Yesterday (May 13), Keith Urban debuted his new single, “Little Bit Of Everything,” which will see its broadcast television premiere on Thursday (May 16) on the Season 12 finale of American Idol.
The song is from Urban’s forthcoming album, slated for release this Fall. To hear the single, visit keithurban.net.
“‘Little Bit Of Everything’ conveys a sentiment that’s always felt right to me,” said Urban. “I connected with that from the first time I heard it. I ‘felt it’ and I loved it. I gravitate towards the sound of a song and it’s instrumentation. On this song I was able to take the elements of sound that I’ve used before and blend them together into a fusion of spirit and energy.”
“Little Bit of Everything” was penned by Brad and Brett Warren and Kevin Rudolf and co-produced by Urban and Nathan Chapman.  
 
 

Joey+Rory have renovated the barn on their Pottsville, Tenn. farm to include a new 300-seat performance hall where they will host their Farmhouse Concert Series. The Farmhouse Concert Series includes intimate performances with Joey+Rory and a variety of surprise guests including some of their singer/songwriter friends and family.
The dates for the Farmhouse Concert Series are June 28-29, July 26-27, Aug. 23-24, Sept. 27-28 and Oct. 25-26.
“After touring the country and singing for everyone in their hometowns, we decided to start inviting fans and friends to come to our hometown (actually our home) to hear some great music, eat good food, and have some wonderful down-home fun!” said Joey Feek.
As Joey+Rory gear up for the July 16 release of their album Inspired, Songs of Faith and Family, they are also inviting fans to their farm in Pottsville for the 5th Annual Bib & Buckle Fest on Saturday, June 1 (1 p.m.-8:30 p.m. CT).
For tickets to the Farmhouse Concert Series go to www.joeyandrory.com.

CMT has added Quinn Brown in the newly-created position of Executive Producer. Brown will oversee all of the channel’s hosted news/entertainment shows from pre-production through post-production, including CMT Hot 20 Countdown, CMT #1 Music and a Movie, and various network specials.
Brown will be based out of CMT’s Nashville office.
“Having produced some of the biggest names in music and television, Quinn Brown brings an impressive track record to CMT,” says John Hamblin, Sr. VP, Music Events and Talent. “We are fortunate to have his creative eye and his steady hand to guide our studio based productions including our ever important weekly franchise, Hot 20 Countdown.”
Most recently, Brown helped launch Fuse News for Madison Square Garden’s Fuse TV, where he field produced the Grammys and Brit Awards and lead the show’s franchises unit. Prior to that, he worked as a producer on ABC News’ World News with Diane Sawyer and as senior producer on the launch of Nigel Lythgoe’s Opening Act and HLN’s Dr. Drew in 2011.
More than a decade of Brown’s career was spent at CNN, including an eight-year run on Larry King Live, where he held a variety of positions, including field producing, line producing and creative directing. He was also a reporter and contributor at CNN.com, covering all genres of music.
Brown won an Emmy Award for the 23^rd Annual News and Documentary Awards while at CNN for 9/11 coverage. He is also a recipient of multiple Peabody Awards for CNN’s coverage of Hurricane Katrina (2005), Election Coverage (2008) and the Gulf Oil Disaster (2010), as well as a Dupont Award for CNN Tsunami coverage (2005).
Brown graduated from the University of Georgia and is a native of Atlanta.  He relocated from New York and now resides in Nashville with his wife Jennifer and dog Hank.

Kevin Andrews is one of the scores of talented dancers, choreographers and movement coaches who call Nashville home. Andrews has worked with Alan Jackson, Big & Rich and LeAnn Rimes, and has choreographed for rising artists Lisa Matassa and Rachele Lynae.
Andrews says that the local, collective talent available is underutilized in Music City. “I think people don’t realize that there are so many gifted dancers and choreographers here,” he says. “They fly in people from New York or Los Angeles, when we have a lot of great talent already in Nashville. I know people that lived in Nashville, and then they moved to New York or Los Angeles. That’s where they got hired for gigs that required them to fly back to Nashville for the shoots.”
Born in Wisconsin, Andrews taught at UW-Madison. After spending two years in Los Angeles studying under Marty Kudelka, Andrews danced at various studios including the Millennium Dance Complex and The Edge Performing Arts Center. After traveling back and forth to Nashville, Tenn. for performances, he made the move to live in Music City full time.
One of his first Nashville dance gigs was in Alan Jackson’s “Good Time” video, along with nearly 80 other dancers. “Most people were not dancers,” says Andrews. “Dancers got the choreography down in about 30 seconds then they made the moves simpler for everyone else. But it was a great time.”
Soon after, he scored a spot as a dancer in the video “Fake I.D.” by Big & Rich, and with LeAnn Rimes in her CMA Country Christmas rendition of “Rockin’ Around The Christmas Tree.” Andrews notes the viewership boost that dance brings to any awards show. “When you do an award show, and there is a dance segment included, 90 percent of the time, that video is viewed on social media more than any other segment of the show. Dance is huge,” he says. He gives dance crazes such as Psy‘s “Gangnam Style” and the 2013 dance “Harlem Shake” as examples. “People are drawn to dance. Why can’t we have a great country dance that people want in the rap clubs?”
In addition to dance and choreography, Andrews also coaches artists to develop an appealing presence onstage. A key element in the training is video. “We often videotape the artists and play it back,” says Andrews. “When artists are onstage, they don’t get to watch themselves, so they don’t see the small things that affect performance.”
“We really work with different onstage scenarios,” he continues. “If they do the same movement for every song, it looks staged. What if you change the scenario? Occasionally you see an artist hide behind his or her instrument, or they say ‘I need a microphone to grip.’ I get them to put it down and walk the stage. I have them stand in front of me with no microphone and show me what they can do. I teach them to use larger movements that will translate to everyone in the audience, from the front row to the back row.”
When coaching for a music video performance, Andrews focuses even more intensely on details, including facial expressions. “They need to be immersed in the storyline, first of all,” he says. “Sometimes in videos, the artist looks like they have no idea what the vision for the storyline of the video is.” Again, cameras are used. “Putting an iPhone in someone’s face in the dance studio is different than when they are on-set. Sometimes they’ll say, ‘Well, I do better onstage or on set,’ and I’ll say, ‘No, you have to do it here with only one person,’ and we begin working on facial expressions and movement for video that way.” He says the work helps artists to not come across as bored or unconnected to the audience when on camera.
He also oversaw choreography for artist Rachele Lynae’s video for “Party Til The Cows Come Home” and Lisa Matassa’s video “Wouldn’t You Like To Know.” “She hadn’t danced before but she wanted to,” says Andrews of Matassa. “It was great because she was open to trying new things for the video. I told her to get into the groove of it. We did movement that looked natural and smooth. Simple and elegant.”
Though he points to seasoned artists such as Justin Timberlake as performers who have a polished and natural charisma onstage, he’s quick to note that there are plenty of newcomers with undeniable talent. He names country singer Rachel Farley as an example. “She invited me to a show, and I was blown away at the naturalness,” says Andrews. “She performed in Knoxville and it felt like I was in a stadium—like I was at an [Jason] Aldean concert. She accentuated every lyric in the song with movement.”
Whether he is dancing, coaching for video or stage presence, or creating choreography, for Andrews the end result is about making a performance memorable for the viewer. “At the end of the day, if you are a performer, you chose this. You chose to perform.” Andrews says it is a constant question that artists have to ask themselves. “If you are onstage, why exactly are you worth $50 or $100 for an audience member to watch?”
For more information, visit nashvillechoreography.com.