Zach Sutton. Photo: Eric Anderson
The “My Music Row Story” weekly column features notable members of the Nashville music industry selected by the MusicRow editorial team. These individuals serve in key roles that help advance and promote the success of our industry. This column spotlights the invaluable people that keep the wheels rolling and the music playing.
With nearly 15 years in the Nashville music community, Missouri native Zach Sutton of Red Light Management guides the careers of award-winning, multi-Platinum artists Jordan Davis and Riley Green, along with newcomers Preston Cooper, Georgia Webster, Scott Wolverton and Bizzy.
With previous stops at Borman Entertainment and Capitol Records, Sutton is a 2023 and 2024 Billboard Country Power Players artist manager honoree. He serves on ACM Lifting Lives Board of Directors. When not on the road with one of his artists, he is with his wife and two young sons or in the outdoors hunting or fishing.
MusicRow: Where did you grow up?
Kansas City, Missouri—about 40 minutes east in a more rural area on the Missouri side. My dad was a Christian minister, my mom was a teacher, so a classic preacher-teacher setup.
Photo: Courtesy of Sutton
Was music always present in your life?
I grew up with two brothers, and we were big into sports and music. With my dad being a minister, music was a huge part of our lives. My mom sang and played piano in church, my dad sang, and they were both big music fans.
I remember getting my first CD as a kid. My dad sat me down and said, “We’re going to read through the liner notes and lyrics to see what the songs are about.” He wanted me to understand what I was listening to. Music was always around, especially at family gatherings. My mom or grandmother would play piano, and we’d sing during the holidays. That early exposure shaped me—I was always drawn to songs and lyrics.
What was that first CD?
Hanson. Middle of Nowhere. Loved it. Then TLC came out, and I remember bringing that home from Kmart. We read through the lyrics, and my dad was like, “Nope, not happening.”
Photo: Courtesy of Sutton
Did you always know you wanted to work in music, or were you just a fan?
I had no clue what the music business even was. I played baseball in college, transferred schools when we had a coaching change and ended up in Nashville at a small Christian school. I was playing summer baseball in Western Kentucky and had a teammate from Trevecca Nazarene University.
I always loved Nashville, so I thought, What if I went to school there? I could see more concerts. The coach came to watch me play, I got a scholarship, and it worked out. When I got to Nashville, I interned in the marketing department at the school, and that’s when I started hearing people talk about the music business.
Photo: Courtesy of Sutton
How did you get your foot in the door?
One of the Trevecca staff members’ husbands was a publisher named Jim “Spoon” Williams. I’d pick his brain, just curious about what this business was. At the time, I thought I’d work in marketing—maybe an agency.
That year, the local news did a dumb mini-series on me, following me around in college. Through that, I met Shane Talent, the news anchor, and we hit it off because we both played baseball. He was dating Autumn House, who was at Capitol Records. She became a bit of a mentor, and through her, I got introduced to the music industry.
I was about to take a job with the Nashville Predators in corporate partnerships when Autumn called me and said, “We might have a job at Capitol.” I was pumped—then she said, “It’s in the mailroom.”
Photo: Courtesy of Sutton
I hesitated because the Preds job was an actual salary, and I was a broke college kid. But she told me, “This is a foot in the door. Jobs here don’t open up often.” So I interviewed, got the job, and it ended up being the best thing ever.
The mailroom was perfect—I had about two hours of actual work and spent the rest of the time learning the business, meeting people, and figuring out how a record label worked. This was when Chief by Eric Church was coming out, “Need You Now” by Lady A was huge and they had just signed Alan Jackson. It was an exciting time.
How did you transition into management?
In the mailroom, I kept hearing about “management”—labels would say, “we need to talk to management,” or “management will handle that.” It got me curious.
In college, someone told me, “I see you in management,” but I had no clue what that meant. They made me write a letter to my favorite artists’ managers. I reached out to John Grady at Borman Entertainment, and to my surprise, he called me back. I asked about an internship, and while nothing came of it then, it planted a seed.
Photo: Courtesy of Sutton
Fast forward to my time at Capitol—there were rumors of a merger, and I saw the writing on the wall. Around that time, Borman Entertainment needed help. They were managing Keith Urban and Lady A and they brought me on.
I had no idea what I was getting into, but I knew I wanted to be at the center of an artist’s career. Working at Borman was like drinking from a firehose, but I got to learn from the best.
What was that experience like?
It was incredible. The team was full of all-stars, and I got an inside look at how artists operate at the highest level. Keith and Lady A were in their prime, and I was learning from some of the best managers in the business.
Eventually, my mentor, Daniel Miller, left to start Fusion Music. He had no clients at the time, but I believed in his vision and joined him. That gave me the opportunity to sign my own clients.
That’s when I met Jordan Davis. I was at Red Light but didn’t have my own clients yet. Jordan took every meeting in town, but for some reason, he trusted me. I put together a full marketing plan before we even started working together, and I think that helped seal the deal.
Photo: Courtesy of Sutton
Later, Daniel and I teamed up again to sign Riley Green. Since then, we’ve continued working together—co-managing Riley, and I still manage Jordan solo.
Why do you think you and Jordan clicked?
We spoke the same language—similar age, values and interests. He wasn’t chasing fame; he just wanted to write songs. He originally didn’t even see himself as an artist, but everyone in town kept telling him he had a unique voice. Eventually, he gave in and said, “Screw it, I guess I am.”
I think he saw that I understood him and had a plan for his career. Other managers told him, “I manage so-and-so, and if you’re lucky, I’ll work with you.” I came in and said, “You’re going to be my world. I’m all in.”
Riley’s career is on fire. What did you see in him early on?
Riley was already building a grassroots fanbase when we met him. He’s incredibly strategic, knows how to engage fans and understands business. If he weren’t in music, he’d probably be running his own company.
He kept developing as a songwriter, and now some of his biggest songs are solo writes. It’s been a long game, but everything lined up perfectly for him.
What’s your favorite part of the job?
Watching an artist’s vision come to life. From hearing a song for the first time to watching it become a hit—that’s exciting. Helping them achieve their goals, seeing them grow from clubs to arenas. It’s a lifestyle, not a job.
Photo: Courtesy of Sutton
How do you sustain yourself in this demanding business?
I have a supportive wife, which makes all the difference. I also have an addictive personality—when I get excited about something, I hyper-focus. This job constantly gives me new things to get excited about, so I never feel stagnant.
What advice would you give someone who wants to be in your shoes?
Have a strategy and be willing to sacrifice. Too many people say they want to be in the music business but won’t take the necessary steps.
Find something you’re good at—whether it’s digital marketing, video editing, or accounting—and use that to add value. It’s not about applying to a job and waiting. The most successful people I know hustled their way in—waiting tables, shooting videos, whatever it took.
Doors won’t always open for you, but you have to keep knocking.
Lenny Pey Inks With Endurance Music Group & Jordan Schmidt
/by Madison HahnenPictured (L-R): EMG Creative Director Courtney Kruckeberg, EMG President Michael Martin, Lenny Pey, Jordan Schmidt and EMG Vice President of Publishing Lauren Funk.
Writer, producer and musician Lenny Pey has signed a joint global publishing deal with Endurance Music Group and hit songwriter and producer Jordan Schmidt.
Since relocating to Nashville in 2014, Pey has focused on writing and producing, blending his musical talent with his natural gift for crafting songs and working in the studio. Originally from St. Louis, he has a unique ability to inspire his co-writers, earning a reputation on Music Row for connecting with Nashville’s wide range of writers and artists.
“Lenny always brings high energy and good vibes to every room,” says Lauren Funk, Vice President of Publishing, Endurance Music Group. “His songs make you want to get in your car, roll down the windows, and blast your stereo! Jordan has been such a great champion for Lenny, and we are thrilled to partner on this venture with him.”
“I’m very excited to see Nashville recognize what a huge talent Lenny is,” adds Schmidt. “His work ethic and overall demeanor in the writing room are great indicators that it won’t be long before we see him on a stage at a number one party.”
A versatile and multi-talented creator, Pey has had a passion for music since childhood. A true jack of all trades, he plays guitar, drums, bass, piano and more. He also adds his own vocals to demos whenever an artist isn’t involved.
Pey has written songs for a wide range of artists, including Renee Blair, Halle Kearns, ROZ and Robyn Ottolini. He recently made his debut at the Bluebird Cafe, performing in an “EMG Presents” songwriters round alongside fellow Endurance writers Johnny Dailey, Darren Kiely and Matt Stell.
Country Swag & Common Ground Partner For New NYC Bar & Event Space
/by LB CantrellStephanie Wagner
Country music media brand Country Swag has partnered with NYC hotspot, Common Ground, to bring a new bar and event space celebrating southern flair and country music culture to the Big Apple. Aptly named Common Country NYC, the spot is located at 344 3rd Ave. in New York City.
Country Swag and Founder, Stephanie Wagner, is at the helm of programming, bringing in her expertise in the space and her strong relationships in Nashville. Common Country aims to be an ideal setting for viral pop-up moments and exclusive, intimate events, including album release shows, listening parties, brand collaborations and more.
Common Country
“As a country music fan from New York, I’ve always felt the city was missing a venue that blends country music with NYC’s vibe. It’s taken the right team and timing, and with Common Ground’s crew and the rise of country music, now is the perfect moment,” Wagner shares. “I’m excited to bring to life concepts I’ve long dreamed of, from live music to unexpected surprises. Most importantly, both fans and artists now have a true home for country music in NYC, and I’m thrilled to be a part of it!”
Wagner launched Country Swag in December of 2015 to become a consistent voice for country music in NYC. She has hosted sold-out events featuring chart-topping stars like Jake Owen, Russell Dickerson and acclaimed songwriter Nicolle Galyon, among many others.
“Stephanie knows country music in NYC like no one else,” Noah Aussems, Managing Partner of Common Country shares. “Our partnership with her and Country Swag is an essential piece to our early success. With her help, we have been able to create and cultivate a space where country music can thrive. Together we are pushing the boundaries of what’s previously been done in New York City.”
Wagner can be reached at swagner@countryswag.com to discuss collaboration opportunities, event appearances and more.
Ethan Garner Signs With Big Yellow Dog Music
/by Lorie HollabaughPictured (L-R): Matt Mussachio, Carla Wallace, Ethan Garner, Kerry O’Neil and Josh Brackin. Photo: Samuel Harris
Big Yellow Dog Music has signed rising country artist Ethan Garner to its artist and songwriting roster.
After two years at Georgia Southern University, Garner moved to Nashville to pursue a music career at Belmont, where he’s currently a member of Sigma Chi Fraternity. He cut his teeth playing music at fraternity parties at both universities, and after playing shows around the Nashville area and gaining traction on social media, he earned a slot opening for Travis Denning.
Garner will be releasing new music later this year, and has upcoming shows in Nashville at Brown’s Diner ( Feb. 19) and Losers Bar ( Feb. 24).
“From the second I saw Ethan, I knew he was something special,” says Carla Wallace, Co-Owner and CEO of Big Yellow Dog Music. “He has such a unique way of connecting with his fans, and we’re thrilled to welcome him to the BYDM family.”
“Having only been in Nashville for a few months it felt crazy — but right — to find a publishing home at Big Yellow Dog Music,” says Garner. “I’m so excited to work and get my music out there with a team that really believes in me.”
My Music Row Story: Red Light Management’s Zach Sutton
/by LB CantrellZach Sutton. Photo: Eric Anderson
With nearly 15 years in the Nashville music community, Missouri native Zach Sutton of Red Light Management guides the careers of award-winning, multi-Platinum artists Jordan Davis and Riley Green, along with newcomers Preston Cooper, Georgia Webster, Scott Wolverton and Bizzy.
With previous stops at Borman Entertainment and Capitol Records, Sutton is a 2023 and 2024 Billboard Country Power Players artist manager honoree. He serves on ACM Lifting Lives Board of Directors. When not on the road with one of his artists, he is with his wife and two young sons or in the outdoors hunting or fishing.
MusicRow: Where did you grow up?
Kansas City, Missouri—about 40 minutes east in a more rural area on the Missouri side. My dad was a Christian minister, my mom was a teacher, so a classic preacher-teacher setup.
Photo: Courtesy of Sutton
Was music always present in your life?
I grew up with two brothers, and we were big into sports and music. With my dad being a minister, music was a huge part of our lives. My mom sang and played piano in church, my dad sang, and they were both big music fans.
I remember getting my first CD as a kid. My dad sat me down and said, “We’re going to read through the liner notes and lyrics to see what the songs are about.” He wanted me to understand what I was listening to. Music was always around, especially at family gatherings. My mom or grandmother would play piano, and we’d sing during the holidays. That early exposure shaped me—I was always drawn to songs and lyrics.
What was that first CD?
Hanson. Middle of Nowhere. Loved it. Then TLC came out, and I remember bringing that home from Kmart. We read through the lyrics, and my dad was like, “Nope, not happening.”
Photo: Courtesy of Sutton
Did you always know you wanted to work in music, or were you just a fan?
I had no clue what the music business even was. I played baseball in college, transferred schools when we had a coaching change and ended up in Nashville at a small Christian school. I was playing summer baseball in Western Kentucky and had a teammate from Trevecca Nazarene University.
I always loved Nashville, so I thought, What if I went to school there? I could see more concerts. The coach came to watch me play, I got a scholarship, and it worked out. When I got to Nashville, I interned in the marketing department at the school, and that’s when I started hearing people talk about the music business.
Photo: Courtesy of Sutton
How did you get your foot in the door?
One of the Trevecca staff members’ husbands was a publisher named Jim “Spoon” Williams. I’d pick his brain, just curious about what this business was. At the time, I thought I’d work in marketing—maybe an agency.
That year, the local news did a dumb mini-series on me, following me around in college. Through that, I met Shane Talent, the news anchor, and we hit it off because we both played baseball. He was dating Autumn House, who was at Capitol Records. She became a bit of a mentor, and through her, I got introduced to the music industry.
I was about to take a job with the Nashville Predators in corporate partnerships when Autumn called me and said, “We might have a job at Capitol.” I was pumped—then she said, “It’s in the mailroom.”
Photo: Courtesy of Sutton
I hesitated because the Preds job was an actual salary, and I was a broke college kid. But she told me, “This is a foot in the door. Jobs here don’t open up often.” So I interviewed, got the job, and it ended up being the best thing ever.
The mailroom was perfect—I had about two hours of actual work and spent the rest of the time learning the business, meeting people, and figuring out how a record label worked. This was when Chief by Eric Church was coming out, “Need You Now” by Lady A was huge and they had just signed Alan Jackson. It was an exciting time.
How did you transition into management?
In the mailroom, I kept hearing about “management”—labels would say, “we need to talk to management,” or “management will handle that.” It got me curious.
In college, someone told me, “I see you in management,” but I had no clue what that meant. They made me write a letter to my favorite artists’ managers. I reached out to John Grady at Borman Entertainment, and to my surprise, he called me back. I asked about an internship, and while nothing came of it then, it planted a seed.
Photo: Courtesy of Sutton
Fast forward to my time at Capitol—there were rumors of a merger, and I saw the writing on the wall. Around that time, Borman Entertainment needed help. They were managing Keith Urban and Lady A and they brought me on.
I had no idea what I was getting into, but I knew I wanted to be at the center of an artist’s career. Working at Borman was like drinking from a firehose, but I got to learn from the best.
What was that experience like?
It was incredible. The team was full of all-stars, and I got an inside look at how artists operate at the highest level. Keith and Lady A were in their prime, and I was learning from some of the best managers in the business.
Eventually, my mentor, Daniel Miller, left to start Fusion Music. He had no clients at the time, but I believed in his vision and joined him. That gave me the opportunity to sign my own clients.
That’s when I met Jordan Davis. I was at Red Light but didn’t have my own clients yet. Jordan took every meeting in town, but for some reason, he trusted me. I put together a full marketing plan before we even started working together, and I think that helped seal the deal.
Photo: Courtesy of Sutton
Later, Daniel and I teamed up again to sign Riley Green. Since then, we’ve continued working together—co-managing Riley, and I still manage Jordan solo.
Why do you think you and Jordan clicked?
We spoke the same language—similar age, values and interests. He wasn’t chasing fame; he just wanted to write songs. He originally didn’t even see himself as an artist, but everyone in town kept telling him he had a unique voice. Eventually, he gave in and said, “Screw it, I guess I am.”
I think he saw that I understood him and had a plan for his career. Other managers told him, “I manage so-and-so, and if you’re lucky, I’ll work with you.” I came in and said, “You’re going to be my world. I’m all in.”
Riley’s career is on fire. What did you see in him early on?
Riley was already building a grassroots fanbase when we met him. He’s incredibly strategic, knows how to engage fans and understands business. If he weren’t in music, he’d probably be running his own company.
He kept developing as a songwriter, and now some of his biggest songs are solo writes. It’s been a long game, but everything lined up perfectly for him.
What’s your favorite part of the job?
Watching an artist’s vision come to life. From hearing a song for the first time to watching it become a hit—that’s exciting. Helping them achieve their goals, seeing them grow from clubs to arenas. It’s a lifestyle, not a job.
Photo: Courtesy of Sutton
How do you sustain yourself in this demanding business?
I have a supportive wife, which makes all the difference. I also have an addictive personality—when I get excited about something, I hyper-focus. This job constantly gives me new things to get excited about, so I never feel stagnant.
What advice would you give someone who wants to be in your shoes?
Have a strategy and be willing to sacrifice. Too many people say they want to be in the music business but won’t take the necessary steps.
Find something you’re good at—whether it’s digital marketing, video editing, or accounting—and use that to add value. It’s not about applying to a job and waiting. The most successful people I know hustled their way in—waiting tables, shooting videos, whatever it took.
Doors won’t always open for you, but you have to keep knocking.
Lainey Wilson, Brad Paisley Among Latest Artists Announced To Appear At 67th Annual Grammys
/by Lorie HollabaughLainey Wilson and Brad Paisley are among the latest artists announced to appear at the 67th Annual Grammy Awards on Sunday (Feb. 2), in a series of special performances including a star-studded salute to Quincy Jones, touching tributes celebrating the spirit of the city of Los Angeles and the annual In Memoriam segment.
Other artists slated to appear on the show, which takes place live Live from Crypto.com Arena in L.A. and will be hosted by Trevor Noah, include Brittany Howard, Coldplay’s Chris Martin, Cynthia Erivo, Herbie Hancock, Jacob Collier, Janelle Monáe, John Legend, Sheryl Crow, St. Vincent and Stevie Wonder.
Prior to the Telecast, the Grammy Awards Premiere Ceremony will be broadcast live from the Peacock Theater at 12:30 p.m. PT and will be streamed live on the Recording Academy’s YouTube channel and live.GRAMMY.com. Performers for that include Benson Boone, Billie Eilish, Chappell Roan, Charli xcx, Doechii, RAYE, Sabrina Carpenter, Shakira and Teddy Swims.
As announced last week, this year’s Grammy telecast will raise additional funds to support Los Angeles wildfire relief efforts and honor the bravery and dedication of first responders who risk their lives to protect others. In order to generate maximum support not only for members of the music community but also for all those affected by the crisis in Los Angeles and the city at large, many events that traditionally make up Grammy Week have been canceled or reformatted. Since launching the Los Angeles Fire Relief Effort To Support Music Professionals last week, the Recording Academy and MusiCares have raised and pledged more than $4 million in emergency aid to music people affected by the wildfires.
To contribute to the Recording Academy and MusiCares’ Los Angeles Fire Relief Effort, or if you or someone you know needs help, visit musicares.org/
Chrissy Greco Joins Activated Events
/by Madison HahnenChrissy Greco. Photo: Courtesy of Activated Events
Chrissy Greco has joined live events company Activated Events as Head of Marketing. In her new role, she will lead the company’s marketing initiatives for its over 30 live events.
Greco brings over 15 years of live music industry expeirence to Activated Events. Her most recent role was Head of Brand & Product Marketing at JamBase, where she led campaigns ranging from intimate venue performances to major international festivals. Her career is rooted in a deep passion for music and an insight into fan culture, focusing on event marketing and on creating innovative revenue streams for artists, venues and promoters. Greco has earned a reputation as a leader in the industry, known for crafting fan-focused campaigns that engage audiences across multiple platforms.
“Chrissy’s experience in both creative and data-driven marketing is exactly what we need as we scale our operations,” shares Steve Thacher, CEO of Activated Events. “Her ability to understand fan behavior, develop impactful narratives, and execute results-driven strategies will be instrumental in helping us expand our presence in the live events space.”
“Activated Events has a remarkable vision for live music events, and I’m honored to bring my experience to the dynamic team that’s dedicated to creating unforgettable experiences for music fans,” says Greco.
As Head of Marketing, Greco will spearhead the company’s strategy for audience expansion, brand growth and maximizing marketing investments across its event portfolio. Her expertise in creating data-driven, targeted campaigns will play a crucial role in scaling operations and reaching new audiences.
Alison Krauss & Union Station Reach Back To The Past On New Project ‘Arcadia’
/by Lorie HollabaughThe first single from the new project, “Looks Like The End Of The Road,” introduces another new chapter for the band and now. The track reunited the band and reignited their focus to carve out the 10 songs on Arcadia.
“Usually, I find something that’s a first song, and then things fall into place,” says Krauss. “That song was ‘Looks Like The End Of The Road.’ Jeremy Lister wrote it, and it just felt so alive – and as always, I could hear the guys already playing it.”
Self-produced by Alison Krauss & Union Station, Arcadia’s songs transcend time, reveal beautiful and tragic truths, and reaffirm why the group remains one of the most influential acts of the past four decades. Even during an extended period apart where each member was building a thriving solo career and earning a collective total of more than 70 Grammys and selling tens of millions of albums, they continued to search for and patiently collect music that might one day bring them back together.
Largely penned by writers including Robert Lee Castleman, Viktor Krauss, Bob Lucas, JD McPherson and Sarah Siskind, Arcadia‘s songs are contemporary reflections of history. The album welcomes brand new member Russell Moore, who is best known as the frontman for chart-topping group IIIrd Tyme Out and is IBMA’s most-awarded male vocalist of all time, on co-lead vocals, guitar and mandolin. Moore joins Krauss (fiddle, lead vocal), Jerry Douglas (Dobro, lap steel, vocals), Ron Block (banjo, guitar, vocals) and Barry Bales (bass, vocals) on the new collection.
“The stories of the past are told in this music,” continues Krauss. “It’s that whole idea of ‘in the good old days when times were bad.’ There’s so much bravery and valor and loyalty and dreaming, of family and themes of human existence that were told in a certain way when our grandparents were alive. Someone asked me, ‘How do you sing these tragic tunes?’ I have to. It’s a calling. I feel privileged to be a messenger of somebody else’s story. And I want to hear what happened.”
Arcadia rejoins Alison Krauss & Union Station with Rounder Records founders Ken Irwin, Marian Leighton Levy, Bill Nowlin and John Virant, who are now heading up their own Down The Road Records. They first signed Krauss when she was 14 years old, and first worked with Douglas in 1975 when JD Crowe & The New South released their eponymous album, commonly referred to as Rounder 0044.
On the heels of Arcadia‘s release, Alison Krauss & Union Station will perform the music live at 75 tour dates across North America, with stops in Atlanta, Memphis, Cincinnati, Phoenix, Nashville, Richmond and more. Featuring Douglas, the “Arcadia 2025 Tour” is the band’s first run of shows together in more than ten years and kicks off April 17 in Louisville at The Louisville Palace.
Arcadia Track List:
1. “Looks Like The End Of The Road” (Jeremy Lister)
2. “The Hangman” (Maurice Ogden, Viktor Krauss)
3. “The Wrong Way” (Dan Tyminski, Robert Lee Castleman)
4. “Granite Mills” (Timothy Eriksen)
5. “One Ray Of Shine” (Sarah Siskind, Viktor Krauss)
6. “Richmond On The James” (Alison Krauss, G.T. Burgess)
7. “North Side Gal” (Jonathan David McPherson)
8. “Forever” (Robert Lee Castleman)
9. “Snow” (Bob Lucas)
10. “There’s A Light Up Ahead” (Jeremy Lister)
Spotify Wins MLC Lawsuit Over Bundling Royalties
/by LB CantrellSpotify has won a legal battle against The Mechanical Licensing Collective (MLC), with a federal judge ruling in favor of the streaming giant’s revised royalty structure.
The MLC filed a lawsuit last year, accusing Spotify of unlawfully cutting its royalty payments nearly in half by bundling audiobooks with its premium subscription service.
In a decision issued Wednesday (Jan. 31), Judge Analisa Torres ruled that Spotify’s approach was permitted under federal regulations, stating that audiobook streaming constitutes a distinct product with more than “token value,” according to a report from Billboard.
“MLC cannot plausibly claim that having access to audiobooks is not something of intrinsic and monetary value to many, even if only a fraction of Spotify’s millions of Premium subscribers may take advantage of it,” the judge wrote. “The court can draw only one conclusion: that 15 hours of monthly audiobook streaming is a product or service that has more than token value.”
The ruling solidifies Spotify’s ability to pay a lower “bundled” rate under federal royalty guidelines, rejecting MLC’s argument that the company’s offering did not constitute a true bundle.
“We are extremely disappointed in the ruling,” Nashville Songwriters Association International’s (NSAI) Executive Director Bart Herbison shared on Wednesday. “Following ten years of Copyright Royalty Board (CRB) proceedings with the National Music Publishers Association (NMPA) where we won historic mechanical royalty rate increases, Spotify came up with a bundling scheme resulting in hundreds of millions in reduced payments to American songwriters. The Mechanical Licensing Collective (MLC) filed a lawsuit in response. This news is a gut punch.
“NSAI is considering our next steps in our ongoing fight for fair compensation. We hope that deals such as the one just announced between Universal Music Group and Spotify, and recent direct agreements between Amazon and music publishers, will be beneficial in future Copyright Royalty Board proceedings where the streaming mechanical royalty rates for songwriters are set.”
Industry Ink: The MAX, Country Music Cruise, Big Trip, Y’ALL 106.7
/by Lorie HollabaughThe MAX Inducts Five New Members In Mississippi
Mac McAnally
The Mississippi Arts + Entertainment Experience (The MAX) inducted five new members into its Hall of Fame on Jan. 23, at a ceremony in downtown Meridian. Folklorist William “Bill” Ferris, historian and novelist Shelby Foote, poet Natasha Trethewey and singer-songwriters Bobbie Gentry and Mac McAnally were inducted in front of 700-plus attendees who filled the historic theater at the Mississippi State University Riley Center.
Ferris, McAnally and Trethewey were all on hand to accept their awards, while Huger Foote accepted on behalf of his late father. Video tributes honoring each of the five new Hall of Fame members played throughout the night. The MAX president and CEO Penny Kemp delivered a memorial tribute for the late Marty Gamblin, longtime music industry professional and founding director of The MAX. McAnally capped off the ceremony with a performance of “Back Where I Come From,” including a reprise of the chorus that had the 700+ in attendance singing along just before the ceremony closed.
Country Music Cruise Raises $90K For Country Music Hall of Fame and Museum
Pictured (L-R): Mike Jason, StarVista LIVE President/Country Music Cruise Executive Producer; Ben Hall, Country Music Hall of Fame and Museum VP of Development; winners Eric Blankenship of All Access Coach and Danny Hamilton; and Craig Campbell, Campbell Entertainment. Photo: Tom Konisiewicz/StarVista LIVE
The Country Music Cruise and parent company StarVista LIVE announced a charitable relationship with the Country Music Hall of Fame and Museum last year, and the patrons on last week’s sold-out cruise raised $90,000 for the Museum. Two Gibson guitars were autographed by artists performing on this year’s cruise and sold via live auction prior to Neal McCoy taking the stage. One guitar was purchased for $40,000, and the other raised $50,000. Each winner was also presented a complimentary Honor Society membership to the Museum, which includes an invitation to its exclusive Medallion Ceremony, the annual induction of new Country Music Hall of Fame members.
Y’ALl 106.7 To Debut Talkin’ With Taylor
Taylor Stanford
Y’ALL 106.7 will launch a new weekly radio show, Talkin’ With Taylor, airing every Sunday at Noon beginning Feb. 16. Each week, on-air personality Taylor Stanford will be joined by a celebrity guest co-host to continue the country music conversations on-air taking listeners behind the scenes of the music industry with an inside look at the artist’s lifestyle while playing fan favorite songs from the ’80s, ’90s and early 2000s.
“It’s amazing to see how generous artists have been with their time, just dropping by the Y’ALL studio to share their music and stories,” says Brand Manager Ron Allen. “We have our podcast, website and social media where we can post this content but I feel it’s time to share these cool conversations directly to our on-air audience and with Taylor’s truly conversational interview style Talkin’ with Taylor is going to be just fun to listen to.”
Hard Rock International, BMG & Gray Media Team To Offer TV Series ‘The Song’ Globally
/by Lorie HollabaughHard Rock International, BMG & Gray Media have joined forces to offer global distribution of the TV Series The Song.
Season VI of the show premiered Jan. 11-12 and the 13 new episodes hosted by Krista Marie featured The Fray, Akon, Hinder, Five For Fighting, The Frontmen, Mike Love of the Beach Boys, Neon Trees, Mitchell Tenpenny and more.
New this season, Hard Rock will be debuting The Song at over 300 of the company’s Hard Rock properties in over 80 countries including the U.S. Fans will see full performances in Hard Rock Cafes, in casino areas and in hotel rooms.
“Hard Rock is proud to partner with The Song to give artists a platform to tell their stories and to connect with new and longtime fans,” says Keith Sheldon, President of Entertainment and Brand Management for Hard Rock International and Seminole Gaming. “We’re excited to see this production come to life in millions of households around the world, and look forward to giving our guests more ways to engage with this incredible content.”
The Song has also formed a global partnership with BMG making the performances available on demand to the general public. Eventually, the entire catalog will be available through the BMG portal.
“Featuring iconic artists like Peter Frampton, Jason Mraz and Richard Marx, The Song masterfully captures historic musical moments for incredible songs which have become the soundtrack of our lives,” says Tom Scherer, BMG President Global Catalog Recordings and Music Publishing North America. “It is even more meaningful when these artists share the stories behind these amazing works – bringing us all even closer to the song, the story and the artist.”
“Who would have known when we started filming this series six years ago we would become the preeminent live music series on network television 52 weeks a year in almost every home in America,” says Marc Oswald, creator and Executive Producer of the show. “With over 60 music artists and 250 performances featured to date, we are now in a position to make this special content available through our partnerships with Hard Rock International and BMG.”