriters and other music industry members have criticized the longstanding decrees, stating that they limit the ability of songwriters and publishers to obtain their own licensing agreements that could result in higher revenues in a free marketplace.

Read how the music industry is responding to the issue here.

Hailey Whitters Announces Deluxe Album ‘Living The Dream’

/by

Hailey Whitters. Photo: Harper Smith

Hailey Whitters is releasing a new deluxe edition of her 2020 album The Dream, titled Living The Dream. It will feature five new tracks, on Feb. 26 via Pigasus Records/Big Loud Records/Songs & Daughters.

As a nod to the contributions they made to helping her dreams come true, Whitters enlisted the help of some close friends and collaborators on Living The Dream including Brent Cobb, Jordan Davis, Hillary Lindsey, Little Big Town, Lori McKenna and Trisha Yearwood to contribute vocals to the fresh tracks. Following the release of her current single “Fillin’ My Cup” (feat. Little Big Town), Whitters today dropped “The Ride” (feat. Jordan Davis), the second track to be pulled from Living The Dream.

“Jordan Davis took me out on his very first headlining tour when I was only an independent artist. I thought that was a bold statement for him to make, and I am very appreciative of him taking a chance on me,” explains Whitters. “He’s one of the key reasons I’ve been able to say I’m ‘living the dream,’ so when thinking about who to collaborate with on this project, he was a no-brainer. All of the artists featured on this project are responsible for me being able to hang up the apron strings and make music full-time. The royalties from Little Big Town’s cut on ‘Happy People’ helped pay for part of The Dream, Brent Cobb and Jordan Davis were two of the first artists to take me on tour, Lori McKenna and Hillary Lindsey are my two songwriting idols and favorite co-creators, and Trisha Yearwood is one of the first artists that got me excited about moving to Nashville and pursuing country music. I wanted to show fans full circle what ‘living the dream’ looks like for me—from where I started with ‘Ten Year Town’ to the bucket list moments that have resulted since I released my record. I felt it was important to show them what can happen when you don’t give up on yourself.”

The Dream Track List:
1. Ten Year Town
2. The Days
3. Red Wine & Blue
4. Dream, Girl
5. Loose Strings
6. Heartland
7. Janice at the Hotel Bar
8. Happy People
9. The Devil Always Made Me Think Twice
10. All the Cool Girls
11. The Faker
12. Living the Dream

Living The Dream Deluxe Track List:
13. Fillin’ My Cup (feat. Little Big Town)
14. Glad to Be Here (feat. Brent Cobb)
15. How To Break A Heart (feat. Lori McKenna & Hillary Lindsey)
16. How Far Can It Go? (feat. Trisha Yearwood)
17. The Ride (feat. Jordan Davis)

A&R Executive Larry Willoughby Dies

/by

Larry Willoughby

Loving husband, father, grandfather, singer-songwriter and former Vice President of A&R at Capitol Records, Larry Willoughby, died at the age of 70 after battling Alzheimer’s and having contracted COVID-19.

Larry was born on Feb 24th, 1950 in Houston, TX. He married his highschool sweetheart, Janet Howard Willoughby in 1969. After a few years as a firefighter, they moved to Nashville, with a passion and dream of being in the music industry and that they did. Last year they celebrated 50 years of marriage.

Larry is the former Vice President of A&R for Capitol Records Nashville, where he helped shape the careers of many country stars, among them Keith Urban, Trace Adkins, Eric Church, Dierks Bentley and Luke Bryan.

 

View this post on Instagram

 

A post shared by Luke Bryan Official (@lukebryan)

He got his big break in the music business when he earned a spot in country singer-songwriter Guy Clark’s band. Under Clark’s guidance, Willoughby honed his own songwriting and performing skills. Soon after, he landed a recording contract with Atlantic Records.

His debut album, Building Bridges, rose to No 47 on the Billboard charts in 1984. The title track from the album reached No. 55 as a single—but 12 years later took him to new heights. In 2006, Brooks & Dunn turned “Building Bridges” into a Grammy-nominated, Top 5 single. It featured guest vocals from Vince Gill and Sheryl Crow and was nominated for Musical Event of the Year at the CMA Awards and Best Country Collaboration With Vocals at The Grammys.

Willoughby spent several years on tour after the release of his Building Bridges album, then found himself drawn to the business side of country music. He signed on as tour manager for country stars Rodney Crowell, his cousin and so-called brother, and Rosanne Cash before moving in the direction of artist development. After a stint as director of membership with ASCAP, he was recognized for his talent for listening, pitching and placement of songs by renowned producer, Tony Brown and hired as Director of A&R at MCA/Universal Records. During Willoughby’s tenure, MCA became known as the “Golden” label recognized as the industry leader throughout the 90’s with major successes of recording artists, George Strait, Reba McEntire, Vince Gill, Wynonna, Trisha Yearwood, and The Mavericks.

Even with his move to Capitol as VP of A&R, he kept a hand in songwriting. His songs have been recorded by such artists as Waylon Jennings, Rodney Crowell, Eddy Raven, Big House, the Amazing Rhythm Aces, Nicolette Larson and the Oak Ridge Boys.

Larry is survived by wife, Janet; two sons, Kobalt Nashvile’s Jesse Willoughby (Bonnie) and Cody (Laurin), and two granddaughters, Livia and Lailee Willoughby.

If desired, family and friends may make memorial contributions to an incredible non-profit Alzheimer’s Care and Event center in Memphis, Tennessee, Page Robbins.

Parker Millsap’s New Album ‘Be Here Instead’ Slated For Spring

/by

Parker Millsap. Photo: Tim Duggan

Parker Millsap has released the first single, “The Real Thing,” from his upcoming new album Be Here Instead. The new project, produced by John Agnello, is slated for release on Okrahoma Records and Thirty Tigers on Friday, April 9.

The luminous new single is available now at all DSPs and streaming services and features guest vocals from Nashville singer Erin Rae. Millsap’s fifth studio LP and first new album in close to three years, Be Here Instead marks a stylistic shift from the gritty, high-energy folk of Millsap’s previous records and was mainly recorded live with his full band. On the new project he followed his curiosity and experimented with everything from piano and effects pedals to old school drum machines (a fascination partly inspired by the early-’70s innovations of Sly Stone and J.J. Cale).

Be Here Instead also forgoes the character-driven storytelling of his past in favor of a more introspective and revelatory form of songwriting. “My wife’s grandfather was an artist who did watercolor paintings, and a few years ago I decided I wanted to try it,” recalls Millsap. “I very quickly found out that watercolors are really hard to work with – you have to embrace your mistakes, and then let them guide you along. It’s made me think about how when you mess up, you’re basically revealing your humanity, which is what music’s all about. When I listen to records, I love when Ray Charles’s voice cracks, or when you hear the squeaking of the kick-drum pedal on a Led Zeppelin song. Anything that shows the living, breathing quality of the whole thing, that’s always wonderful. That’s what we’re here for. So don’t be afraid to let it happen.”

Be Here Instead Track List:
Rolling
The Real Thing
Vulnerable
It Was You
In Between
Dammit
Empty
Now, Here
In Your Eyes
Passing Through
Always
Being Alive

“What’s Your Country Song” Tops ‘MusicRow’ CountryBreakout Radio Chart

/by

“What’s Your Country Song” by Thomas Rhett reigns at No. 1 on this week’s CountryBreakout Radio Chart. Rhett penned the single with Rhett Akins, Jesse Frasure, Ashley Gorley and Parker Welling.

At the 55th annual Academy of Country Music Awards Rhett tied with Carrie Underwood for the coveted Entertainer of the Year award. He also took home a win for Video of the Year for “Remember You Young.”

Rhett is set to headline “Bob Kingsley’s Acoustic Alley,” on Wednesday, Feb. 17 during CRS 2021: The Virtual Experience.

Most recently, Rhett debuted his new tequila brand, Dos Primos, in collaboration with his cousin Jeff Worn and Third-generation Master Distiller Rodolfo González.

Click here or above to view the latest edition of The MusicRow Weekly.