Matt Graham
Since signing with BMLG in 2016, Midland’s Mark Wystrach, Cameron Duddy and Jess Carson have earned accolades most newcomers dream of, including the breakthrough single “Drinkin’ Problem.” The track earned the trio two Grammy nominations, and in 2018 they picked up an ACM Award for New Vocal Duo or Group of the Year. Last year, they opened for Thomas Rhett’s Life Changes Tour, and have opened shows for Little Big Town, Faith Hill and Tim McGraw, among others.
Among those helping guide the BMLG trio’s career is BRND MGMT President Matt Graham. Based in Los Angeles, Graham co-manages Midland with powerhouse Sandbox Entertainment manager Jason Owen.
BRND MGMT also counts among its clients Emir, Corey Harper, Nicky Romero, The Score, Jasmine Thompson, XYLO, Zolita and more. Additionally, the company launched the label Tuxedo Records, with Desure, Harper and Zolita.
Prior to launching BRND Management, he was Sr. Manager at Scooter Braun’s SB Projects.
MusicRow Magazine caught up with Graham to discuss his career trajectory, launching BRND Management, and breaking Midland.
MusicRow: You were a history major at Emory University, and you were doing club promotion. How did you get into promotion?
It started with meeting Scooter Braun at my first day at school. That’s how I got into promoting. He walked up to me at a bar. I was sitting there with some beautiful young women and a beer and he said, “I think you’ve figured out college. How would you like to come work for me?” He was a club promoter and that’s how I got into the club promotion business and music in college.
After I left school, I worked at [music magazine] The FADER in New York and worked there for about 18 months before I signed my first act on my own to Interscope and that had nothing to do with Scooter.
Scooter was starting to have success with Justin Bieber and I thought, “Let me talk to him and see what his plans are.” He asked me to help him build a management company. We signed Cody Simpson about 7 ½ years ago. He was 14. I managed Cody for a year from New York, while Scooter was in Atlanta. Then Scooter moved to Los Angeles and opened the SB Projects office and asked me to come with him.
MR: For you as a manager, what were the risks of working with a young artist like Cody, and how did that pay off for you?
It was a huge departure for me to do the teen pop thing and I was very reticent about it. I didn’t know that space, because I had worked at FADER and listened that type of music. Scooter gave me a lot of confidence to grow into that space. We took Cody from doing YouTube [videos] to selling out theaters around the world and becoming a pretty big celebrity for a time. It was like getting my MBA in being a manager. We did the award shows, released multiple albums, CDs, features, did film and TV stuff. There was a seemingly endless amount of new deals and projects, which teaches you how to do everything. We did over 100 licensing deals. With Midland, I’ve never done one [licensing deal]. But a lot of managers have no experience in those aspects of the job.
Also, it was in the pre-streaming economy but also the post-really healthy download economy, so if artists weren’t getting big radio hits, they weren’t generating income. Teen pop was this weird universe where through social media you could build a huge audience without radio and monetize it through ticket sales, brand partnerships and merchandise. That was interesting to me that we could build a post-radio, multi-million dollar business. With Justin Bieber, once you had the radio success and you combined those aspects, it was astronomical.
Matt Graham with Midland in Dublin. Photo: Press Here Publicity
MR: You left your role as Sr. Manager at SB Projects to start BRND Management, and later began working with Midland. What was it about Midland that convinced you to want to work with them and also begin working in the country genre?
They are the complete package—incredible musical instincts, amazing performers, moving culture they are so different than anything else out there. Having worked with a lot of teenagers, it was exciting to work with guys who are in their 30’s with real experience and real stories to tell about heartache. And they know what it’s like to lose. That brings with it humility that you can’t get in a teenage artist.
I first met [Midland’s] Cameron [Duddy] and had a shared vision for a lot of things. We wanted to make movies and I thought if I can help him navigate to the top of the music video world then I can also help him get a first movie made. We started down that process and he brought me a Midland demo. He told me, “Hey, I know you really wanted to make movies and I want to make movies, too, but really my first love is music. These are two guys I’ve played in bands with for years and we decided to record a demo.” He gave me the demo on CD, which I thought was ridiculous because this was like five years ago—I didn’t even know you could still burn CDs five years ago—but I listened to it while I was driving down PCH in Malibu. I fell in love with Mark [Wystrach]’s voice and the stories they were telling.
I remember having met Mark a few years before that and I told Cameron, “Don’t tell anyone else about this band or about Mark, because I think that guy is the biggest, most undiscovered star on earth right now.”
MR: When Midland debuted, people were talking about their aesthetic. To use a word that was thrown around a lot, they have a “throwback” image. How did you make sure that the messaging was consistent from the look to the sound?
When we got together, those original demos, which I hope we release at some point, are even more traditional, certainly from a production standpoint. We talked about it and said, “If we are going to do this we have to do it to the best of our ability.” I felt we needed a Nashville insider, so we reached out to Jason Owen [who now co-manages Midland with Graham]. One of the first meetings he set up was with Shane McAnally and the guys hit it off. And then Shane and Dann [Huff] took this traditional sound that would have found this rabid but small fanbase, and made it acceptable enough to play on country radio.
They could have easily gone in with like a Dave Cobb, who has done amazing things for Chris Stapleton, but that kind of sound may have made Midland a little too left-of-center, and maybe they wouldn’t have had commercial radio success. With Jason and Shane working on this, they were able to nudge it over enough to the center without saying, “Hey guys, cut this other song we have.” Because that was never on the table. Midland was never going to cut an outside song.
MR: Country music went through a bit of a traditional-tinged resurgence just before Midland broke. What is your take on that?
When we came to town, this was not working. I remember sitting in meetings with A&R people and publishers, and they would be like, ‘But the traditional country thing will never get played on radio.’ No one cared.
If Chris Stapleton didn’t start to experience success and people like that in town, I don’t think we could have come through that door. I’d been in Nashville for two years before we got that label deal, and I could see that shift as Chris Stapleton happened. People started asking, “What about that Midland band?” And then there was the showcase where [BMLG Sr. VP, A&R] Allison Jones saw them and said, “I have to have this.” At the same time, Bruno Mars wanted to sign them to Atlantic Records and we had this bidding war and then everyone wanted to jump in.
Matt Graham with Midland. Photo: Courtesy Press Here Publicity
MR: How have you learned to be efficient in handling the numerous deal offers you come across?
Every artist is different. With Cody, for the most part, the answer was yes, because there was no notion of selling out. To a 15-year-old girl, the more brands that are out there talking about Cody, the more he seems like a big star to them. You want brands like Coca-Cola and 1-800-Flowers saying yes. What teens buy into the most is celebrity culture, the rise of the influencers, the notion that you need to be famous.
That’s very different than a Midland, where in general the answer has to be no. We have credibility, and credibility is such a fragile thing. You have to be cognizant in how you align yourself, because of things you can’t control. We looked recently at doing a big beer deal, and ultimately we turned them down. A lot of people, including our label, were like, “Why?” It was a very Texas-centric beer, it had national distribution but it is a beer that everyone in Texas drinks. We felt like we are a regionally successful act, but with the second album we are going to become a more nationally-recognized brand and we are not sure this beer is. They were not willing to open up their marketing plan to us and they just wanted to attach their brand to our brand, and to have Midland on cases and use them in our music videos.
MR: What advice do you have for new managers?
Find great mentors. Make sure you have the appropriate infrastructure and mentorship to make these musicians successful, because these are musicians’ livelihoods. And it’s important to find something you are passionate about because this is a 24/7 job.
MR: Do you foresee adding additional country artists to the BRND Management roster?
We have Desure that Midland introduced me to. I see him occupying somewhere between alt and country. I’m looking at another young artist I just discovered and I’m really excited to see how things go. And Jason is such a brilliant manager, I would love to work more with him.
ASCAP EXPO Adds “Nashville Goes Global” Panel To Three Day Conference
/by Alex ParryASCAP’s “I Create Music” EXPO, happening May 2-4 at the Loews Hollywood Hotel in Los Angelos, CA, has added the Nashville Goes Global panel to the three day music conference. The ASCAP EXPO conference is dedicated to music creation and what it takes to be a professional music creator today, and is comprised of panels, workshops, master classes, keynotes and one-on-one sessions with industry leaders.
The Nashville Goes Global panel will explore Music City’s embrace of international sounds and trends with Ashley Gorley, Tommee Profitt, Chris Farren, Steven Battey and Dave Kuncio. The panel will give an insider’s look at the evolving music industry discussing what’s unique about co-writing and working with publishers in Nashville.
Questlove has also been added to the 2019 ASCAP “I Create Music” EXPO lineup for a keynote conversation with Oscar-winning songwriter and ASCAP Chairman of the Board and President Paul Williams. He will also accept the ASCAP Creative Voice Award, given to members whose significant career achievements are equally informed by their creative spirit and their contributions to the role that a creator can play in the community. Other speakers include Lee Ann Womack,”Shallow” co-writer Anthony Rossomando, hit songwriter Jon Nite, Wyclef Jean, and more.
Visit expo.ascap.com for more information.
Seaforth Release Debut EP ‘Love That’
/by Alex ParryRising country duo Seaforth released their debut EP, Love That, today (April 12).
Love That includes previously-released “Love That” and “Talk to Me,” as well as brand new tunes “Good and Gone” and “Taken Your Picture.” The duo’s Tom Jordan and Mitch Thompson co-wrote all four songs on the EP, and co-produced the project with producer Dann Huff.
Seaforth has toured with Kane Brown, Brett Young, and Mitchell Tenpenny. They will perform at the Tortuga Music Festival in Fort Lauderdale, FL, the Key West Songwriters Festival, and LakeShake.
Seaforth recently stopped by the MusicRow offices, click here to read the exclusive. Listen to Love That here.
Aaron Lewis Releases Third Solo Country Album, ‘State I’m In’
/by LB CantrellAaron Lewis. Photo: Jim Wright
The Valory Music Co.’s Aaron Lewis released his third solo country album, State I’m In, today (April 12).
Buddy Cannon produced the 10-track project with Lewis; who wrote six of the songs, penning three without collaborators. Acclaimed songwriters Dan Tyminski and the late Keith Whitley also contributed to the album.
“I’m really good friends with Keith’s son, Jesse. And Jesse gave me this freaking cassette tape that had his dad in a hotel room with an acoustic guitar, barely in tune, playing what became ‘Burnt the Sawmill Down,’” Lewis says. “I took this demo tape and we turned it into the song on the record. It was never anything. I heard the song and we turned it into the song you hear on the record.”
State I’m In Track Listing:
1. “The Party’s Over “ | Aaron Lewis
2. “Can’t Take Back” | Aaron Lewis, Ira Dean, Dan Tyminski
3. “Reconsider” | Charlie Brocco, Keith Gattis
4. “It Keeps On Workin’” | Aaron Lewis, Ira Dean, Chris Wallin
5. “State I’m In” | Aaron Lewis
6. “God And Guns” | Aaron Lewis, Bobby Pinson
7. “Love Me” | Aaron Lewis
8. “If I Were the Devil” | Houston Phillips, Trent Tomlinson
9. “Burnt the Sawmill Down” | Jim Elliot, Keith Whitley
10. “The Bottom” | Waylon Payne
State I’m In is now available everywhere.
Our Native Daughters Set Performances In Support Of New LP
/by LB CantrellPictured (L-R): Rhiannon Giddens, Leyla McCalla, Allison Russell and Amythyst Kiah of Our Native Daughters
Our Native Daughters—the collaboration of Rhiannon Giddens, Leyla McCalla, Allison Russell and Amythyst Kiah—will launch their first-ever live performances this July in support of their LP Songs of Our Native Daughters (out now via Smithsonian Folkways). This special series of dates includes intimate performances at Washington DC’s Smithsonian Museum of African American History & Culture as well as Newport Folk Festival.
On this solo headlining tour Giddens, McCalla, Russell and Kiah will be joined by a series of session musicians and multi-instrumentalists for 60-90-minute set filled with the tales of historic black womanhood and survival from their latest album.
Tour Dates:
Tuesday, July 23 – Levitt Pavilion of the Performing Arts – Westport, CT
Wednesday, July 24 – Smithsonian Museum of African American History & Culture – Washington, DC
Thursday, July 25 – Chautauqua Institute – Chautauqua, NY
Friday, July 26 – The Egg – Albany, NY
Saturday, July 27 – Great Waters Festival – Wolfeboro, NH
Sunday, July 28 – Newport Folk Festival – Newport, RI
Matthew West Extends Deal With Combustion Music
/by Jessica NicholsonPictured (L-R): Kenley Flynn, Cam Caldwell, Jason Turner, Matthew West, Chris Farren, Chris Van Belkom, Kelly Lyons
Matthew West has extended his exclusive publishing agreement with Combustion Music, in conjunction with his Story House Collective.
Most recently, West earned his 11th No. 1 hit with Combustion, with the five-week chart-topper “Only Jesus,” recorded by Casting Crowns. West is also a four-time Grammy nominee and a five-time ASCAP Christian Songwriter of the Year winner. He’s released seven albums and notched hits including the 17-week No. 1 “Hello, My Name Is,” “Courageous” (recorded by Casting Crowns) and the No. 1 “Broken Things.”
Combustion Music President Chris Farren said, “We have been lucky enough to work with Matthew for the past 10 years, and could not be happier to be continuing that relationship. Matthew has proven over and over his unique ability to write not only massive hit songs for himself, but for many others as well, in multiple genres. He continues to be a constant force in an industry where things change very quickly, and we look forward to four more years of great success together.”
West stated, “Since moving to Nashville years ago I’ve noticed an undeniable connection between the most successful songwriters and the belief and support of the people they’ve surrounded themselves with. Every writer needs a champion, an advocate, and for me that has been the team at Combustion. I’m excited to continue this partnership and thankful for their continued belief in the music I’m passionate about writing. I’m also looking forward to turning around and serving as an advocate and support for the young songwriters we develop together in years to come.”
Weekly Chart Report (4/12/19)
/by Alex ParryClick here or above to access MusicRow’s weekly CountryBreakout Report.
BRND MGMT’s Matt Graham Talks Success With Midland’s Traditional Country Sound
/by Jessica NicholsonMatt Graham
Since signing with BMLG in 2016, Midland’s Mark Wystrach, Cameron Duddy and Jess Carson have earned accolades most newcomers dream of, including the breakthrough single “Drinkin’ Problem.” The track earned the trio two Grammy nominations, and in 2018 they picked up an ACM Award for New Vocal Duo or Group of the Year. Last year, they opened for Thomas Rhett’s Life Changes Tour, and have opened shows for Little Big Town, Faith Hill and Tim McGraw, among others.
Among those helping guide the BMLG trio’s career is BRND MGMT President Matt Graham. Based in Los Angeles, Graham co-manages Midland with powerhouse Sandbox Entertainment manager Jason Owen.
BRND MGMT also counts among its clients Emir, Corey Harper, Nicky Romero, The Score, Jasmine Thompson, XYLO, Zolita and more. Additionally, the company launched the label Tuxedo Records, with Desure, Harper and Zolita.
Prior to launching BRND Management, he was Sr. Manager at Scooter Braun’s SB Projects.
MusicRow Magazine caught up with Graham to discuss his career trajectory, launching BRND Management, and breaking Midland.
MusicRow: You were a history major at Emory University, and you were doing club promotion. How did you get into promotion?
It started with meeting Scooter Braun at my first day at school. That’s how I got into promoting. He walked up to me at a bar. I was sitting there with some beautiful young women and a beer and he said, “I think you’ve figured out college. How would you like to come work for me?” He was a club promoter and that’s how I got into the club promotion business and music in college.
After I left school, I worked at [music magazine] The FADER in New York and worked there for about 18 months before I signed my first act on my own to Interscope and that had nothing to do with Scooter.
Scooter was starting to have success with Justin Bieber and I thought, “Let me talk to him and see what his plans are.” He asked me to help him build a management company. We signed Cody Simpson about 7 ½ years ago. He was 14. I managed Cody for a year from New York, while Scooter was in Atlanta. Then Scooter moved to Los Angeles and opened the SB Projects office and asked me to come with him.
MR: For you as a manager, what were the risks of working with a young artist like Cody, and how did that pay off for you?
It was a huge departure for me to do the teen pop thing and I was very reticent about it. I didn’t know that space, because I had worked at FADER and listened that type of music. Scooter gave me a lot of confidence to grow into that space. We took Cody from doing YouTube [videos] to selling out theaters around the world and becoming a pretty big celebrity for a time. It was like getting my MBA in being a manager. We did the award shows, released multiple albums, CDs, features, did film and TV stuff. There was a seemingly endless amount of new deals and projects, which teaches you how to do everything. We did over 100 licensing deals. With Midland, I’ve never done one [licensing deal]. But a lot of managers have no experience in those aspects of the job.
Also, it was in the pre-streaming economy but also the post-really healthy download economy, so if artists weren’t getting big radio hits, they weren’t generating income. Teen pop was this weird universe where through social media you could build a huge audience without radio and monetize it through ticket sales, brand partnerships and merchandise. That was interesting to me that we could build a post-radio, multi-million dollar business. With Justin Bieber, once you had the radio success and you combined those aspects, it was astronomical.
Matt Graham with Midland in Dublin. Photo: Press Here Publicity
MR: You left your role as Sr. Manager at SB Projects to start BRND Management, and later began working with Midland. What was it about Midland that convinced you to want to work with them and also begin working in the country genre?
They are the complete package—incredible musical instincts, amazing performers, moving culture they are so different than anything else out there. Having worked with a lot of teenagers, it was exciting to work with guys who are in their 30’s with real experience and real stories to tell about heartache. And they know what it’s like to lose. That brings with it humility that you can’t get in a teenage artist.
I first met [Midland’s] Cameron [Duddy] and had a shared vision for a lot of things. We wanted to make movies and I thought if I can help him navigate to the top of the music video world then I can also help him get a first movie made. We started down that process and he brought me a Midland demo. He told me, “Hey, I know you really wanted to make movies and I want to make movies, too, but really my first love is music. These are two guys I’ve played in bands with for years and we decided to record a demo.” He gave me the demo on CD, which I thought was ridiculous because this was like five years ago—I didn’t even know you could still burn CDs five years ago—but I listened to it while I was driving down PCH in Malibu. I fell in love with Mark [Wystrach]’s voice and the stories they were telling.
I remember having met Mark a few years before that and I told Cameron, “Don’t tell anyone else about this band or about Mark, because I think that guy is the biggest, most undiscovered star on earth right now.”
MR: When Midland debuted, people were talking about their aesthetic. To use a word that was thrown around a lot, they have a “throwback” image. How did you make sure that the messaging was consistent from the look to the sound?
When we got together, those original demos, which I hope we release at some point, are even more traditional, certainly from a production standpoint. We talked about it and said, “If we are going to do this we have to do it to the best of our ability.” I felt we needed a Nashville insider, so we reached out to Jason Owen [who now co-manages Midland with Graham]. One of the first meetings he set up was with Shane McAnally and the guys hit it off. And then Shane and Dann [Huff] took this traditional sound that would have found this rabid but small fanbase, and made it acceptable enough to play on country radio.
They could have easily gone in with like a Dave Cobb, who has done amazing things for Chris Stapleton, but that kind of sound may have made Midland a little too left-of-center, and maybe they wouldn’t have had commercial radio success. With Jason and Shane working on this, they were able to nudge it over enough to the center without saying, “Hey guys, cut this other song we have.” Because that was never on the table. Midland was never going to cut an outside song.
MR: Country music went through a bit of a traditional-tinged resurgence just before Midland broke. What is your take on that?
When we came to town, this was not working. I remember sitting in meetings with A&R people and publishers, and they would be like, ‘But the traditional country thing will never get played on radio.’ No one cared.
If Chris Stapleton didn’t start to experience success and people like that in town, I don’t think we could have come through that door. I’d been in Nashville for two years before we got that label deal, and I could see that shift as Chris Stapleton happened. People started asking, “What about that Midland band?” And then there was the showcase where [BMLG Sr. VP, A&R] Allison Jones saw them and said, “I have to have this.” At the same time, Bruno Mars wanted to sign them to Atlantic Records and we had this bidding war and then everyone wanted to jump in.
Matt Graham with Midland. Photo: Courtesy Press Here Publicity
MR: How have you learned to be efficient in handling the numerous deal offers you come across?
Every artist is different. With Cody, for the most part, the answer was yes, because there was no notion of selling out. To a 15-year-old girl, the more brands that are out there talking about Cody, the more he seems like a big star to them. You want brands like Coca-Cola and 1-800-Flowers saying yes. What teens buy into the most is celebrity culture, the rise of the influencers, the notion that you need to be famous.
That’s very different than a Midland, where in general the answer has to be no. We have credibility, and credibility is such a fragile thing. You have to be cognizant in how you align yourself, because of things you can’t control. We looked recently at doing a big beer deal, and ultimately we turned them down. A lot of people, including our label, were like, “Why?” It was a very Texas-centric beer, it had national distribution but it is a beer that everyone in Texas drinks. We felt like we are a regionally successful act, but with the second album we are going to become a more nationally-recognized brand and we are not sure this beer is. They were not willing to open up their marketing plan to us and they just wanted to attach their brand to our brand, and to have Midland on cases and use them in our music videos.
MR: What advice do you have for new managers?
Find great mentors. Make sure you have the appropriate infrastructure and mentorship to make these musicians successful, because these are musicians’ livelihoods. And it’s important to find something you are passionate about because this is a 24/7 job.
MR: Do you foresee adding additional country artists to the BRND Management roster?
We have Desure that Midland introduced me to. I see him occupying somewhere between alt and country. I’m looking at another young artist I just discovered and I’m really excited to see how things go. And Jason is such a brilliant manager, I would love to work more with him.
Rodney Crowell Enlists All-Star Cast For Collaborative Album ‘TEXAS’
/by LB CantrellRodney Crowell. Photo: Sam Esty Rayner Photography
Grammy-winning Americana mainstay Rodney Crowell will release the collaborative album, TEXAS, on Aug. 15, featuring tracks with Willie Nelson, Lyle Lovett, Ronnie Dunn, Billy F Gibbons, Randy Rogers, Vince Gill, Lee Ann Womack, Steve Earle, and Ringo Starr.
Crowell will be celebrating the album’s release by returning to SiriusXM’s Outlaw Country channel to host a special show devoted to his Texas heritage that will air multiple times during release week.
“Interestingly, it all started with Ringo Starr who, through a mutual friend, let me know he was keen to record a track,” Crowell says. “Before I knew it, Lee Ann Womack, Ronnie Dunn, Willie Nelson, Randy Rogers, Lyle Lovett and Vince Gill had climbed on board. Ray Kennedy and I took hold of the production reins, enlisted a cast of bad ass musicians and voilá, TEXAS was born. Man, was it a fun record to make.”
“I love to work with people who are the best at what they do,” shares Womack. “Singing with Rodney is like a master class from one of the greatest singer-songwriters of our time.”
On Aug. 10, Crowell will be inducted into the Texas Country Music Hall of Fame in Carthage, Texas.
Rodney Crowell’s TEXAS track listing:
1. “Flatland Hillbillies” (featuring Lee Ann Womack & Randy Rogers)
2. “Caw Caw Blues” (featuring Vince Gill)
3. “56 Fury” (featuring Billy F Gibbons)
4. “Deep In the Heart of Uncertain Texas” (featuring Ronnie Dunn, Willie Nelson & Lee Ann Womack)
5. “You’re Only Happy When You’re Miserable” (featuring Ringo Starr)
6. “I’ll Show Me”
7. “What You Gonna Do Now” (featuring Lyle Lovett)
8. “The Border”
9. “Treetop Slim & Billy Lowgrass”
10. “Brown & Root, Brown & Root” (featuring Steve Earle)
11. “Texas Drought Part 1”
Universal Music Publishing Group Signs Catie Offerman
/by LB CantrellPictured (L-R, front row): Kent Earls, Exec. VP/GM, UMPG Nashville; Catie Offerman; Travis Gordon, Sr. Creative Director, UMPG; (L-R, back row): Austen Adams, Dickinson Wright PLLC; Ron Stuve, VP, A&R/Special Projects, UMPG; Melissa Spillman, F R E E T O W N Music Group; Cyndi Forman, VP, Creative, UMPG; Missy Roberts, Sr. Creative Director, UMPG; Matt Malcomb, William Morris Endeavor. Photo: UMPG
Universal Music Publishing Group (UMPG) has signed Catie Offerman to an exclusive publishing deal.
Based in Nashville, Offerman has written with Liz Rose, Natalie Hemby, Nicolle Galyon, Lucie Silvas, Jeremy Spillman, Brett James, Troy Verges, Chase McGill, Ryan Beaver and more. The New Braunfels, Texas native got her start as a fiddle player performing for artists all over the country.
“Most girls dream about their wedding day, but I always dreamed about the day I signed a publishing deal!” said Offerman. “I am so excited to be a part of the UMPG family. Universal is one of the most impactful companies in music. UMPG instantly felt like home to me, and I’m especially grateful to UMPG Nashville A&R Travis Gordon for ‘getting’ it! I love the whole team so much and can’t wait for this next chapter!”
“Catie’s songs captured all of us at UMPG after our first meeting. They draw you in and give a great definition of who she is a songwriter and artist. We’re beyond excited she chose UMPG to be her publishing home and look forward to delivering strong creative opportunities that support her journey as a songwriter,” said Kent Earls, UMPG Nashville Executive Vice President/General Manager.
Offerman is set to release new music in 2019. More information is available at catieofferman.com.
Music Biz Conference Names Luke Combs As Featured Performer, Reveals CMA Breakfast Performers
/by Jessica NicholsonThe Music Business Association’s Music Biz Conference 2019 will welcome Luke Combs as the featured performer for its 2019 Awards & Hall of Fame Dinner on Tuesday, May 7.
Kassi Ashton, Danielle Bradbery and Cassadee Pope will perform during the CMA Breakfast on Monday, May 6. The CMA Breakfast showcase will be a performance in-the-round, with Ashton, Bradbery and Pope taking turns sharing the stories behind their songs.
“Our Annual Conference has always been the perfect platform to spotlight new talent, as well as highlight established artists,” commented Music Biz President James Donio. “We are so pleased to have Kassi, Danielle and Cassadee help CMA kick off the Conference at the Opening Breakfast. And we couldn’t be more excited to have one of the genre’s brightest young talents, Luke Combs, entertain attendees and honorees at our Awards & Hall of Fame celebration.”
Music Biz 2019 takes place May 5-8 at the JW Marriott Nashville.