City Winery Nashville will soon open in the SoBro district of downtown. The upscale music venue, which also has locations in New York, Chicago and Napa, pairs wine and high-end culinary creation with live music in a state-of-the-art room. Situated at 609 LaFayette Street, City Winery will have a 300-seat music venue, a restaurant holding 100-plus, and a fully functioning winery space. The venue will be available for private parties.
A recent article in the New York Times reports a $7.5 million budget for the Nashville outpost. The article also notes the venue’s “shushing” atmosphere.
In addition to concerts, City Winerys host food and wine classes and other events. For example, the line up of the flagship New York location lists performances by Sam Moore, Los Lonely Boys, and Steve Earle, as well as comedy and burlesque shows.
City Winery is the brainchild of Michael Dorf, founder of the iconic Knitting Factory, one of New York’s longest running music venues.

Brantley Gilbert will release his third studio album, Just As I Am, on The Valory Music Co. on May 19. Gilbert had a hand in writing every track, including the solo compositions “That Was Us” and “Let It Ride.”

Co-writers on the project include Troy Verges, Ben Hayslip, Rhett Akins, Brett James, Justin Weaver, Tony Martin, Wendell Mobley, Brian Davis, David Tolliver, Forest Glen Whitehead, Mike Dekle, Dallas Davidson and Jeremy Spillman.
“I have always said that each of my albums has told a story… my story, and this album is no different. This one picks up where Halfway To Heaven left off,” said Gilbert. “I have gone through a lot the past few years… a lot of highs and lows and all of that is reflected in this project. My fans know I’m a straight shooter so I didn’t leave anything out. I think there is something for everyone — from my party side to the gentler stuff. I can’t wait to share this new music with the BG Nation.”
TRACKLIST
“If You Want A Bad Boy” (Brantley Gilbert, Troy Verges)
“17 Again” (Brantley Gilbert, Ben Hayslip, Rhett Akins)
“Bottoms Up” (Brantley Gilbert, Brett James, Justin Weaver)
“That Was Us” (Brantley Gilbert)
“I’m Gone” (Brantley Gilbert, Wendell Mobley, Tony Martin)
“My Baby’s Guns N’ Roses” (Brantley Gilbert, Brian Davis, David Tolliver)
“Lights Of My Hometown” (Brantley Gilbert, Brian Davis, Forest Glen Whitehead)
“One Hell Of An Amen” (Brantley Gilbert, Mike Dekle, Brian Davis)
“Small Town Throwdown” (Brantley Gilbert, Ben Hayslip, Rhett Akins, Dallas Davidson)
“Let It Ride” (Brantley Gilbert)
“My Faith In You” (Brantley Gilbert, Jeremy Spillman)
Gilbert’s second headlining tour, the Let It Ride Tour, will launch March 27 with guests Thomas Rhett and Eric Paslay.

A federal judge ruled Friday (March 14) that Pandora will continue to pay the current 1.85 percent rate for licensing of songs in the ASCAP repertoire, for each of the years 2011 to 2015. ASCAP and Pandora were in rate court because ASCAP was fighting for an escalating rate structure, which would have put Pandora’s payments in line with fair market value. Pandora argued that it should pay the 1.7 percent rate paid by terrestrial radio stations.

According to the AP, ASCAP sought a retroactive rate increase to 2.5 percent for 2013, and 3 percent in 2014 and 2015. Pandora, the most used streaming service, has been paying 1.85 percent of revenue to ASCAP since 2011.
ASCAP CEO John LoFrumento commented, “Streaming is growing in popularity—and so is the value of music on that platform. We are pleased the court recognized the need for Pandora to pay a higher rate than traditional radio stations. But recent agreements negotiated without the artificial constraints of a consent decree make clear that the market rate for Internet radio is substantially higher than 1.85 percent. And this decision further demonstrates the need to review the entire regulatory structure, including the decades-old consent decrees that govern PRO licensing, to ensure they reflect the realities of today’s music landscape. That’s why ASCAP remains committed to working with all music industry stakeholders to create a system that preserves the benefit of collective licensing to businesses seeking music licenses, while giving consumers greater access to the music they love and allowing the 500,000 songwriters, composers and music publishers we represent to be compensated for the true value their music brings to the marketplace.”
The decision was filed under seal, pending the determination of what (if any) confidential information in the decision should be redacted.
The New York Times reports Pandora faces a similar trial against BMI, scheduled to begin later this year.