Emily Stephenson. Photo: Ebru Yildiz
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.
Emily Stephenson serves as Downtown Music’s President of Publishing, overseeing all publishing efforts under the division, including Downtown Music Publishing, Songtrust and Sheer. Collectively, Downtown Music Publishing services over 360,000 songwriters and manages nearly five million copyrights globally.
Prior to her current role, Stephenson served as Downtown Music Publishing’s Vice President of Business Operations and, during her 12+ year tenure at the company, has been at some point responsible for each aspect of publishing administration and client services for Downtown’s songwriter and publishing clients, including Spirit Music Group, Ryan Tedder, Big Yellow Dog and the John Lennon Estate. Since her appointment as President in 2023, Stephenson has been instrumental in leading all publishing efforts, resulting in key signings including Grammy-nominated songwriter and award-winning artist, Raja Kumari, Laurie Anderson, Josh Ramsay and notable indie rock band The National.
MusicRow: Where did you grow up?
I grew up just south of town in Franklin. My parents both graduated from Vanderbilt and never left. They were both athletes at Vanderbilt—my dad played football and my mom played tennis—and then dad became a physical therapist and mom was a math teacher. I had a wonderful childhood. Franklin was an amazing place to grow up. I’m the oldest of four siblings, so our house was always full of life.
How did music become part of your story?
There’s no real musicality in our family, but growing up in the area, I was around it. Our community was full of songwriters and musicians, so I was hyperaware of the creativity that was and is so core to Nashville.
Photo: Courtesy of Stephenson
What was college like?
I went to Auburn University and studied Communications with a minor in Spanish. I started as a Math Education major because I wanted to do what my mom did, but that was very hard. [Laughs] I switched to Communications and I loved it. During my time at Auburn, I was an athletic tutor for the public speaking course that everyone had to take, which was fun.
As part of the Communications program, you had to do a full semester internship. I knew I wanted to go into music—at that point I had started getting my hands on demos that were being passed around had become obsessed with music discovery. Since there were no music internships in Auburn, Alabama, I came back to Nashville during my last semester of college and did an internship at an artist management company.
What was that internship like?
I already had a feeling I wanted to go into publishing—I wanted to support songwriters and their work. But looking back, the artist management firm was a great overview into the full picture of the music industry. I got a glimpse into what it takes to make and release an album, prepare for a tour, write a treatment for a music video, and all the in-betweens.
What happened next?
After graduation, I moved home to Nashville and waited tables at the J. Alexander’s in Cool Springs for a few months while I was job hunting, and then got a call one day from Bluewater Music Group because I had been recommended for a position. I went there and worked for Jessica Myers, who taught me so much. Something that makes Bluewater really unique is their global collection strategy. Bluewater was a really great way for me to understand and make connections with international collection societies and learn the landscape in different territories. I was there for about a year.
Photo: Courtesy of Stephenson
Then what happened?
That first year out of college in Nashville was a blast. I was in a group of friends who were all getting our feet wet in the industry. Many of us are still working in publishing and the songwriters have gone on to have really successful careers.
Although I loved my friends and family in Nashville, I knew I wanted to move to New York. I was starting to look for jobs in the city and found Downtown Music. I really liked their roster and how they were approaching publishing. I applied for open role in publishing administration, specifically for international collections. I knew I was qualified because of my work at Bluewater, but I wasn’t hearing back from Downtown.
One day I was so deep down the research rabbit hole of this company that I found the then-President, Justin Kalifowitz’s, personal website. He had his personal email address on his website, so I emailed him. I said something to the effect of, “I want to work for your company and I think what you guys are doing is amazing. I’ve applied for this job and I haven’t heard back, but next time you’re in Nashville, let me know. I would love to take you out for coffee.” He replied, “I’ll be in Nashville next week. Let’s get coffee.”
We met a few times over the course of the next several months. One day he called me and said he was in town and had a job he wanted to talk to me about. We went to lunch and about two weeks later, I moved to New York. That was 12 and a half years ago.
Tell me about your time in New York.
I was in New York 2012 to 2018. I was hired in under our Songtrust division, which had just recently launched. Songtrust is a publishing offering where anybody can sign up. When I joined, we could only administer catalogs in Canada, the U.K. and the U.S., so I came in and did several society affiliations, a couple of sub-publishing deals and just really expanded the territory of our offering. It was a really small shop at the time, so I was doing royalty processing, copyright registrations, label copy, client services, finance and tax forms and more. At the time we hadn’t built the technology we have now, so everything was done manually and I learned how to do so much.
Songtrust grew substantially and we had a lot more volume, so I grew that operations team. About three years into it, the leadership team approached me about doing global expansion for the Downtown Music Publishing catalog.
What did that entail?
It wasn’t exactly the same because they already had a relationships in place. It really was more about overseeing international relationships, so I moved over to Downtown and led what we called International Administration. It was a great way for me to get to know the clients and get to know the catalog.
At the time, Downtown was aggressively buying catalogs and signing deals. The Downtown office in New York had one of the top studios in Manhattan in the back, and so you might ride the elevator up with A-List, Grammy winning artists or run into current chart toppers in the kitchen. It was really fun. We were building something exciting and everyone was invested, engaged and happy.
Photo: Courtesy of Stephenson
What else sticks out from that time?
I came in at such early stages of Songtrust, and even when I moved over to Downtown, I realized I could change the way things are done in a really positive way. The leadership was so open to that, so I wanted to seize that moment. I did a lot to take establish trust within Downtown. I was responsive on email, I was showing up early and staying late—I wasn’t overworking myself, I was just excited. I realized I was at this company that was going to go on to do great things and I was in early.
What was next for you?
Downtown wanted to start a Client Services department so that songwriters could reach someone who is not A&R or their creative contact, but can talk royalty, copyright, deal and licensing matters. I was well positioned given my history to do that, so we created that department and brought on a co-head to lead it with me. I was talking to our clients every day and creating a really good rapport with them.
In 2018, I moved back to Nashville because I had my first baby. Being in our Nashville office was so awesome because I was back to hearing songs being written on the other side of the wall and seeing writers come in and out every day. It was a jolt back to the basics.
Then in 2022, my role changed again to a Business Operations role, which was a launching pad to take a larger leadership role at the company. That’s how I got integrated into how management worked—finance, HR, legal, etc.
How did you become President of the company?
I was nine months pregnant with my third baby and our CEO Andrew Bergman was visiting Nashville. We went to dinner and he said, “We want you to take your maternity leave and enjoy your time off, but when you come back, we want you to run the publishing company.” I was dumbfounded. I came back from maternity leave in January of 2023 in this new role. It’s been a lot of work, but so much fun.
What were your goals when you started out?
At the time we had sold our owned assets and were shifting focus to an admin-only business. My main goal was to figure out how to make this company successful and compelling for rights-owners on an administration margin. I also did a lot of work initially to assess how we’re structured, who we have doing what and what types of deals we’re going after, and fully committing to us being an admin business. Our staff, clients and prospective clients needed to understand what it is that we can do for them and how that’s unique. One big initial task was to put Downtown Music Publishing and Songtrust to sit under one management.
I do feel like we accomplished the goals that we set out to do early on, and did it pretty quickly and aggressively. I also wanted to be transparent with our team. I host quarterly town hall meetings with the company where I share financials, business plans, our yearly goals and objectives and how we’re thinking about things because I want people to come to work and feel like they’re connected to the work they’re doing and the vision of the company.
What would you say is your favorite part of your job?
The people. Over half of our management team has worked together for over a decade. When I was coming into the role as President, I was really nervous because there were so many people that I had worked with for so long. My colleagues have put a lot of trust in me. The people I get to work with every day are wildly smart and creative.
Our clients are the exact same way. Getting to work the clients we support is so rewarding. Not only do they have incredible catalogs – they’re just good people.
Who have been some of your mentors?
The leadership at Downtown has been so good to me over the years. Justin thinks about music in a way that’s so out of the box, and through all of his successes has always remained accessible. Andrew finds the perfect balance between challenging me but also respecting when I push back. Generally the leadership at Downtown has always been really good to me.
What moment have you had that your teenage self would think is so cool?
I just told this story to someone. We signed Colbie Caillat at the end of 2022. She was my ringback tone in high school. Her music has meant so much to me through different seasons in my life, and years later I was sitting in a room with her signing a deal. I feel like it’s important to not stop getting starstruck. There’s nothing wrong with being a fan.
‘Rosanne Cash: Time Is A Mirror’ Exhibit To Open In December
/by Lorie HollabaughA new Country Hall Of Fame & Museum exhibit, “Rosanne Cash: Time Is a Mirror” will explore Cash’s 40-plus-year journey as an artist, songwriter and storyteller. The exhibit opens Dec. 5 and runs through March 2026, and is included with museum admission.
Beginning in the 1970s through today, Cash has carved out a distinctive place in American music. Drawing on rockabilly rhythms, the truth-telling of folk-rock songwriters, West Coast country-rock energy, new wave flash and deeply-rooted country, her songs have garnered four Grammys, and her hits include “Seven Year Ache,” “Blue Moon with Heartache,” “I Don’t Know Why You Don’t Want Me,” “I Don’t Want to Spoil the Party,” “Tennessee Flat Top Box” and “Never Be You,” among others. In 2021, Cash became the first female composer to receive the MacDowell Medal, awarded since 1960 to an artist who has made an outstanding contribution to American culture.
“Rosanne Cash has been called ‘a musical mystic’ and a ‘songwriting time traveler,’” says Kyle Young, CEO for the Country Music Hall of Fame and Museum. “Her music moves across genres and legacies, looking backward and forward in time. While she works within musical traditions that shaped her, the way she has turned those traditions in fresh and unexpected directions has defined her.”
The exhibit will include stage wear, song manuscripts, instruments, photographs, videos and more. Some artifacts in the display will include handwritten lyrics by Cash for her song “The Real Me,” from her 1987 album, King’s Record Shop; the 1964 Gibson Dove guitar acquired by Cash’s husband John Leventhal in the 1990s which was her primary performance guitar for many years; a modest desk used by Johnny Cash when writing at his small, private office at home that she inherited after her father’s death and thinks of as a prism where the past and the future, legacy and rebellion, come together and much more.
“I never expected to be embraced and honored by the Country Music Hall of Fame and Museum in this way,” says Cash. “I’m sincerely humbled, as I have so much respect for the mission of the museum and the dedicated team who are so superb in preservation and education. It’s been a thrill to sort through the artifacts of my life and career with the curators and find that these things are valued beyond just my own memories.
“I have thought about my children a lot while sorting items, listening to songs, and discussing the exhibit, and one of the best things about this honor is anticipating sharing the experience with them. I’m extraordinarily grateful to be given this tribute, and the opportunity to deepen my relationship with the Country Music Hall of Fame and Museum.”
In support of the exhibit’s opening, Cash will participate in a conversation and performance in the museum’s CMA Theater on Dec. 8 at 2:30 p.m. She will also perform during the program, and tickets will be available here on Oct. 18, beginning at noon CT.
BREAKING: UMG Nashville Ups Damon Moberly To Sr. VP Of Promotion
/by LB CantrellDamon Moberly. Photo: Kurt Ozan
Universal Music Group Nashville has promoted Damon Moberly to Senior Vice President of Promotion, effective immediately.
“Damon is such a champion of great artists and songs,” says UMGN Chair & CEO, Cindy Mabe. “His passion for music and his skillset of building people and teams makes him the perfect person to lead our promotion team to new depths. I’m honored to have Damon in this new role.”
With over 25 years at the label group, most recently as Sr. Vice President and head of the Mercury Nashville radio promo team, Moberly kicked off his country radio promo career with Shania Twain’s launch of Come On Over. Since then he has elevated the careers of Sammy Kershaw, Terri Clark, Sugarland, Jamey Johnson and many more.
Moberly has worked on special projects such as an Eagles single at country radio, the breakout hit “I’m A Man of Constant Sorrow” off the massive No. 1 O Brother, Where Art Thou? motion picture soundtrack, a No. 1 hit for Jon Bon Jovi featuring Jennifer Nettles with “Who Says You Can’t Go Home” and Lionel Richie’s Billboard 200 No. 1 album, Tuskegee. He has helped build critical acclaim and success for artists including the incomparable Chris Stapleton, the groundbreaking duo The War And Treaty, 12-time chart-topper Billy Currington, award-winning duo Maddie & Tae, and rising stars Priscilla Block, Dalton Dover, Luke Grimes, Bryce Leatherwood, Josh Ross and Sam Williams.
“I’ve been fortunate to call Mercury Records Nashville my only label home for the past 26 years,” shares Moberly. “I’m honored to now work with all the UMG Nashville imprints and artists alongside the best promotion pros in the business. Thanks to Cindy Mabe for this opportunity.”
My Music Row Story: Downtown Music’s Emily Stephenson
/by LB CantrellEmily Stephenson. Photo: Ebru Yildiz
Emily Stephenson serves as Downtown Music’s President of Publishing, overseeing all publishing efforts under the division, including Downtown Music Publishing, Songtrust and Sheer. Collectively, Downtown Music Publishing services over 360,000 songwriters and manages nearly five million copyrights globally.
Prior to her current role, Stephenson served as Downtown Music Publishing’s Vice President of Business Operations and, during her 12+ year tenure at the company, has been at some point responsible for each aspect of publishing administration and client services for Downtown’s songwriter and publishing clients, including Spirit Music Group, Ryan Tedder, Big Yellow Dog and the John Lennon Estate. Since her appointment as President in 2023, Stephenson has been instrumental in leading all publishing efforts, resulting in key signings including Grammy-nominated songwriter and award-winning artist, Raja Kumari, Laurie Anderson, Josh Ramsay and notable indie rock band The National.
MusicRow: Where did you grow up?
I grew up just south of town in Franklin. My parents both graduated from Vanderbilt and never left. They were both athletes at Vanderbilt—my dad played football and my mom played tennis—and then dad became a physical therapist and mom was a math teacher. I had a wonderful childhood. Franklin was an amazing place to grow up. I’m the oldest of four siblings, so our house was always full of life.
How did music become part of your story?
There’s no real musicality in our family, but growing up in the area, I was around it. Our community was full of songwriters and musicians, so I was hyperaware of the creativity that was and is so core to Nashville.
Photo: Courtesy of Stephenson
What was college like?
I went to Auburn University and studied Communications with a minor in Spanish. I started as a Math Education major because I wanted to do what my mom did, but that was very hard. [Laughs] I switched to Communications and I loved it. During my time at Auburn, I was an athletic tutor for the public speaking course that everyone had to take, which was fun.
As part of the Communications program, you had to do a full semester internship. I knew I wanted to go into music—at that point I had started getting my hands on demos that were being passed around had become obsessed with music discovery. Since there were no music internships in Auburn, Alabama, I came back to Nashville during my last semester of college and did an internship at an artist management company.
What was that internship like?
I already had a feeling I wanted to go into publishing—I wanted to support songwriters and their work. But looking back, the artist management firm was a great overview into the full picture of the music industry. I got a glimpse into what it takes to make and release an album, prepare for a tour, write a treatment for a music video, and all the in-betweens.
What happened next?
After graduation, I moved home to Nashville and waited tables at the J. Alexander’s in Cool Springs for a few months while I was job hunting, and then got a call one day from Bluewater Music Group because I had been recommended for a position. I went there and worked for Jessica Myers, who taught me so much. Something that makes Bluewater really unique is their global collection strategy. Bluewater was a really great way for me to understand and make connections with international collection societies and learn the landscape in different territories. I was there for about a year.
Photo: Courtesy of Stephenson
Then what happened?
That first year out of college in Nashville was a blast. I was in a group of friends who were all getting our feet wet in the industry. Many of us are still working in publishing and the songwriters have gone on to have really successful careers.
Although I loved my friends and family in Nashville, I knew I wanted to move to New York. I was starting to look for jobs in the city and found Downtown Music. I really liked their roster and how they were approaching publishing. I applied for open role in publishing administration, specifically for international collections. I knew I was qualified because of my work at Bluewater, but I wasn’t hearing back from Downtown.
One day I was so deep down the research rabbit hole of this company that I found the then-President, Justin Kalifowitz’s, personal website. He had his personal email address on his website, so I emailed him. I said something to the effect of, “I want to work for your company and I think what you guys are doing is amazing. I’ve applied for this job and I haven’t heard back, but next time you’re in Nashville, let me know. I would love to take you out for coffee.” He replied, “I’ll be in Nashville next week. Let’s get coffee.”
We met a few times over the course of the next several months. One day he called me and said he was in town and had a job he wanted to talk to me about. We went to lunch and about two weeks later, I moved to New York. That was 12 and a half years ago.
Tell me about your time in New York.
I was in New York 2012 to 2018. I was hired in under our Songtrust division, which had just recently launched. Songtrust is a publishing offering where anybody can sign up. When I joined, we could only administer catalogs in Canada, the U.K. and the U.S., so I came in and did several society affiliations, a couple of sub-publishing deals and just really expanded the territory of our offering. It was a really small shop at the time, so I was doing royalty processing, copyright registrations, label copy, client services, finance and tax forms and more. At the time we hadn’t built the technology we have now, so everything was done manually and I learned how to do so much.
Songtrust grew substantially and we had a lot more volume, so I grew that operations team. About three years into it, the leadership team approached me about doing global expansion for the Downtown Music Publishing catalog.
What did that entail?
It wasn’t exactly the same because they already had a relationships in place. It really was more about overseeing international relationships, so I moved over to Downtown and led what we called International Administration. It was a great way for me to get to know the clients and get to know the catalog.
At the time, Downtown was aggressively buying catalogs and signing deals. The Downtown office in New York had one of the top studios in Manhattan in the back, and so you might ride the elevator up with A-List, Grammy winning artists or run into current chart toppers in the kitchen. It was really fun. We were building something exciting and everyone was invested, engaged and happy.
Photo: Courtesy of Stephenson
What else sticks out from that time?
I came in at such early stages of Songtrust, and even when I moved over to Downtown, I realized I could change the way things are done in a really positive way. The leadership was so open to that, so I wanted to seize that moment. I did a lot to take establish trust within Downtown. I was responsive on email, I was showing up early and staying late—I wasn’t overworking myself, I was just excited. I realized I was at this company that was going to go on to do great things and I was in early.
What was next for you?
Downtown wanted to start a Client Services department so that songwriters could reach someone who is not A&R or their creative contact, but can talk royalty, copyright, deal and licensing matters. I was well positioned given my history to do that, so we created that department and brought on a co-head to lead it with me. I was talking to our clients every day and creating a really good rapport with them.
In 2018, I moved back to Nashville because I had my first baby. Being in our Nashville office was so awesome because I was back to hearing songs being written on the other side of the wall and seeing writers come in and out every day. It was a jolt back to the basics.
Then in 2022, my role changed again to a Business Operations role, which was a launching pad to take a larger leadership role at the company. That’s how I got integrated into how management worked—finance, HR, legal, etc.
How did you become President of the company?
I was nine months pregnant with my third baby and our CEO Andrew Bergman was visiting Nashville. We went to dinner and he said, “We want you to take your maternity leave and enjoy your time off, but when you come back, we want you to run the publishing company.” I was dumbfounded. I came back from maternity leave in January of 2023 in this new role. It’s been a lot of work, but so much fun.
What were your goals when you started out?
At the time we had sold our owned assets and were shifting focus to an admin-only business. My main goal was to figure out how to make this company successful and compelling for rights-owners on an administration margin. I also did a lot of work initially to assess how we’re structured, who we have doing what and what types of deals we’re going after, and fully committing to us being an admin business. Our staff, clients and prospective clients needed to understand what it is that we can do for them and how that’s unique. One big initial task was to put Downtown Music Publishing and Songtrust to sit under one management.
I do feel like we accomplished the goals that we set out to do early on, and did it pretty quickly and aggressively. I also wanted to be transparent with our team. I host quarterly town hall meetings with the company where I share financials, business plans, our yearly goals and objectives and how we’re thinking about things because I want people to come to work and feel like they’re connected to the work they’re doing and the vision of the company.
What would you say is your favorite part of your job?
The people. Over half of our management team has worked together for over a decade. When I was coming into the role as President, I was really nervous because there were so many people that I had worked with for so long. My colleagues have put a lot of trust in me. The people I get to work with every day are wildly smart and creative.
Our clients are the exact same way. Getting to work the clients we support is so rewarding. Not only do they have incredible catalogs – they’re just good people.
Who have been some of your mentors?
The leadership at Downtown has been so good to me over the years. Justin thinks about music in a way that’s so out of the box, and through all of his successes has always remained accessible. Andrew finds the perfect balance between challenging me but also respecting when I push back. Generally the leadership at Downtown has always been really good to me.
What moment have you had that your teenage self would think is so cool?
I just told this story to someone. We signed Colbie Caillat at the end of 2022. She was my ringback tone in high school. Her music has meant so much to me through different seasons in my life, and years later I was sitting in a room with her signing a deal. I feel like it’s important to not stop getting starstruck. There’s nothing wrong with being a fan.
K.D. Lang Signs With Reservoir
/by Lorie HollabaughPictured (L-R): Golnar Khosrowshahi (Reservoir Founder and CEO), K.D Lang and Rell Lafargue (Reservoir President and COO)
Grammy-winning singer-songwriter K.D. Lang has signed a publishing deal with Reservoir. The deal includes future works and partial catalog.
“It never gets old when a legendary artist like K.D. Lang decides to call Reservoir her home,” says Golnar Khosrowshahi, Reservoir Founder and Chief Executive Officer. “Her incomparable voice and music are a gift to the world. We look forward to helping her share those gifts with new audiences and supporting her as she steps into the next chapter of her career. As a Canadian, I am particularly proud to be working with k.d. and her manager, Steve Jensen, and I’d also like to thank Bruce Roberts, our very first Reservoir songwriter, who introduced us to K.D.”
Lang has eight Juno Awards to her name, including Songwriter of the Year (1993), four Grammys, including Best Traditional Pop Vocal Album (2004) for A Wonderful World with Tony Bennett, a BRIT Award, an AMA, a VMA and four awards from GLAAD, among others.
In 1996 she was awarded Canada’s highest civilian honor, the Order of Canada, and in 2013 she was inducted into the Canadian Music Hall of Fame. In addition to these outstanding recognitions, Lang was inducted into the Canadian Country Music Association Hall of Fame this September.
Lang released three albums with country swing band The Reclines, as well as seven solo studio albums and several collaboration albums. She has also contributed to movie soundtracks. Throughout her career, Lang has collaborated with Roy Orbison, Bonnie Raitt, Elton John, Loretta Lynn, Tony Bennett and more. In 2017, Lang toured across the globe to commemorate 25 years of her multi-Platinum-selling Ingénue, which features singles “Constant Craving” and “Miss Chatelaine.” In 2021, she released Makeover, a collection of dance remixes for some of her most beloved songs.
“It is an absolute thrill to partner with Reservoir! Golnar is a force of nature and understands me as an artist,” says Lang. “I am deeply inspired and have utmost confidence in this creative partnership.”
Amazon Music Shares Focus On Company-Wide Innovation & Highlights Country Music Month
/by LB CantrellRyan Redington. Photo: John Amis/AP Content Services for Amazon
Last week, Amazon Music held a reception at the National Museum of African American Music to launch Amazon’s Delivering the Future event, which highlighted the company’s investments in Tennessee and its focus on innovation.
During the event, Amazon Music General Manager Ryan Redington discussed key priorities for the music division, emphasizing Amazon’s dedication to customer-centric innovation. He also explained how the company leverages its global platform to support artists.
Redington introduced Maestro, Amazon Music’s new AI-powered playlist generator, currently in beta for select U.S. users. Maestro enables users to create playlists by inputting different elements like moods, emojis, activities or sounds. For example, users can request something like “Myspace era hip-hop,” and Maestro will curate a corresponding playlist.
Ryan Redington. Photo: John Amis/AP Content Services for Amazon
“From a prompt, we use a large language model to help interpret what the customer’s actually asking. Then we use the model to help us figure out what type of response we need to give, and then we have to marry that with our music catalog to actually create a sequence of songs,” Regington shared with MusicRow after the event. “It’s incredibly complicated on the back end, but for the customer, it happens in seconds and feels like magic.”
Additionally, Redington touched on the growth of Amazon Music’s live streaming, particularly through programs like Amazon Music Live. He highlighted their partnership with Thursday Night Football, where artists perform right after the game, allowing them to reach large audiences.
“Live streaming specifically during COVID was really born out of a necessity,” Redington says. “We got great customer feedback and artists really liked it, and we realized it could actually be a [bigger part of our] business. We have Prime Video all around the world and Amazon Music products in 50 countries, so [we started developing it.]
“We live stream festivals all over the world now. With Amazon Music Live, we also do City Sessions where we tap artists’ visions, build sets to match that vision and deliver an experience that is a really high bar for customers and artists.”
The third season of Amazon Music Live after Thursday Night Football begins tomorrow (Oct. 17) with a performance by Jelly Roll in Los Angeles, streamed on Prime Video and Twitch. Following that, performances from Big Sean (Oct. 24), Halsey (Oct. 31) and J Balvin (Nov. 7) are lined up.
Breland and Ryan Redington. Photo: John Amis/AP Content Services for Amazon
“Live streaming gives artists the ability to market themselves through Thursday Night Football, one of the most watched shows in any week during the football season,” Redington shares. “We have artists on there doing interviews, talking about their new music, and then rolling the audience base into a live stream. It’s a great way to drive that intersection of sports and music.”
As part of Country Music Month, Amazon puts together an expansive slate of content tied to another of the streaming service’s flagship playlist, Bonfire. Throughout the month, Amazon Music has released new livestreams, Amazon Music Originals and videos from the artists who define the playlist. Additionally, Amazon Breakthrough Artist Nate Smith performed for a group of fans in Los Angeles as part of City Sessions for Country Music Month, and the platform released a video of Kacey Musgraves’ recent Climate Pledge Arena concert.
On Oct. 25, Amazon Music will release the latest episode of Songline—the new docu-performance series that provides fans an intimate look into an artist’s songwriting process and the stories behind the music—with Leon Bridges as part of Country Music Month.
“We like to think every month is Country Music Month, but it is a really great way to talk about country music and how important it is to our customers,” shares Emily Cohen Belote, Lead Music Curator at Amazon Music.
“We really rally around that month to show the best in class that Amazon Music has to offer,” adds Michelle Tigard Kammerer, Head of Country Music for Amazon Music. “We take what’s happening in culture and cross-collaborate that with what’s happening in country music on our service, and really highlight that throughout the month.”
Finally, Redington discussed Amazon Music’s Breakthrough program, designed to provide emerging artists with significant support through custom content, global marketing campaigns, and enhanced visibility across Amazon Music playlists and platforms.
To close the event, he invited 2022 Breakthrough Artist Breland to perform. Breland blew the roof off the building with some of his biggest hits, like “Praise The Lord” and “Cross Country,” and a selection of new material from his new EP, Project 2024, out on Friday (Oct. 18).
The Crew To Host 14th Annual CMA Awards Viewing Party
/by Lorie HollabaughPictured (L–R, back row): Emily Baldridge, Markus Koger, Ava Boney and Cheshire Rigler; (L–R, front row): Julia Keefe, Leah Binkerd and Blake Duncan. Not Pictured: Nathan Thomas, Samantha Sarno and Nicolette McCann. Photo: Katie Larson
The Crew is set to host their 14th annual CMA Awards Viewing Party benefiting Musicians On Call (MOC) at 6 p.m. on Nov. 20 at Tin Roof in downtown Nashville.
A group of executives from all facets of the music industry, The Crew raised over $22,000 for MOC at last year’s viewing party. At this year’s event, industry professionals will have the opportunity to gather and raise money for the organization that brings music to the bedsides of patients, families and caregivers in healthcare environments across the nation while cheering on fellow artists, songwriters and colleagues at the 58th CMA Awards.
“We are so grateful for the support of the community and our incredible sponsors,” shares The Crew. “We are excited to continue this tradition to raise money for such a worthy cause while providing a fun gathering place to watch the awards with colleagues and friends.”
The Crew consists of The Smoking Section Podcast‘s Markus Koger, Big Loud Records’ Ava Boney, Edgehill Music Publishing’s Julia Keefe, The MLC’s Leah Binkerd, Sony Music Nashville’s Nathan Thomas, Hang Your Hat Music’s Emily Baldridge, Combustion Music’s Blake Duncan, SMACKSongs’ Samantha Sarno, Red Light Management’s Nicolette McCann and Keller Turner Andrews & Ghanem, PLLC’s Cheshire Rigler.
Organizations interested in purchasing a sponsorship package should contact Keefe (julia@edgehillmusicpublishing.com), Thomas (nathan.thomas@sonymusic.com) and Duncan (blake@combustionent.com).
Dylan Marlowe Plots ‘Mid-Twenties Crisis Tour’ For 2025
/by Liza AndersonDylan Marlowe. Photo: Jacob Powers
Dylan Marlowe will hit the road on his “Mid-Twenties Crisis Tour” next year.
Kicking off at the Gramercy Theatre in New York City on Jan. 23, the run will include a total of 12 dates, each in a different state. The tour announcement follows the release of Marlowe’s debut album, Mid-Twenties Crisis. Comprised of 15 tracks co-written by the Sony Music Nashville artist that draw from his personal experiences, the project aims to depict the roller coaster of life in one’s 20s.
“I’m so pumped to be hitting the road in January for this tour,” Marlowe shares. “When I was writing for the Mid-Twenties Crisis album, one of my biggest priorities was writing songs that would be great to play live so it’s pretty surreal to have this tour coming up. Can’t wait to see y’all out there!”
Presale tickets are available now, with general sales starting this Friday (Oct. 18). For more information, click here.
Graham Barham Makes Grand Ole Opry Debut
/by Liza AndersonGraham Barham during his Grand Ole Opry debut. Photo: Collette Badora
Graham Barham made his Grand Ole Opry debut last week, just four days after an emergency appendectomy.
Pictured (L–R): Grand Ole Opry’s Dan Rogers, Sony Music Nashville’s Randy Goodman, Graham Barham, FNGRPRNT’s Dillon Goldberg and Cornman Music’s Nate Lowery. Photo: Collette Badora
Surrounded by friends and family from his hometown of Oak Ridge, Louisiana, he took the stage to perform “Break It In A Bar” and “Whiskey Whiskey,” earning a standing ovation from the crowd.
“I come from a town of 115 people. My father’s a farmer and my mother’s a schoolteacher,” Barham shared with the audience. “I get to come up here and sing country music under the greatest God, in the greatest country in the entire world. I could not be more thankful to be a part of country music.”
He is currently touring with Ernest for “The Legalize Country Music Road Show,” and will headline his first Nashville show at Row One inside Cannery Hall on Nov. 16.
Fifth Annual ‘St. Jude Presents: Curated’ Event Raises $1.8 Million
/by Lorie HollabaughPhoto: Jordan Turri
Nashville executives, artists, creators and culinary icons enjoyed a night of elegant food and fun at the fifth annual ‘St. Jude Presents: Curated,’ on Oct. 9, raising over $1.8 million for St. Jude Children’s Research Hospital in the process.
Pictured (L-R): Dave Haywood, Kelli Haywood, Hillary Scott Tyrrell, Chris Tyrrell, Cassie Kelley and Charles Kelley. Photo: Mary Craven
Held at the home of co-chairs Elizabeth and Bryan Frist for the second year and hosted alongside co-chairs Cassie and Charles Kelley, the evening included a dinner, live auction and performances by Lady A, Ernest and Hardy. The night’s overall message was joie de vivre, a trait seen in the lives of the brave St. Jude patients and highlighted by St. Jude patient Thompson and his mom, who shared their story.
The five-course, French-inspired menu was curated and prepared by chefs Tiffani Ortiz and Andy Doubrava of The Catbird Seat. Guests enjoyed French-themed tastings and treats, and during the live auction, which raised over $850,000, bid on one-of-a-kind packages such as a private Sunday Supper for 20 at The Catbird Seat, a vacation to Cassie and Charles Kelley’s Harbour Island home, a private bourbon dinner (including five barrels of bourbon from Jeff Hopmayer) and more.
Donations from this event will help ensure that families never receive a bill from St. Jude, and treatments invented at St. Jude have helped push the overall childhood cancer survival rate from 20 percent to more than 80 percent since the hospital opened more than 50 years ago.
Apple Music Names Wyatt Flores As Up Next Artist [Exclusive]
/by LB CantrellApple Music has named country singer-songwriter Wyatt Flores as the latest addition to its Up Next program, a global artist initiative geared towards identifying, showcasing and elevating rising talent.
“It’s an honor and a privilege to be selected for Apple Music’s Up Next campaign, especially for someone like me coming from where I do and making music like this, it means the world to be part of something so big,” Flores shares. “I’m so grateful to Apple Music for showcasing me and where I come from in such a major way and on such a large scale.”
A native of Stillwater, Oklahoma, Flores is one of Americana music’s most exciting up-and-comers. Even before the release of his full-length debut album, Welcome To The Plains, out on Friday (Oct. 18), Flores has managed to make noise on the Apple Music charts. His 2022 EP The Hutson Sessions reached Apple Music’s top country albums chart in 39 countries, while 2023’s Life Lessons EP reached the top country albums chart in 72 countries, including 27 where he reached the top 10. Flores’ 2024 Half Life project reached a new record of 90 countries.
In the past year alone, Flores’ streams have more than doubled on Apple Music worldwide. In the past year, his streams on the platform’s editorial playlists have grown 257%, as his songs have been featured on some of the Apple Music’s biggest country playlists, including Today’s Country, Country Roads, Don’t Mess With Texas and Country Rewind.
As part of the initiative, Apple has released an exclusive Up Next short film that invites viewers into the quiet life on the family’s charming Stillwater land, his favorite fishing hole and a nostalgic walk through the historic Cain’s Ballroom in Tulsa.
Starting today, fans can listen to Flores’ Apple Music 1 radio interview with Kelleigh Bannen and pre-add Welcome to the Plains (Apple Music Edition).