Pictured (clockwise): Ann Powers, Luke Combs, Maren Morris
In an incredibly powerful conversation led by NPR Music’s Ann Powers, Luke Combs and Maren Morris acknowledged racism in the country music industry and spoke about their roles in helping to mend the genre’s complicated past and current issues. The CRS panel that featured the reigning CMA Male and Female Vocalists of the Year was sponsored by All Access.
Country Radio Broadcasters Exec. Dir., RJ Curtis, introduced the panel, saying that Combs and Morris raised their hands to participate in the discussion. “CRS believes this is a timely and important discussion,” he said.
The panel is very timely, following the events of Feb. 3, when a video surfaced of Morgan Wallen using the N-word outside his Nashville home opened up a national conversation about racism and racial inequity in the country music format.
Powers first acknowledged that the conversation, while important, is incomplete, as the participants were three white people.
Morris, who has historically been one of the most outspoken artists in the country genre, released a song in October, “Better Than We Found It,” that address racial inequity and racism.
“I really didn’t set out to be this activist, and obviously none of us are the authority on racism because we are white and existing as white people in a space that is historically rooted in a lot of racism,” Morris said. “It’s really hard for me as a white person to deconstruct all of that. The initial white fragility moment is, ‘I’m not racist, I haven’t done anything racist. I have friends that are Black,’ but I think that once I took that layer away, it’s liberating to not bow up anytime someone questions a motive or an action of yours. I’m still shedding that insecurity, that edge that white people—especially in country music—get when we don’t want to face the history of this genre that I would say we all love dearly.”
Combs, who has shied away from politically charged conversation, recently released a collaboration with Billy Strings that addresses division and conflict, called “The Great Divide.”
Combs commended Morris for speaking out, and admitted the risks associated with such. “Maren has obviously done a fantastic job of sharing her opinions and the things that she believes in, and I admire her a lot for that because that’s a big risk in the climate of our genre. It’s a hard thing to get on here and talk, to have these tough conversations because you’re nervous as an artist.”
Combs points out that the music industry has to acknowledge the problem of lack diversity and racism in country music. “Just saying there are things that need to change, taking a moment to be aware of that and knowing that there are problems that exist is the biggest first step that I have taken. The biggest first step that anybody out there in the industry that may be watching can take is just saying, ‘Hey, these things do happen. Let’s not sit here and say that they don’t, because they do.'”
At a very successful point in his career, Combs doesn’t want to miss his chance to take a stance on the issue. “I couldn’t just sit back and not do anything. I couldn’t not say that I want people to know that we as a genre care about this issue.”
Powers gave Combs the opportunity to talk about some images and videos of him where confederate flags were present.
“There is no excuse for those images. I’m not trying to say ‘This is why they were there and it’s okay that they were there,’ because it’s not okay,” Combs said. “As a younger man, that was an image that I associated to mean something else. As I’ve grown in my time as an artist and as the world has changed drastically in the last five to seven years, I’m now aware of how painful that image can be to someone else. I would never want to be associated with something that brings so much hurt to someone else. It’s not about history or this or that. This is something that hurts someone else.
“I want people to feel accepted, I want people to feel welcomed by country music and by our community. At the time that those images existed, I wasn’t aware what that was portraying to the world and to African American artists in Nashville who were saying, ‘Man, I really want to get a deal, but how can I be around with these images promoted?’ I do apologize for that, I apologize for being associated with that.”
Combs recognized that he is a highly visible member of the country music community, and that he wants to use his influence for good.
Morris and Combs both contributed to the conversation about the distinction between using hateful imagery like the confederate flag, and preserving southern heritage and legacy.
Morris said, “I think that’s what we’re drawn to when we fall in love with country music for the first time, is the nostalgia, the heartbreaking songwriting, the art of a lyric just cutting to your core. It’s about remembering.
“I’m from Texas. This is just sheer ignorance and privilege, but I did not know that the rebel flag meant what it meant until I was 15 or 16 years old,” Morris continued. “That ‘southern pride’ thing, and ‘the south will rise again,’ those were all just terms thrown around. There was no explanation behind it. I think a large majority of people who listen to country music don’t know that either, the deeper meaning of what that flag symbolizes. But maybe that’s just wishful thinking.”
Morris continued to say that she sees confederate flags in the parking lots of festivals that she’s played, and said that she doesn’t want to play those festivals anymore.
“If you were a Black person, would you ever feel safe going to a show with those flying in the parking lot? No. I feel like the most powerful thing as artists in our position right now, is to make those demands of large organizations, festivals, and promoters.”
Combs agrees with Morris that some country listeners may not fully realize the impact and full history behind confederate flag imagery. He equates it to, “Not having to grow up being afraid of that image, and not seeing that image as something that says ‘You’re not welcome here.’
“I never considered that up until 7 or 8 years ago,” Combs continued. “It’s not something that’s talked about a lot in the south. Maren is right, I’d like to think that most people are still unfamiliar with that. I’m not making excuses for anyone, because we can all grow and get better, which is what we’re trying to do here.”
Combs says that there are a multitude of other ways southerners can celebrate their hertiage.
“There are so many things beyond the rebel flag that we can do to be proud of being from the South. You can go plant a vegetable garden in your yard of heirloom plants that your family used to grow 200 years ago,” Combs said. “You can cook a meal that your grandparents made… You don’t need the flag to be proud to be from the South.”
Morris highlighted the often unsung Black pioneers of country music. “If we want to pride ourselves on being ‘three chords and the truth,’ then we need to be truthful with ourselves and know who started this genre, it wasn’t just white people. And going forward, making room [for Black creators]. It’s not to say or diminish my hard work or Luke’s hard work, but we have absolutely had more doors open to us from being white.”
She encourages people to learn the true history of the genre, and points out Ken Burns’ Country Music documentary for having helped her.
“Doing a deep-dive of history and knowing how this genre came to be is a really huge part of it,” Morris said. “I love country music so much. I have my version of it. Going forward, I want to pay respect to the people who actually built it for me.”
When the question was posed about how to help promote diversity and equity in the industry, Combs acknowledged the privilege that worked in tandem with his hard work and talent, and challenged the industry to make sure they’re giving aspiring artists and industry members of color a fair chance.
“I’m not diminishing anyone’s accomplishments. I worked my ass off to get where I am, and so did Maren. But, like she said, it’s impossible to not say we’ve had it easier than our Black counterparts, or I had it easier than Maren, my female counterpart. It’s undeniable. For me to sit here and tell you that– that’s not true, would be a lie.
“If you’re a publisher and a Black writer comes in, are you giving them the same look that you’re giving me if I come in? I’m not accusing anyone of anything, that’s not what I’m saying, I’m just saying take a minute of your day and think.”
Powers brought up another observation regarding the conversation surrounding Morgan Wallen. Powers pointed out that country artists often get accused of causing a rift in the ‘country music family’ when speaking out against hate.
Morris says we strengthen the country music family by holding each other accountable. “This isn’t about going after people or a fan base for sport,” she said. “What is going after someone, saying ‘The N-word is bad’? That’s the least we can do.
“I appreciate Morgan for saying ‘quit defending me’ to his fans, because it’s indefensible. He knows that, we know that,” she continued. “This whole ‘We’re a family, we’re protecting our own,’ is protecting white people. It’s not Black people.”
Morris summed, “If you love something, you should absolutely call out the parts that are complicit and wrong, so we can move forward in a healthy way.”
“We want to be stewards of our genre, because we’re proud of it,” Luke summed. “You do hear ‘country music is a family,’ and I do believe that more than anything, but I want it to be a family that everyone feels like they can be a part of.”
Dolly Parton Declines Proposed Tennessee State Capitol Statue
/by LB CantrellDolly Parton. Photo: Rob Hoffman
Dolly Parton has declined a bill proposed by the Tennessee legislature to erect a statue of the country music icon on the Capitol grounds.
The bill was filed by Rep. John Windle, D-Livingston on Jan. 13 and would have required the State Capitol Commission to erect the statue facing the Ryman Auditorium.
In a statement provided to MusicRow by Parton’s publicist, the Country Music Hall of Fame member thanked Tennessee legislature for the consideration but declined because she doesn’t want to be put on a pedestal right now “given all that is going on in the world.”
Read Parton’s full statement below:
Ray Stevens Announces Four New Albums Highlighting Classic Songs
/by Lorie HollabaughRay Stevens will be a busy man this spring, with four new albums set for release over the course of the next few months.
The 82-year-old recently returned to Curb Records and will begin digitally dropping the new material this month with the release of Great Country Ballads on February 26. Additional releases throughout the spring include Melancholy Fescue (High Class Bluegrass) on March 26, Slow Dance on April 23, and Nouveau Retro (What’s Old Is New Again) on May 21. Stevens and Curb are also planning to release all four new albums in a special edition box set, Iconic Songs of the 20th Century (The Soundtrack of Our Lives), available for purchase on June 18.
On Great Country Ballads, Stevens pays tribute to timeless songs of the genre in his own unique way. On Melancholy Fescue (High Class Bluegrass), he takes the idea he explored with “Misty” to new heights as he gives a bluegrass treatment to songs with symphonic strings and a choir. Slow Dance offers Stevens’ take on classic love songs of yesteryear, and on Nouveau Retro (What’s Old Is New Again), he takes familiar favorites and reinvents them.
“I’ve been working in my recording studio for the last few years recording songs that I’ve heard all through my life,” says Stevens. “These new recordings are the ‘soundtrack of my life,’ so to speak. I had a great time making these records and I hope others will enjoy them too.”
Track Listings:
Great Country Ballads
1. Please Help Me, I’m Falling (In Love With You)
2. Crazy
3. City Lights
4. I Can’t Stop Loving You
5. Bouquet of Roses
6. Room Full of Roses
7. Your Cheatin’ Heart
8. Crying Time
9. I Can’t Help It (If I’m Still in Love With You)
10. Making Believe
11. Sweet Dreams
12. ‘Til I Get It Right
Melancholy Fescue (High Class Bluegrass)
1. Ruby/Ruby Baby (medley)
2. Pretty Woman
3. In The Still of The Night / In The Still of The Night (medley)
4. At This Moment
5. Twilight Time
6. Unchained Melody
7. Spring Is Here
8. Sophisticated Lady
9. People
10. Can’t Take My Eyes Off You
11. Goin’ Out of My Head
12. MacArthur Park
Slow Dance
1. Only You (And You Alone)
2. Unforgettable
3. Make Believe / It’s Only Make Believe (medley)
4. The Great Pretender
5. I’ll See You In My Dreams
6. (Swaying To The Music) Slow Dancing
7. Answer Me
8. Stardust
9. As Usual
10. Dream
11. This Is All I Ask
12. What A Wonderful World
Nouveau Retro (What’s Old Is New Again)
1. April In Paris
2. Blue Moon
3. Earth Angel (Will You Be Mine)
4. Lay Me Down (Roll Me Out To Sea)
5. Cry Me A River
6. Mountain of Love
7. Talk To Me
8. Young Love
9. Indian Love Call
10. No, Not Much
11. You Don’t Know Me
12. Always Chasing Rainbows / Over The Rainbow (medley)
Luke Combs, Maren Morris Have a Timely Conversation About Racism in Country Music
/by LB CantrellPictured (clockwise): Ann Powers, Luke Combs, Maren Morris
In an incredibly powerful conversation led by NPR Music’s Ann Powers, Luke Combs and Maren Morris acknowledged racism in the country music industry and spoke about their roles in helping to mend the genre’s complicated past and current issues. The CRS panel that featured the reigning CMA Male and Female Vocalists of the Year was sponsored by All Access.
Country Radio Broadcasters Exec. Dir., RJ Curtis, introduced the panel, saying that Combs and Morris raised their hands to participate in the discussion. “CRS believes this is a timely and important discussion,” he said.
The panel is very timely, following the events of Feb. 3, when a video surfaced of Morgan Wallen using the N-word outside his Nashville home opened up a national conversation about racism and racial inequity in the country music format.
Powers first acknowledged that the conversation, while important, is incomplete, as the participants were three white people.
Morris, who has historically been one of the most outspoken artists in the country genre, released a song in October, “Better Than We Found It,” that address racial inequity and racism.
“I really didn’t set out to be this activist, and obviously none of us are the authority on racism because we are white and existing as white people in a space that is historically rooted in a lot of racism,” Morris said. “It’s really hard for me as a white person to deconstruct all of that. The initial white fragility moment is, ‘I’m not racist, I haven’t done anything racist. I have friends that are Black,’ but I think that once I took that layer away, it’s liberating to not bow up anytime someone questions a motive or an action of yours. I’m still shedding that insecurity, that edge that white people—especially in country music—get when we don’t want to face the history of this genre that I would say we all love dearly.”
Combs, who has shied away from politically charged conversation, recently released a collaboration with Billy Strings that addresses division and conflict, called “The Great Divide.”
Combs commended Morris for speaking out, and admitted the risks associated with such. “Maren has obviously done a fantastic job of sharing her opinions and the things that she believes in, and I admire her a lot for that because that’s a big risk in the climate of our genre. It’s a hard thing to get on here and talk, to have these tough conversations because you’re nervous as an artist.”
Combs points out that the music industry has to acknowledge the problem of lack diversity and racism in country music. “Just saying there are things that need to change, taking a moment to be aware of that and knowing that there are problems that exist is the biggest first step that I have taken. The biggest first step that anybody out there in the industry that may be watching can take is just saying, ‘Hey, these things do happen. Let’s not sit here and say that they don’t, because they do.'”
At a very successful point in his career, Combs doesn’t want to miss his chance to take a stance on the issue. “I couldn’t just sit back and not do anything. I couldn’t not say that I want people to know that we as a genre care about this issue.”
Powers gave Combs the opportunity to talk about some images and videos of him where confederate flags were present.
“There is no excuse for those images. I’m not trying to say ‘This is why they were there and it’s okay that they were there,’ because it’s not okay,” Combs said. “As a younger man, that was an image that I associated to mean something else. As I’ve grown in my time as an artist and as the world has changed drastically in the last five to seven years, I’m now aware of how painful that image can be to someone else. I would never want to be associated with something that brings so much hurt to someone else. It’s not about history or this or that. This is something that hurts someone else.
“I want people to feel accepted, I want people to feel welcomed by country music and by our community. At the time that those images existed, I wasn’t aware what that was portraying to the world and to African American artists in Nashville who were saying, ‘Man, I really want to get a deal, but how can I be around with these images promoted?’ I do apologize for that, I apologize for being associated with that.”
Combs recognized that he is a highly visible member of the country music community, and that he wants to use his influence for good.
Morris and Combs both contributed to the conversation about the distinction between using hateful imagery like the confederate flag, and preserving southern heritage and legacy.
Morris said, “I think that’s what we’re drawn to when we fall in love with country music for the first time, is the nostalgia, the heartbreaking songwriting, the art of a lyric just cutting to your core. It’s about remembering.
“I’m from Texas. This is just sheer ignorance and privilege, but I did not know that the rebel flag meant what it meant until I was 15 or 16 years old,” Morris continued. “That ‘southern pride’ thing, and ‘the south will rise again,’ those were all just terms thrown around. There was no explanation behind it. I think a large majority of people who listen to country music don’t know that either, the deeper meaning of what that flag symbolizes. But maybe that’s just wishful thinking.”
Morris continued to say that she sees confederate flags in the parking lots of festivals that she’s played, and said that she doesn’t want to play those festivals anymore.
“If you were a Black person, would you ever feel safe going to a show with those flying in the parking lot? No. I feel like the most powerful thing as artists in our position right now, is to make those demands of large organizations, festivals, and promoters.”
Combs agrees with Morris that some country listeners may not fully realize the impact and full history behind confederate flag imagery. He equates it to, “Not having to grow up being afraid of that image, and not seeing that image as something that says ‘You’re not welcome here.’
“I never considered that up until 7 or 8 years ago,” Combs continued. “It’s not something that’s talked about a lot in the south. Maren is right, I’d like to think that most people are still unfamiliar with that. I’m not making excuses for anyone, because we can all grow and get better, which is what we’re trying to do here.”
Combs says that there are a multitude of other ways southerners can celebrate their hertiage.
“There are so many things beyond the rebel flag that we can do to be proud of being from the South. You can go plant a vegetable garden in your yard of heirloom plants that your family used to grow 200 years ago,” Combs said. “You can cook a meal that your grandparents made… You don’t need the flag to be proud to be from the South.”
Morris highlighted the often unsung Black pioneers of country music. “If we want to pride ourselves on being ‘three chords and the truth,’ then we need to be truthful with ourselves and know who started this genre, it wasn’t just white people. And going forward, making room [for Black creators]. It’s not to say or diminish my hard work or Luke’s hard work, but we have absolutely had more doors open to us from being white.”
She encourages people to learn the true history of the genre, and points out Ken Burns’ Country Music documentary for having helped her.
“Doing a deep-dive of history and knowing how this genre came to be is a really huge part of it,” Morris said. “I love country music so much. I have my version of it. Going forward, I want to pay respect to the people who actually built it for me.”
When the question was posed about how to help promote diversity and equity in the industry, Combs acknowledged the privilege that worked in tandem with his hard work and talent, and challenged the industry to make sure they’re giving aspiring artists and industry members of color a fair chance.
“I’m not diminishing anyone’s accomplishments. I worked my ass off to get where I am, and so did Maren. But, like she said, it’s impossible to not say we’ve had it easier than our Black counterparts, or I had it easier than Maren, my female counterpart. It’s undeniable. For me to sit here and tell you that– that’s not true, would be a lie.
“If you’re a publisher and a Black writer comes in, are you giving them the same look that you’re giving me if I come in? I’m not accusing anyone of anything, that’s not what I’m saying, I’m just saying take a minute of your day and think.”
Powers brought up another observation regarding the conversation surrounding Morgan Wallen. Powers pointed out that country artists often get accused of causing a rift in the ‘country music family’ when speaking out against hate.
Morris says we strengthen the country music family by holding each other accountable. “This isn’t about going after people or a fan base for sport,” she said. “What is going after someone, saying ‘The N-word is bad’? That’s the least we can do.
“I appreciate Morgan for saying ‘quit defending me’ to his fans, because it’s indefensible. He knows that, we know that,” she continued. “This whole ‘We’re a family, we’re protecting our own,’ is protecting white people. It’s not Black people.”
Morris summed, “If you love something, you should absolutely call out the parts that are complicit and wrong, so we can move forward in a healthy way.”
“We want to be stewards of our genre, because we’re proud of it,” Luke summed. “You do hear ‘country music is a family,’ and I do believe that more than anything, but I want it to be a family that everyone feels like they can be a part of.”
Black River Entertainment Signs Hitmaker Ray Fulcher
/by Sarah SkatesPictured (L-R, back row): Terry Wakefield (Universal Music Publishing), Gordon Kerr (Black River), Abby Miller (Black River), Zebb Luster (River House), Doug Johnson (Black River), Neil Mason (Badlands Management), Lynn Oliver (River House Publishing), Ray Fulcher, Mike Wilson (Black River), Rick Froio (Black River), Austin Mullins (WME), Dawn Delvo (Black River), and Chris King (King Business and Financial Management). (L-R, front row): Tali Canterbury (50 Egg), Ron Stuve (Universal Music Publishing), Rebekah Gordon (Black River), Emily Hungate (Black River), Lauren Kilgore (Shackelford, Bowen, McKinley & Norton, LLP), Bill Macky (Black River), Tanya Schrage (Black River), Jordon Petty (270 Media Co), and Jonathan Singleton (Producer).
Black River Entertainment has signed hit songwriter and artist Ray Fulcher, who brings a loyal fanbase which has streamed his music more than 30 million times.
He shared news of the label signing with his fans first, saying, “Fans are the reason I write songs. They are the lifeblood of our industry, and without them, this wouldn’t be possible, so it’s only right for them to know first.”
Fulcher is a frequent collaborator of Luke Combs with writing credits on Combs’ No. 1 singles “When It Rains It Pours,” “Even Though I’m Leaving,” “Does To Me” ft. Eric Church, and “Lovin’ On You.”
Signed to Black River Entertainment in 2021, Fulcher is working with producer Jonathan Singleton and is set to support Combs this fall on the What You See Is What You Get Tour.
Black River joins Fulcher’s team including WME, Universal Music Publishing, River House Publishing, and Badlands Management.
“What a great day for all of us!” said Black River’s President and CEO Gordon Kerr. “What an impressive team we are now partnered alongside. Most importantly, what an artist! We are honored to step into this already impressive journey and can’t wait to see what is in store for Ray!”
Fulcher shared, “I always knew I didn’t want to sign anywhere unless they really believed in our music and vision as much as we did ourselves. They had to really get the songs and what we wanted to do with them and believe that I was the guy to carry them to the masses. With Black River, we have gotten all that and more…and the more I’ve gotten to know the people, the more I see what a great group of not just professionals they are, but humans. Just felt like a real easy decision.”
Growing up in Harlem, Georgia, Fulcher’s biggest influences were Alan Jackson, Keith Whitley, Lynyrd Skynyrd, Eric Church, and George Strait. He moved to Nashville to pursue songwriting after graduating from the University of Georgia in 2014. Soon after, he signed his first publishing deal with River House Publishing. Fulcher has released the EPs Here We Go Again and Somebody Like Me.
Black River Entertainment’s President and CEO Gordon Kerr and Ray Fulcher.
Nick Norman Debut Features Guests Jamey Johnson, Josh Abbott
/by Lorie HollabaughNick Norman is dropping his 11-track, self-titled debut album on Friday, March 5. Norman is the flagship artist signed to Lee Brice’s Pump House Records.
Produced by Brice, songwriter Rob Hatch, and producer/engineer/songwriter Elisha Hoffman, the project features special guests Jamey Johnson (“The Cock Crows”), Josh Abbott (“Rolling in the Grave”), Rebecca Lynn Howard (“Going Through the Motions”), and Brice adding background vocals and guitars throughout.
Norman grew up listening to a soundtrack of home state heroes from his native South Carolina, including Edwin McCain and Hootie & the Blowfish, and icons like Stevie Wonder and The Band. He soaked it all up, mixing the rootsy sounds of the FM dial with the power of the gospel singers he’d hear every Sunday morning at the local church.
A longtime friend and collaborator of Brice, he began recording songs as a teen, working inside a makeshift studio that he constructed with Brice in the pump house of a local church camp. He later moved to Key West and established himself as one of the area’s strongest draws. His newest album brought him back to Nashville to work with his friend.
“From start to finish this has been a labor of love,” said Brice. “I grew up with Nick and it makes sense we’d do this together. I’m proud to make his album the Pump House debut and support his musical introduction on a national level.”
Norman’s debut single is “The Cock Crows,” a French Quarter-esque rouser featuring Jamey Johnson.
Nick Norman Track List:
1. Gypsies, Thieves, Jokers And Me
2. Porch Man
3. Love Don’t Fool Me Again
4. Just For the Record
5. All In
6. The Cock Crows (feat. Jamey Johnson)
7. Adeline
8. Going Through the Motions (feat. Rebecca Lynn Howard)
9. Good Whiskey
10. Life is Good
11. Rolling in the Grave (feat. Josh Abbott)
Dan + Shay, Brett Eldredge, More Entertain for CRS Warner Music Nashville Lunch Showcase
/by LB CantrellWarner Music Nashville’s Kristen Williams
Warner Music Nashville artists Brett Eldredge, Cole Swindell, Drew Parker, Ian Munsick, Michael Ray, Robyn Ottolini, and Shy Carter brought country radio some tunes at the virtual CRS luncheon showcase today (Feb. 17).
WMN’s SVP/Radio & Streaming Kristen Williams kicked off the showcase, welcoming everyone to the “Warner Music Nashville house.” The rest of the radio and streaming staff took viewers on a tour of the house, with each “room” revealing another WMN artist.
Tom Martens, WMN’s VP Radio & Streaming, introduced the first performance, one from Brett Eldredge. “I hope wherever this song finds you today, it finds you with a smile on your face,” Eldredge said before playing his new song “Good Day,” which impacts radio on March 1. With this song he introduced a new mission, the #GoodDayMovement that promotes kindness. He started the initiative off by donating full registrations to the entire week-long virtual event to a group of deserving radio partners who recently became unemployed.
Brett Eldredge
The windy breezeway with white curtains flowing in the breeze complimented Eldredge’s rich voice on the bright song, which he wrote with Daniel Tashian and Ian Fitchuk.
WMN’s Justin Newell introduced the label group’s newest signing, Drew Parker, next. A cowboy hat-clad Parker sang his “While You’re Gone” by the staircase. The traditional-sounding country song has quickly become a fan favorite and gained industry support as a SiriusXM The Highway’s Highway Find.
Chad Schultz, WMN Vice President of Radio and Streaming, Marketing, introduced Cole Swindell next. From a library, Swindell sang his latest release, “Single Saturday Night.” The song is the follow-up to his No. 1 single “Love You Too Late,” and is the hitmaker’s 11th career single.
Cole Swindell
Next, Anna Cage (WMN National Director, Radio & Streaming) was on hand to introduce Robyn Ottolini, who performed from a vibey garage. Ottolini offered her TikTok viral sensation, “F-150,” that helped her land a deal with Warner in October of last year. The track impacted country radio yesterday (Feb. 15), and has garnered over 16 million streams globally.
Michael Ray was up next, introduced by WMN National Director, Radio & Streaming James Marsh. Ray played his steamy breakup song, “Whiskey And Rain,” wearing a leather jacket to further personify the moody song. Currently Top 50 and climbing on the Mediabase and Billboard country charts, “Whiskey And Rain,” written by Jesse Frasure and Josh Thompson, has been streamed over 10 million times since its fall release.
WMN Regional Chris Fabiani introduced the next act, Ian Munsick, saying he’s “bringing the west to the rest.” A smiling Munsick, clothed in traditional western garb, performed his debut single “Long Haul,” with a fiddle accompaniment. The tune is part of his debut album Coyote Cry, due out Feb. 26.
National Directory, Radio & Streaming Michael Chase then introduced Shy Carter, who just seemed to be in the next room. The ever-charismatic Carter performed his debut single, “Good Love.” The Platinum-selling, Grammy-nominated songwriter played the keys on his sunny artist debut.
Tom Martens reappeared to introduce WMN hitmakers, Dan + Shay. The duo sang their recent hit “I Should Probably Go To Bed” outside by a pool. Shay’s clear, gorgeous voice shined against Dan’s harmonies and acoustic guitar accompaniment.
Dan + Shay
The duo then performed their new song “Glad You Exist,” which is most added at country radio this week for the second consecutive week.
To end the showcase, Warner Music Nashville Chairman & CEO John Esposito appeared on Shay’s phone. “Greetings from Nantucket,” Esposito said. “I know we’re all coming from everywhere around the world but I wish I was in that big ballroom with you.”
The label head closed with a statement that WMN’s mission is to focus and prioritize even more on bringing radio program directors “the best of the best” from the Warner Music Nashville roster.
Warner Music Nashville Chairman & CEO John Esposito
Niko Moon’s ‘Good Time’ Gets Better With Platinum Status
/by Lorie Hollabaugh(L-R) Liz Cost, Sony Music Nashville VP, Marketing; Dennis Reese, RCA Nashville SVP, Promotion; Steve Hodges, Sony Music Nashville EVP, Promotion and Artist Development; Alaina Vehec, Sony Music Nashville Sr. Dir., Digital Sales and Streaming; Randy Goodman, Sony Music Nashville Chairman & CEO; Jennifer Way, Sony Music Nashville SVP, Marketing; Niko Moon; Lauren Zimmerman, Sony Music Nashville Manager, Digital Strategy; Anna Moon; Lauren Thomas, Sony Music Nashville VP, National Promotion; Eric Berger, Make Wake Artists; Chris Kappy, Make Wake Artists President; Walker Newberry, Make Wake Artists; Randi McFadden, Make Wake Artists. Photo Credit: Alan Poizner
Niko Moon‘s debut single “Good Time” has gone Platinum. His label Sony Music Nashville and the Make Wake Artists’ staff recently surprised Moon with the news of his first Platinum certification as an artist.
“Good Time” has earned more than 177 million on-demand streams and is currently No. 6 on the Billboard Country Airplay and Mediabase/Country Aircheck charts. Moon co-wrote the tune with wife Anna Moon, frequent collaborator Joshua Murty, Jordan Minton, and Mark Trussell.
“I can’t believe ‘Good Time’ is Platinum, y’all! I feel such an overwhelming sense of gratitude right now, to everyone from the country music fans who have embraced me, to country radio and streaming platforms who have given me the opportunity to connect with listeners all across the country,” said Moon. “I’m so grateful for my teams at RCA, Make Wake and CAA. It truly does take a village and I’m so inspired that so many people believe in the music that I am making. It’s my calling in life to make people happy through country music, so thank you everyone for letting this Georgia boy live out his dream. Let’s keep the GOOD TIMES rolling!”
Moon recently released a remix version of “Good Time” featuring reggae star Shaggy.
Russell Dickerson Ties Record With 21 Weeks In The Top 10
/by Lorie HollabaughRussell Dickerson, Photo: Spencer Combs
Russell Dickerson has achieved another milestone with his smash single “Love You Like I Used To” as the hit ties the record for the longest run of a country single inside the Top 10. As the song moves into its 21st consecutive week inside the top 10 on Billboard’s Country Airplay Chart, it ties the record set by Lonestar’s “Amazed” back in 1999.
Released in 2020 as the debut single off his sophomore album, Southern Symphony, ”Love You Like I Used To” claimed the No. 1 spot for two consecutive weeks on the Mediabase and Billboard Country Airplay charts. Now, with over 194.3 million global streams, the Platinum single continues to hold in the Top 10.
“Love You Like I Used To” made Dickerson the first artist to release four consecutive career-starting singles (“Yours,” “Blue Tacoma,” and “Every Little Thing,”) to reach No. 1 on the Billboard Country Airplay chart since Luke Combs.
“I don’t think there is a better possible way to kick off a sophomore album than with a song that makes history! All the love to radio and my incredible team!” said Dickerson.
Sara Watkins’ Upcoming Album Welcomes Friends From Nickel Creek and I’m With Her
/by Sarah SkatesSara Watkins, Photo: Jacob Boll
Sara Watkins of the Grammy-winning groups Nickel Creek and I’m With Her will release Under the Pepper Tree on March 26 via New West Records.
The 15-song set was produced by Tyler Chester (Sara Bareilles, Margaret Glaspy) and is the follow up to her critically acclaimed 2016 solo album Young In All The Wrong Ways.
Created with families in mind, Watkins recorded two new songs and also reimagined songs she loved as a child, such as “Pure Imagination” (Willy Wonka & The Chocolate Factory), The Beatles’ “Good Night,” and “Moon River.”
The project welcomes numerous guests, including her Nickel Creek bandmates Chris Thile and her brother Sean Watkins on “Blue Shadows on the Trail” (The Three Amigos), I’m With Her bandmates Sarah Jarosz & Aoife O’Donovan on “Tumbling Tumbleweeds” (Roy Rogers & Sons of the Pioneers), Taylor Goldsmith of Dawes on “Blanket for a Sail” (Harry Nilsson), David Garza on “Beautiful Dreamer” (Roy Orbison), and Watkins now three-year old daughter on The Sound of Music’s “Edelweiss.”
Watkins hopes this album will impact young listeners in the same way the music from her childhood affected her. “I want this album to be a place of calm, imagination, and relief,” she says. “Some days are perfect and things are a dream and make you feel like a superhero. And some days are just… such a challenge. I feel like this record has a place in both of those days, and I really hope that these recordings find a place in kids’ hearts, and become as special as they are to me.”
Under the Pepper Tree Track Listing:
1. Pure Imagination
2. The Second Star to the Right
3. Blue Shadows on the Trail (featuring Nickel Creek)
4. Edelweiss
5. Moon River
6. Under the Pepper Tree
7. When You Wish Upon A Star
8. Night Singing
9. La La Lu
10. Tumbling Tumbleweeds (featuring I’m With Her)
11. Blanket for a Sail
12. Beautiful Dreamer
13. Stay Awake
14. You’ll Never Walk Alone
15. Good Night
Weekly Register: Morgan Wallen’s ‘Dangerous’ Notches 5 Weeks At No. 1
/by LB CantrellMorgan Wallen‘s Dangerous: The Double Album remains at No. 1 on the country and all-genre albums chart this week, for the fifth week, with 150K in total consumption (37K album only/135 million song streams).
Luke Combs follows with What You See Is What You Get earning 30K in total consumption, then Wallen reappears with If I Know Me. Combs takes No. 4 with This One’s For You, and Chris Stapleton rounds out the top five with Starting Over.
Wallen also continues to dominate the country songs top five, with “Sand In My Boots” earning 11 million streams this week and 54 million RTD.
Top 5 Country Songs This Week:
Morgan Wallen “Sand In My Boots” – 11M/54M
Morgan Wallen “Wasted On You” – 10M/62M
Morgan Wallen “Somebody’s Problem” – 8.5M/104M
Luke Combs “Better Together” – 7.6M/248M
Morgan Wallen “7 Summers” – 6.9M/204M