Bart Herbison
Copyright Royalty Board (CRB IV), or the Phonorecords IV proceedings, is currently underway to determine the new statutory streaming royalty rate paid to songwriters between the years of 2023 and 2027.
On Oct. 14, National Music Publishers Association (NMPA) President & CEO David Israelite made a social media post claiming that a number of digital service providers, including Amazon, Spotify, Apple, Pandora and Google, were proposing the “lowest royalty rates in history.”
The filings aren’t public yet, but according to Israelite, “not only do they propose rolling back rates and terms to erase all gains over the last 15 years, but they actually are proposing a structure worse than at any point in the history of interactive streaming.”
Nashville Songwriters Association International (NSAI) Executive Director Bart Herbison recently spoke with MusicRow to explain what’s going on at the CRB IV proceedings, what NSAI and NMPA are fighting for, and how songwriters and the publishing community should respond.
First, Herbison reminds us how the streaming services pay songwriters today. Currently, songwriters receive the greater of a per subscriber payment, a percent of revenue, or a percent of the total content revenue.
At the CRB IV trial, NSAI and NMPA are asking for a fourth revenue stream: a per stream payment. “We’re asking for substantial increases,” Herbison tells MusicRow. “We are seeking the greater of:
– On the percent of revenue model, we want 20%.
– Total content cost: 40%.
– Per subscriber: $1.50 per month.
– And per stream: $0.0015 per stream.”
He explains that while the streaming services claim they are still agreeing to the headline rate of 10.5%, they want to make changes on what is applicable revenue to split.
“Spotify wants massive carve outs that could lead to zero revenue per subscriber on the music side. They redefine bundles in such a way it can allow for a zero rate for music. And Spotify eliminates the safety net of total content costs for songwriters.
“Apple wants 30% of their revenue to be sheltered from defined revenue because of their App Store fees, another 10% to be sheltered for distributor fees, and additional uncapped revenues to be sheltered for miscellaneous fees. That would cut the effective rate significantly,” Herbison says, adding that Apple wants to eliminate the total content cost safety net, expand the family and student discounts, and make the free trial period longer.
All of the other proposals from streaming services are similar in that they aim to change the portion of revenue applicable to the headline rate and to diminish the value of total content. “They also ask that family and student discount plans be redefined or removed from the platforms,” he adds. “We’re asking for a new way to get paid, they’re asking for us to take significant decreases on what we already got paid by changing the definitions and terms.
“The devil is in the details here. They are going to claim that they don’t dispute the headline rate of 10.5%, but they just gut the definition of revenue to where it’s essentially tragic.”
NSAI chose and helped brief five songwriters who will testify at CRB IV, which include Autumn Rowe, NSAI President Steve Bogard, Jamie Floyd, Jimmy Yeary, and Angela Hunte. “We tried to represent different genres, ethnicities, geographical regions, and different eras of music, because those correlate with different concerns that American songwriters have,” Herbison says.
The songwriters will testify sometime in April 2022.
“Pat the back of these five songwriters who are testifying, they have given lots of time already, and this is a scary thing, to get up and testify against streaming services,” he says. “This is David versus Goliath, again.
“It’s BS, and you can quote on me on that, for the streaming corporations to say they care about songwriters, to put out articles that say we need to sit down and have a friendly discussion,” he adds. “How can you have a friendly discussion when some of their proposals take us back more than 15 years ago when we were already dying?”
Ironically, the CRB III trial that raised rates from from 10.5 percent of revenue to 15.1 percent of revenue is still under an appeal by some of the streaming services. Herbison is skeptical that the appeal of CRB III will be resolved before anyone testifies for CRB IV.
Songwriters are encouraged to follow NSAI and NMPA on social media and to stay tuned for calls to action in the coming days and months. “Nothing less than the very profession of songwriting is at stake,” Herbison sums.
Brandi Carlile Confirms Headline Tour Dates For 2022
/by Lorie HollabaughBrandi Carlile. Photo: Neil Krug
Brandi Carlile has announced some new headline dates on her “Beyond These Silent Days Tour,” which will launch in 2022. Special guests on the tour include Ani DeFranco, Brittany Howard, Celisse, Indigo Girls, Lake Street Dive, Lucius, Sarah McLachlan and Allison Russell.
Stops on the tour include Washington’s Gorge Amphitheater on June 11, Los Angeles’ The Greek Theatre on June 24, Nashville’s Ascend Amphitheater on July 8-9, Chicago’s Huntington Bank Pavilion at Northerly Island on August 6, D.C.’s Merriweather Post Pavilion on Aug. 18, Colorado’s Red Rocks Amphitheater on Sept. 9-10, Boston’s TD Garden on Oct. 21, and New York’s Madison Square Garden on Oct. 22.
Pre-sale will begin Thursday, Oct. 28 at 10 a.m. local time with general on-sale following Friday, Oct. 29 at 10 a.m. local time. Citi is the official card of the tour and Citi cardmembers will have access to purchase pre-sale tickets beginning Tuesday, Oct. 26-28 through Citi Entertainment.
Ahead of the newly-confirmed dates, Carlile will once again perform Joni Mitchell’s legendary album Blue in full to a sold-out audience at Carnegie Hall on Nov. 6. Her successful Girls Just Wanna Weekend will return Feb. 1-5 in Mexico’s Hard Rock Hotel Riviera Maya.
Brandi Carlile Tour Dates:
November 6—New York, NY—Carnegie Hall (SOLD OUT)
February 1-5—Riviera Maya, Mexico—Girls Just Wanna Weekend (SOLD OUT)
April 22—Miramar Beach, FL—Moon Crush 2022
April 29—Indio, CA—Stagecoach Music Festival
June 11—George, WA—Gorge Amphitheater*
June 24—Los Angeles, CA—The Greek Theatre†
July 8—Nashville, TN—Ascend Amphitheater‡
July 9—Nashville, TN—Ascend Amphitheater‡
July 30—St. Paul, MN—Xcel Energy Center+
August 6—Chicago, IL—Huntington Bank Pavilion at Northerly Island#
August 18—Columbia, MD—Merriweather Post Pavilion§
September 9—Morrison, CO—Red Rocks Amphitheater~
September 10—Morrison, CO—Red Rocks Amphitheater§
October 21—Boston, MA—TD Garden^
October 22—New York, NY—Madison Square Garden^
*with special guests Sarah McLachlan and Lucius and featuring Celisse
†with special guest Lucius
‡with special guests Indigo Girls and Celisse and featuring Lucius
+with special guests Lake Street Dive and Celisse
#with special guests Ani DeFranco and Celisse
§with special guests Indigo Girls and Allison Russell
~with special guests Lucius and Allison Russell
^with special guest Brittany Howard
Red Creative Group Signs Matt Koziol To Label, Artist Development Deal
/by Lydia FarthingPictured (L-R): John Cantu (General Manager, RED Creative Records), Matt Koziol, Jeremy Stover (President, RED Creative Records)
Red Creative Group has signed singer-songwriter Matt Koziol to an exclusive label and artist development deal.
Koziol, who signed a publishing deal with Prescription Songs in 2019, has worked with noteworthy artists, including John Paul White, Joy Oladokun, Jimmie Allen, Charlie Worsham, Steve Moakler and more.
Some of his previously released singles include “Runs In The Family,” “Wrong Things,” and his debut EP Here For The Long Haul. Koziol is set to release his upcoming single, “Work All Day,” this Friday (Oct. 29).
“Matt is a true talent with a deep love for the craft, and we can’t wait for everyone to hear this guy’s voice and musicianship,” shares John Cantu, General Manager of RED Creative Records. “He is one of those timeless artists who is just undeniable. We’re excited to be working with him at RED Creative Records.”
“I feel like the magic of Nashville is that you get to create with folks you consider family. That’s what it has felt like recording and creating with Matt Odmark (Jars Of Clay). I’m excited to bring some of that creativity and work into the world with the help of John Cantu and Jeremy Stover over at Red Creative Group,” adds Koziol. “They really understand the vision, and the passion that goes into creating honest music. I feel very fortunate to be part of their team, and I’m really excited for what’s next!”
Waylon Jennings Estate Inks Management Deal With WME
/by LB CantrellWaylon Jennings. Photo: Billy Mitchell
WME’s Legends group, a management company focused on estate, legacy artist and brand management, has partnered with the estate of Country Music Hall of Fame member Waylon Jennings.
The late country icon’s wife, CMA and Grammy winning artist and songwriter Jessi Colter, and their son, artist and producer Shooter Jennings, will work with WME Legends to manage Waylon’s name, image, likeness and intellectual property rights and assets.
“WME Legends is proud to be working with Jessi Colter, Shooter Jennings and the Waylon Jennings estate. Waylon is considered the most important force in country’s outlaw movement—not only creatively but also for the business standard he set for other artists to strive for in their musical freedom,” says Phil Sandhaus, head of WME Legends.
Waylon Jennings is one of the founding pioneers of the outlaw movement in country music. His career began when he starred in the film Nashville Rebel and scored top 10 hits with “The Chokin’ Kind” and “Only Daddy That’ll Walk the Line.” He won his first of two Grammy awards in 1969 for his collaboration with the Kimberlys on “MacArthur Park.”
Waylon’s albums released in the ’70s are some of his most renowned work, including Lonesome, On’ry and Mean and Honky Tonk Heroes. In 1976, Waylon released Wanted! The Outlaws which included songs by himself, his wife Jessi Colter, Willie Nelson, and Tompall Glaser. It became the first album in country music history to be certified Platinum.
Wanted! The Outlaws also launched Waylon and Willie as one of country’s most famous duos. Together the two released “Good Hearted Woman” in 1976, and “Luckenbach, Texas (Back to the Basics of Love)” in 1977. Waylon and Willie won a Grammy together in 1978 for their country classic, “Mamas Don’t Let Your Babies Grow Up to Be Cowboys.”
Later on Waylon and Willie found success in the Highwaymen, a country supergroup they formed with Kris Kristofferson and Johnny Cash.
Waylon was inducted into the Country Music Hall of Fame in 2001, and died in February of 2002.
Lee Starr Signs With Sony Music Publishing & KP Entertainment
/by Lorie HollabaughPictured (L-R): Rusty Gaston, Kerri Edwards, Lee Starr, Aubrey Schwartz, Scott Safford
Rising singer-songwriter and producer Lee Starr has signed a worldwide publishing agreement with Sony Music Publishing Nashville and KP Entertainment.
Originally hailing from Arkansas, Starr arrived in Nashville in 2014 after spending time as a working musician in and around Austin. He has worked with up-and-coming artists as a songwriter and producer, penning songs for Elvie Shane, Ashland Craft, Conner Smith and Drew Green.
Starr co-wrote Shane’s debut single, “My Boy,” which reached No. 1 on Billboard’s Country Airplay chart. In the same week, “My Boy” reached the No. 4 spot on Billboard’s Hot Country Songs with 6.6 million U.S. streams.
“I couldn’t be more excited for Lee and the team at KP Entertainment,” says Sony Music Publishing Nashville CEO Rusty Gaston. “Lee’s songs are full of heart, and his work ethic is second to none. His potential is endless and I’m looking forward to all that is to come.”
“When our Creative Director Aubrey Schwartz played some demos of Lee earlier this year, I knew he was someone we had to represent,” adds Kerri Edwards, Founder, KP Entertainment. “His approach to songwriting and producing is inspiring, along with his drive to work toward those next level goals. Lee is such a great addition to our roster, and I look forward to building this with him.”
“Aubrey has been my champion since day one and as soon as she introduced me to Kerri, I knew where I wanted to be,” shares Starr. “Rusty and the staff at Sony Music Publishing are incredible, and everyone involved in this deal is an absolute hustler. When you find good people, you stick with them. I think the sky is the limit for us.”
CRB IV Proceedings: NSAI’s Bart Herbison On What You Need To Know [Interview]
/by LB CantrellBart Herbison
Copyright Royalty Board (CRB IV), or the Phonorecords IV proceedings, is currently underway to determine the new statutory streaming royalty rate paid to songwriters between the years of 2023 and 2027.
On Oct. 14, National Music Publishers Association (NMPA) President & CEO David Israelite made a social media post claiming that a number of digital service providers, including Amazon, Spotify, Apple, Pandora and Google, were proposing the “lowest royalty rates in history.”
The filings aren’t public yet, but according to Israelite, “not only do they propose rolling back rates and terms to erase all gains over the last 15 years, but they actually are proposing a structure worse than at any point in the history of interactive streaming.”
Nashville Songwriters Association International (NSAI) Executive Director Bart Herbison recently spoke with MusicRow to explain what’s going on at the CRB IV proceedings, what NSAI and NMPA are fighting for, and how songwriters and the publishing community should respond.
First, Herbison reminds us how the streaming services pay songwriters today. Currently, songwriters receive the greater of a per subscriber payment, a percent of revenue, or a percent of the total content revenue.
At the CRB IV trial, NSAI and NMPA are asking for a fourth revenue stream: a per stream payment. “We’re asking for substantial increases,” Herbison tells MusicRow. “We are seeking the greater of:
– On the percent of revenue model, we want 20%.
– Total content cost: 40%.
– Per subscriber: $1.50 per month.
– And per stream: $0.0015 per stream.”
He explains that while the streaming services claim they are still agreeing to the headline rate of 10.5%, they want to make changes on what is applicable revenue to split.
“Spotify wants massive carve outs that could lead to zero revenue per subscriber on the music side. They redefine bundles in such a way it can allow for a zero rate for music. And Spotify eliminates the safety net of total content costs for songwriters.
“Apple wants 30% of their revenue to be sheltered from defined revenue because of their App Store fees, another 10% to be sheltered for distributor fees, and additional uncapped revenues to be sheltered for miscellaneous fees. That would cut the effective rate significantly,” Herbison says, adding that Apple wants to eliminate the total content cost safety net, expand the family and student discounts, and make the free trial period longer.
All of the other proposals from streaming services are similar in that they aim to change the portion of revenue applicable to the headline rate and to diminish the value of total content. “They also ask that family and student discount plans be redefined or removed from the platforms,” he adds. “We’re asking for a new way to get paid, they’re asking for us to take significant decreases on what we already got paid by changing the definitions and terms.
“The devil is in the details here. They are going to claim that they don’t dispute the headline rate of 10.5%, but they just gut the definition of revenue to where it’s essentially tragic.”
NSAI chose and helped brief five songwriters who will testify at CRB IV, which include Autumn Rowe, NSAI President Steve Bogard, Jamie Floyd, Jimmy Yeary, and Angela Hunte. “We tried to represent different genres, ethnicities, geographical regions, and different eras of music, because those correlate with different concerns that American songwriters have,” Herbison says.
The songwriters will testify sometime in April 2022.
“Pat the back of these five songwriters who are testifying, they have given lots of time already, and this is a scary thing, to get up and testify against streaming services,” he says. “This is David versus Goliath, again.
“It’s BS, and you can quote on me on that, for the streaming corporations to say they care about songwriters, to put out articles that say we need to sit down and have a friendly discussion,” he adds. “How can you have a friendly discussion when some of their proposals take us back more than 15 years ago when we were already dying?”
Ironically, the CRB III trial that raised rates from from 10.5 percent of revenue to 15.1 percent of revenue is still under an appeal by some of the streaming services. Herbison is skeptical that the appeal of CRB III will be resolved before anyone testifies for CRB IV.
Songwriters are encouraged to follow NSAI and NMPA on social media and to stay tuned for calls to action in the coming days and months. “Nothing less than the very profession of songwriting is at stake,” Herbison sums.
Hipgnosis Songs Group Signs Co-Publishing Deal With Emily Kroll
/by LB CantrellPictured (L-R): TD Ruth, Emily Kroll, Emily Boardman, Pete Robinson
Songwriter Emily Kroll has signed a worldwide co-publishing deal with Hipgnosis Songs Group.
Kroll went to Belmont University and graduated with a degree in social work. She eventually decided to leave social work and pursue her passion for songwriting. Kroll began working at The Listening Room Cafe, where she became good friends with future UMG Nashville artist, Priscilla Block.
Kroll is a co-writer on Block’s viral hit and currently charting single, “Just About Over You,” and is participating in ASCAP’s GPS program for new songwriters.
“We are honored to have Emily join our roster. She is a brilliant young writer, and her career is just getting started,” says Hipgnosis Nashville GM, Pete Robinson.
“I am so excited to introduce the Nashville music community to Emily,” adds Creative Manager, Emily Boardman. “She has an amazing work ethic and a knack for lyrics that make her a great addition to the Hipgnosis roster.”
U.S. Representative Ted Deutch Introduces New Legislation To Help Independent Artists
/by Lydia FarthingU.S. Representative Ted Deutch (D-FL) has introduced the Protect Working Musicians Act, which would allow artists and music creators to negotiate rates and terms for the use of their music online.
Currently, small and independent musicians have little ability to bargain rates for the use of their music by online streaming platforms. Rather, they must accept whatever is offered by these essential platforms to reach fans and get heard.
“Through the pandemic, streaming services became even more indispensable, allowing us to enjoy the music we love, even when live performances were shut down. But with the exponentially increasing market power of a few tech platforms, the voices of independent musicians are getting harder to hear,” says Rep. Deutch. “By empowering a more diverse chorus of voices to negotiate fair terms and rates for their music, the Protecting Working Musicians Act recognizes the fundamental value of music and gives working artists a fair shot.”
According to Deutch, the Protect Working Musicians Act would empower small, independent artists and music creators by allowing working artists and independent musicians to band together to negotiate with streaming platforms; ensuring that antitrust laws aren’t an obstacle to these negotiations; and by granting working artists and independent musicians the ability to collectively refuse to license their music to an online music distribution platform that refuses to pay market value rates.
The Protect Working Musicians Act is endorsed by the American Association of Independent Music (A2IM) and the Artist Rights Alliance (ARA).
“The Protect Working Musicians Act is crucial legislation to make sure that indie music survives as distribution on dominant digital music platforms becomes all the more necessary,” shares A2IM President and CEO, Dr. Richard James Burgess. “The power imbalance must be addressed by Congress so that creators and independent labels can band together to fight for fair compensation and against anticompetitive schemes that devalue music. Year after year these platforms grow their profits and subscriber bases at astronomical rates while artists struggle, especially in the wake of the pandemic. We thank Representative Deutch for standing up for the premise that artists and creators deserve to make a living wage even if they aren’t a mega star or signed to a major label.”
“We are so grateful to have a friend and supporter like Congressman Deutch,” says Rosanne Cash, co-chair of the Artist Rights Alliance and Grammy winning singer and songwriter. “His appreciation for music is evident and his commitment to all musicians gives me hope that we can create a fairer, stronger music economy that works for fans, services, artists, and songwriters alike.”
Randy Houser To Hit The Road In January
/by Lorie HollabaughRandy Houser. Photo: Rachel Deeb
Randy Houser will kick off the new year with a brand new 26-city tour, beginning Jan. 21 and wrapping at Nashville’s historic Ryman Auditorium in mid-March.
Ella Langley will join as Houser’s special guest on the tour, which will make stops in Orlando, Tulsa, San Diego, Las Vegas and more through March 20. Tickets for the shows go on sale this Friday, Oct. 29.
“I’ve been spending a lot of time in the studio recording some songs and it’s time we play some of these live,” says Houser. “I’m a big fan of Ella Langley’s and think folks will really dig her sound!”
Houser has racked up three consecutive No. 1s and more than four million in singles sales to date with his Stoney Creek Records album, How Country Feels. He topped the charts with “Runnin’ Outta Moonlight” and “Goodnight Kiss,” which was also his first No. 1 as a songwriter.
Houser also earned acclaim for his Top 5 smash “Like A Cowboy,” and added a fourth No. 1 to his catalogue with “We Went” from the 2016 album, Fired Up. He is currently working on new music due out in early 2022.
Locash Taps Into Childhood Memories On ‘Woods & Water’
/by Lydia FarthingBBR Music Group/BMG’s Wheelhouse Records’ duo Locash have announced their new EP, Woods & Water, will be available on Nov. 5.
Inspired by each of their childhoods–Chris Lucas grew up in Baltimore on the water and Preston Brust, a preacher’s kid, was raised in Kokomo, Indiana, and surrounded by nature–the EP represents both. With five tracks, each one penned by at least one member of the duo, the collection aims to showcase Locash’s high-energy twang and optimism.
“We can’t wait to share this music! We kept it all on a positive note like we do best, and we collaborated with some bucket list voices and writers. We wanted Woods & Water to be a mini vacation–a getaway,” the pair shares. “Relatable and easy to sing along to, this project hits every feel-good tempo. It’s us. These are the anthems the world needs right now.”
The project’s track list features writers including The Beach Boys’ Brian Wilson and Mike Love on a song titled “Beach Boys,” as well as Nashville tunesmiths such as Rhett Akins, Dallas Davidson, Ben Hayslip, and Chris LaCorte. Corey Crowder produced the project, with additional production by Clint Lagerberg.
Tallying three Gold-certified career hits, including their 2019 “One Big Country Song,” two No. 1s, two acclaimed albums, and nearly 500 million global streams to their credit, Locash also recently announced their extended global publishing agreement with BMG.
Woods & Water Track List:
1. Beach Boys (Chris Lucas, Preston Brust, Dallas Wilson, Jared Mullins, Brian Wilson, Mike Love)
2. In The Woods (Chris Lucas, Preston Brust, Chris LaCorte, Corey Crowder)
3. Sippin Sunsets (Chris Lucas, Preston Brust, Jason Duke, John Byron)
4. Small Town For Life (Chris Lucas, Preston Brust, Ben Hayslip, Dallas Davidson, Rhett Akins)
5. Chillionaire (Preston Brust, Clint Lagerberg, Drew Baldridge)
Tracks 1-4 Produced by Corey Crowder
Track 5 Produced by Clint Lagerberg
Maddie & Tae To Headline 2022 “CMT Next Women Of Country Tour”
/by Lorie HollabaughMaddie & Tae will launch their headlining 2022 “CMT Next Women of Country Tour Presents: All Song No Static Tour” beginning in January. Callista Clark and CMT Next Women of Country inductee Sacha will join the duo on each stop of the 16-city tour.
Kicking off Jan. 6 in Oklahoma City, the CMT tour will visit Atlanta, Boston, Houston, New York and more through February with a stop at Nashville’s Brooklyn Bowl on Feb. 10. Tickets will go on sale beginning this Friday (Oct. 29) at 10 a.m. CT at MaddieandTae.com and CMT.com.
“We are so excited to have CMT’s Next Women of Country tour back on the road and to announce our favorite dynamic duo Maddie & Tae as headliners!” says Leslie Fram, SVP of Music & Talent, CMT. “I’ve loved having the opportunity to watch their careers soar since we first welcomed them into our program in 2015 and equally thrilled Callista and Sacha–two of our brightest newcomers–will have the opportunity to share the stage and be part of such an amazing tour.”
Maddie & Tae were selected as members of CMT’s Next Women of Country class of 2015, and have released hits including “Girl In A Country Song,” “Fly,” “Friends Don’t,” and their double-Platinum single “Die from a Broken Heart.” With 17 career awards nominations, including a Vocal Duo of the Year nod at the upcoming 55th Annual CMA Awards, Maddie & Tae are readying their next studio project, which will feature their latest single “Woman You Got,” “Life Ain’t Fair,” and more.
CMT launched its Next Women of Country campaign in 2013 to support and expose developing female talent in a male-dominated format. In the six years since its inception, CMT has expanded the initiative to include six Next Women of Country Tours, anchored by acts like Jennifer Nettles, Martina McBride, Sara Evans, and most recently Tanya Tucker. Notable past tour participants include Kacey Musgraves, Kelsea Ballerini, Maren Morris, Mickey Guyton, Ashley McBryde and more.
“CMT Next Women of Country Tour” Dates:
Jan 6 – Town Theatre – Oklahoma City, OK
Jan 7 – House of Blues – Houston, TX
Jan 12 – Brighton Music Hall- Boston, MA
Jan 13 – Gramercy Theatre – New York, NY
Jan 14 – Baltimore Soundstage – Baltimore, MD
Jan 15 – Jergel’s Rhythm Grille – Warrendale, PA
Jan 19 – Moonshine Beach- San Diego, CA
Jan 20 – The Roxy – West Hollywood, CA
Jan 21 – Club Rodeo Rio – San Jose, CA
Jan 22 – Goldfield Trading Post – Sacramento, CA
Feb 3 – Elevation at The Intersection – Grand Rapids, MI
Feb 4 – The Castle Theater – Bloomington, IL
Feb 5 – The Bluestone – Columbus, OH
Feb 10 – Brooklyn Bowl – Nashville, TN
Feb 11 – Von Braun Center – Mars Music Hall – Huntsville, AL
Feb 12 – Buckhead Theatre – Atlanta, GA