Austin Snell Signs Record Deal, Named First Country Artist To SiriusXM’s Artist Accelerator Program [Exclusive]

Country riser Austin Snell has been named the first country artist to be selected as a part of SiriusXM’s Artist Accelerator program, which aims to develop and break new artists by leveraging the combined audience of the company’s flagship premium subscription service, SiriusXM, and its ad-supported streaming service, Pandora. Snell became the latest SiriusXM’s the Highway’s Highway Find, which serves as the channel’s vessel to bring country artist discovery to its listeners.

Pictured (L-R, front row): Taylor Aretz (WMN), Genevieve Thompson (Mick Management); (L-R, middle row): Lynn Oliver-Cline (River House Artists), Lance Houston (River House Artists), Stephanie Davenport (WMN), Snell, Cris Lacy (WMN), Patrick Sabatini (WMN); (L-R, back row): Zebb Luster (River House Artists), Grant Gravitt (Mick Management), Matt Cottingham (Lewis Brisbois). Photo: Alan Poizner

A native of Dudley, Georgia, Snell moved to Nashville in May of 2022. He quickly began making waves, releasing “Excuse the Mess” in September of the same year. The track amassed more than 1 million streams in its first week out. He followed the breakout hit with a cover of Cassadee Pope’s “Wasting All These Tears” before releasing his own “Get There First” on Jan. 27. Since his first release in September, Snell has generated more than 7 million Pandora Streams.

Snell coins his unique blend of rock and country “grunge country,” which appears to be a hit as his songs have accumulated over 35 million streams since September of 2022.

Snell shares, “It is a dream come true to be supported by SiriusXM and Pandora, I grew up listening to music on these platforms. I am extremely grateful to be included in their Artist Accelerator program.”

SiriusXM’s support began while Snell was still an independent artist, but it was also announced that River House Artists and Warner Music Nashville have signed Snell as the first artist co-signed via the joint venture between the two entities.

“Watching Austin craft his sound and unique style over these past few years has been an honor. He truly knows who he is as an artist and musician,” says Zebb Luster, GM of River House Artists. “He has a natural ability to follow his own instincts that have musically set him apart. I’m so thankful to have the opportunity to work alongside Warner, just as Lynn Oliver-Cline and Cris Lacy envisioned this partnership thriving.”

Red Street Records Expands Team With Three Additions

Pictured (L-R): Brooklynn Gould-Bradbury, Dottie Chamberlain and Riley Cooper.

Red Street Records, led and co-owned by Rascal Flatts’ Jay DeMarcus, has added Brooklynn Gould-Bradbury as Manager of Publicity & Communications, Dottie Chamberlain as Executive Assistant/Operations Manager and Riley Cooper as Digital Marketing Coordinator.

Gould-Bradbury joins the label from CMT, where she started as a part of the Music & Talent team and most recently worked as an Associate Producer on the Digital team. Chamberlain previously served as Executive Assistant to Mike Dungan from 1995 through 2023, as Dungan rose to Chairman & CEO of Universal Music Group Nashville. Cooper comes to Red Street Records after completing internships with Sweet Talk Publicity, Tennessee Golf Foundation and Triple 8 Management.

“At Red Street Records, our team is dedicated to putting artists first and helping them build successful careers. Brooklynn, Dottie and Riley all bring a wealth of music industry experience as well as a true passion for serving artists in their careers,” shares DeMarcus. “We’re thrilled to have all three of them joining the Red Street Records family!”

ASCAP Posts Record High Revenues & Distributions For 2022

ASCAP’s annual revenue surpassed $1.5 billion for the first time in 2022, which fueled record-high royalty distributions to songwriters, composers and music publisher members, the PRO reported. Collections totaled $1.522 billion in 2022, an increase of $187 million or 14% over the previous year.

ASCAP’s strategic growth plan launched in 2015 focused on revenue growth, technological innovation and operational efficiency, and resulted in a 6% compound annual growth rate for total revenues, and a 7% compound annual growth rate for total distributions to members.

In 2022, ASCAP grew every major category of licensing to drive ASCAP domestic revenue to $1.178 billion, up 16.5%, an increase of $167 million over 2021. General licensing revenue increased by 40%, radio by 32%, audio streaming by 16% and audio-visual by 7%. This was the second year that ASCAP domestic revenues from U.S.-licensed performances topped $1 billion.

Royalty distributions to ASCAP members also exceeded $1 billion for the sixth year in a row in 2022 and increased 10.7% over 2021, with a total of $1.388 billion available for distribution to ASCAP’s music creator and publisher members. In​ 2022, ASCAP ​delivered 90 cents of every dollar back to its ​members as royalties.

“It is our technical innovation coupled with an unparalleled work ethic that grew our domestic revenue 16.5% in 2022 and yielded a 6% compound annual growth rate since the inception of our strategic plan eight years ago. ASCAP is the only US PRO that operates on a not-for-profit basis which is a key differentiator among PROs. ASCAP creator and publisher members are the sole beneficiaries of this growth because we invested years ago in cloud computing, enabling us to address the challenges of digital streaming efficiently, and because we only pay songwriters and publishers, not private investors,” says ASCAP CEO Elizabeth Matthews.

“We are elated to share these historic financial revenue and distribution results for 2022 with our songwriter, composer and publisher members, who are the foundation of the music we all love,” shares ASCAP Chairman of the Board and President Paul Williams. “In the US, we have competition, meaning that creators have a choice, and that choice should be ASCAP. It is in ASCAP’s DNA to ensure that we operate in the best interest of all our members. Our financial success for over 100 years, and a singular commitment to nurture their careers and maximize the value of their music, prove that our not-for-profit model of collective licensing works.”

The full ASCAP 2022 Annual Report can be viewed at ascap.com/annualreport22.

DISClaimer Single Reviews: Women Of Country Music Own The Genre

Ashley McBryde. Photo: Katie Kauss

International Women’s Day occurred yesterday, so it’s fitting that the women of country music owned their genre in today’s DisClaimer.

Hitting it out of the park were Megan Moroney, Priscilla Block, Ashley McBryde and Kelsea Ballerini. The last two finished in a neck-and-neck finish for the Disc of the Day award with McBryde getting the edge because her track is a bona fide single, while Ballerini’s is a stunning TV performance. In any case, all four of these women are the Future.

That said, the DisCovery Award goes to a male singer-songwriter, Big Loud’s Larry Fleet.

JUSTIN MOORE / “Stray Dog”
Writers: Paul DiGiovanni, Randy Montana, Jeremy Stover, Justin Moore; Producesr: Jeremy Stover, Scott Borchetta; Label: Big Machine
– The duet with Priscilla Block remains the single. This is the title tune of the new album that contains it. It’s an “outlaw” anthem about being a free-spirit renegade. Electric guitars scream and drums pound, but it’s still as country as grits.

JOHN CARTER CASH / “Garden of Stone”
Writers: John Carter Cash; Producer: none listed, Label: JCC
– Somber, stately and meditative, this atmospheric ballad muses on death and the passage of time. Yet there is something warm and comforting about it. Cash’s soft, evocative delivery gets right up next to you.

ASHLEY McBRYDE / “Light on in the Kitchen”
Writers: Ashley McBryde/Connie Harrington/Jessi Alexander; Producer: Jay Joyce; Label: Warner Music Nashville
– Life advice, set to rippling guitars, shuffling percussion and tinkling mandolin. The singer carries strength and love with her everywhere, thanks to the support and wisdom of mama. Immensely tender and wonderfully listenable. I believed every word, and that’s the mark of a great country record.

RODNEY CROWELL, JEFF TWEEDY / “Everything at Once”
Writers: Rodney Crowell/Jeff Tweedy; Producer: Jeff Tweedy; Label: New West
– A gentle, hooky country rocker with an irresistible groove. The lyric asks us to stay sane in a world gone mad, or at least that’s what I got out of it. I do know one thing, if I made a record, I’d want Tweedy in the producer’s chair. A dandy listening experience.

WILLIE JONES / “No Tellin’”
Writers: none listed; Producers: none listed; Label: Sony
– It’s an invitation to a fling between two folks who are cheating on their significant others. With the assurance that they’ll keep it on the down low. The mood is country, the beats are hip hoppy and a melody is kind of suggested.

DAILEY & VINCENT / “If I Die A Drinkin’”
Writers: Vince Gill/Ashley Monroe; Producers: Paul Worley; Label: BMG
– The duo’s Let’s Sing Some Country! album finds them wandering off the bluegrass path and exploring honky-tonk territory, especially on this steel-soaked ballad. As always, Jamie Dailey’s vocal performance is simply breathtaking. He is one of the greatest country singers of this generation. This album is essential.

PRISCILLA BLOCK / “Couple Spring Breaks Back”
Writers: Priscilla Block/Randy Montana/Chris La Corte; Producers: Robbie Artress, Justin Johnson, Jake Curry; Label: UMG/InDent Records
– She recalls a happy drunken affair when they were young and free. The nostalgia is brilliantly conveyed in this extremely well written lyric. The oomphy production is a plus, as is her soaring delivery.

WILLIE NELSON / “I Don’t Know a Thing About Love”
Writers: Harlan Howard; Producers: Buddy Cannon; Label: Legacy
– Willie turns 90 next month, yet he’s still as vital a record maker as ever. His new album is I Don’t Know a Thing About Love, a tribute to the works of his songwriting contemporary Harlan Howard. Its title tune was a chart topper for Conway Twitty in 1984. Willie sounds totally at ease amid a stellar production of steel and thump in his remake. This is beyond cool.

MEGAN MORONEY / “Lucky “
Writers: Megan Moroney/Casey Smith/Ben Williams/David Mescon; Producer: Kristian Bush; Label: Sony Music Nashville
– This sprightly, barroom romp is the title tune of Megan’s debut album. It’s a two-stepper with a clever countrified take on loose morals. I have loved everything I have heard by this woman, and this is no exception

LARRY FLEET / “Daddy Don’t Drink”
Writers: Larry Fleet/Derek Bahr/Luke Laird; Producers: Joey Moi; Label: Big Loud Records
– Exquisitely written and sung with conviction. Daddy doesn’t drink anymore because the birth of his son turned his life around. Every line is a gem. Three chords and the truth, indeed.

PARKER McCOLLUM / “Rest of My Life”
Writers: Parker McCollum; Producers: Jon Randall; Label: MCA Nashville
– McCollum goes to the dark side in his scary, troubling video for this song about drug addiction. His depth as a writer seems to increase with every release. He’s an important artist. Lend him your ears.

KELSEA BALLERINI / “Penthouse”
Writers: Kelsea Ballerini/Alysa Vanderheym; Producers: Kelsea Ballerini/Alysa Vanderheym; Label: Black River Entertainment
– Ballerini’s appearance on Saturday Night Live last weekend was a triumph. On this post-divorce ballad she unveiled a dramatic, torchy side to her talent. Performing it with stark piano accompaniment, she owned the spotlight like never before. The song contains the line that named her new EP and its film short, Rolling Up the Welcome Mat.

Triple 8 Adds Matthew Miller As Manager

Matthew Miller. Photo: Mick Brodie

Industry veteran Matthew Miller has joined Triple 8 Management’s team as Manager, representing William Beckmann and Lauren Weintraub. As an established artist manager with a publishing background, he brings his nearly 20 years of experience to this role.

Most recently, Miller spent eight years at Red Light Management, working with Parker McCollum, Lee Ann Womack and Randy Rogers Band.

Miller began his career in WME’s Agent Trainee program. He then worked at Carnival Music, where he was instrumental in the careers of Natalie Hemby, Brent Cobb, Hailey Whitters and Adam Hood, and the success of the late Troy Jones.

“The people we welcome on to our team need to check a lot of boxes to meet the standard of professionals we want surrounding us. Matthew checks every box,” shares George Couri, CEO & Founder of Triple 8. “We knew he was the right fit as a collaborative and experienced manager, and we didn’t hesitate in welcoming him into our work family.”

“I’ve always admired Triple 8’s truly collaborative spirit across the entire company,” shares Miller. “That team approach results in great attention to artists. I’m thrilled to have this opportunity to work with such a unique group of talented people.”

Jordyn Shellhart Slates Debut Album ‘Primrose’ For May

Jordyn Shellhart. Photo: Jory Lee Cordy

Jordyn Shellhart is set to release her Warner Music Nashville debut project, Primrose, on May 19.

Produced by Cameron Jaymes, the album features 12 songs, nine co-written by Shellhart, including the new single “Tell Your Mother I’m Fine.” Other writers contributing to the project include Marc Beeson, Barry Dean, Allen Shamblin and more.

“I love the character in ‘Tell Your Mother I’m Fine’ because she’s everything I wished I was when I had my heart broken,” explains Shellhart. “She’s maybe not so fine, but she doesn’t need anyone else to see things from her side because I think she trusts her own judgment. And I think that’s cool.”

Shellhart arrived in Nashville at age 10 and was thrown into the scene with a publishing deal, record deal, Grand Ole Opry debut and a country-wide tour all by the age of 16. She has racked up credits as a songwriter for other artists as well, including Little Big Town’s Grammy-nominated “Sugar Coat” and songs recorded by Kelsea Ballerini, Cody Johnson, Don Williams and more.

Primrose Track Listing:
1.   “Amelia” (written by Cameron Jaymes, Jordyn Shellhart)
2.   “Who Are You Mad At” (written by Marc Beeson, Allen Shamblin, Jordyn Shellhart)
3.   “Tell Your Mother I’m Fine” (written by Jordyn Shellhart)
4.   “Joni” (written by Cameron Jaymes, Savana Santos, Jordyn Shellhart)
5.   “Steal A Man” (written by Barry Dean, Cameron Jaymes, Jordyn Shellhart)
6.   “When Something’s Gotta Give” (written by Marc Beeson, Allen Shamblin, Jordyn Shellhart)
7.   “Dreams Chase You” (written by Cameron Jaymes, Jordyn Shellhart)
8.   “The Only Perfect” (written by Cameron Jaymes, Jordyn Shellhart)
9.   “Maybe Someday You’ll Have A Daughter” (written by Courtney Dashe, Jordyn Shellhart)
10. “On A Piano Bench Getting Wasted” (written by Jordyn Shellhart)
11.  “Irrelevant” (written by Cameron Jaymes, Melissa Peirce, Jordyn Shellhart)
12. “Near-Death Experience” (written by Jordyn Shellhart)

Jaren Johnston, Neil Mason & Warner Launch New Label

Pictured (L to R): Tom Corson, Co-Chairman & COO, Warner Records; Neil Mason, War Buddha Co-founder; Jaren Johnston, War Buddha Co-founder; Rett Madison; Aaron Bay-Schuck, Co Chairman & CEO, Warner Records

Jaren Johnston and Neil Mason of The Cadillac Three have formed a new Nashville-based label, War Buddha Records, in a joint venture with Warner Records.

The first artist signed to the venture is West Virginia-raised, Los Angeles-based vocalist and songwriter Rett Madison. Fresh from a run of shows with St. Paul & The Broken Bones, Madison is currently on tour and will play a run of shows at SXSW 2023.

Nashville natives Johnston and Mason are longtime friends, and as founding members of The Cadillac Three, have released five albums on Big Machine Records and earned multiple ACM nominations. In addition to their work in the band, both are Grammy-nominated songwriters. Johnston has nine country radio No. 1 singles, with writing and production credits for Tim McGraw, Keith Urban, Eric Church, and many more. Mason has penned songs for Miranda Lambert, Keith Urban, Rascal Flatts, Billy Gibbons, and others.

“For as long as I have known Jaren and Neil, they have never taken a conventional path,” shares Aaron Bay-Schuck, Co-Chairman & CEO, Warner Records. “They’ve been fearless in their pursuit of great art, never compromising any integrity or authenticity in their approach to their own artistry or collaborations as songwriters and producers for other artists. As we continue to build the Warner Records brand as one that is always a safe and encouraging place for artists who dare to be different, take risks, and have a point of view, it made total sense to partner with War Buddha on their mission to do the same. We are very excited to welcome Rett Madison as the first artist from this partnership and we can’t wait to see what other unique and amazing talent Jaren and Neil discover.”

“As artists ourselves, we created War Buddha first and foremost as a home for artists,” Johnston says. “In partnering with our longtime friend Aaron Bay-Schuck, alongside Tom Corson and the stellar Warner Records team, we saw the opportunity to mix our dirt with Warner’s power to create a venture fostering both creative expression and commercial success.”

“We want the label to offer a platform for artists with unique perspectives who fit out, not in, and feel unafraid to tell their stories unapologetically,” Mason says. “Rett is the perfect first signing for the label: an artist with the incredible ability to capture life experiences in songs that make the listener feel they are in those moments with her. We’re so grateful to Aaron and Tom for the chance to build this label together.”

Caitlyn Smith Supports Indie Venues With Upcoming ‘The Great Pretender Tour’

Caitlyn Smith. Photo: Rob Morgan

Caitlyn Smith is celebrating the release of her upcoming album High & Low with “The Great Pretender Solo Tour,” an unplugged, unaccompanied slate of new shows. Alex Hall will join Smith as direct support on the new tour.

Kicking off April 3 in Austin, Texas in partnership with DTour, a network of independent venues and promoters, the trek includes 15 shows across the country. Smith will visit Houston, Charlotte, Philadelphia, Denver, Atlanta and more on the tour.

“I wanted to bring my fans into the room with me to where these songs began. Feelings. Stories. One voice and one instrument. Songs in their purest form,” says Smith. “Sharing these wonderfully intimate rooms with people allows me to connect and be more vulnerable than I have been able to be in years. Hopefully this experience will mean as much to my fans as I know it’s going to mean to me.”

General tickets go on sale this Friday, March 10 at CaitlynSmith.com. Smith’s partnership with DTour follows her history of supporting indie venues. In 2021, she released a video depicting the emotional journey of an independent venue owner facing closure. Smith and Old Dominion partnered on the video for her song, “I Can’t,” to chronicle the desperate conditions many beloved live music venues faced due to the pandemic, and encourage viewers to support the National Independent Venue Association and donate to NIVA’s Emergency Relief Fund.

Last year, Smith released High, the first half of the record that she self-produced. On April 14, she’ll release the completion of that project, adding six new songs to make her full new record, High & Low. 

My Music Row Story: Big Loud’s Stacy Blythe

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.

Lauren Daigle Drops Single From New Self-Titled Album Out In May

Lauren Daigle

Grammy-winning artist Lauren Daigle has announced the release of her upcoming self-titled album, out May 12. Daigle is giving fans a taste of the new project with her new single, “Thank God I Do,” out now.

“Thank God I Do” marks the launch of a new creative chapter for the multi-Platinum selling, Louisiana-bred singer-songwriter, who just last month signed to Atlantic Records in partnership with longtime label home Centricity Music.

Lauren Daigle features 20 soulful and uplifting songs that will be released in two parts. The first ten songs are set to arrive May 12, with the other ten to be released later this year. The project taps into every side of the multi-faceted artist, showcasing her powerful voice, rich storytelling, and bold musicality drawn from and inspired by her New Orleans roots.

“This is my most precious project,” shares Daigle. “It’s got fun moments, solemn moments, extrovert moments and introvert moments. And I’m just thrilled about taking my songwriting further on this record than anything I’ve done previously.”

Since the release of her Grammy-winning, Platinum 2018 album Look Up Child, which includes the breakthrough smash single “You Say,” Daigle has been a mainstay on the Billboard charts. When the collection debuted at No. 3 on the Top 200 Albums chart, she became the first female artist in history to simultaneously hit the top 10 on both Billboard’s Pop and Christian Album charts. The LP eventually reached 100 weeks at No. 1 on the Top Christian Albums chart — the greatest number of weeks any artist has spent at the top of any individual album chart. Also, “You Say” is the longest-running No. 1 to appear on any weekly Billboard chart.

Daigle is a two-time Grammy winner, a seven-time Billboard Music Award recipient, a four-time American Music Award recipient and a ten-time GMA Dove Music Award winner.