Martha Earls. Photo: Angelea Presti
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.
Martha Earls is the owner of management company Neon Coast, and personal manager to Platinum-selling artist Kane Brown. Signed to Neon Coast is country band Restless Road along with other music and non-music clients. Together with Brown, under the Neon Coast name, she started Sony joint venture record label, 1021 Entertainment, and production company Demasiado.
Demasiado has produced award-winning music videos, awards show performances and television commercials. More recent signings to the management company include Nightly, Dylan Schneider and Feather. Earls started her management company following a successful run in music publishing. She has been honored multiple times by Billboard and the Nashville Business Journal.
MusicRow: Where did you grow up?
I was born in Ohio, but grew up in central Pennsylvania. I obviously had no idea about the music industry. I was good at playing the piano and I was good at track and field. I got a really great college scholarship based on my piano playing, so I went to a small music school in New Jersey. That’s where I met Mike Molinar and how we became friends. He’s from El Paso, but he moved up there to go to this music school.
What a coincidence. Did you know what you wanted to pursue while in college?
You had to declare a major and I didn’t know what I wanted my major to be. I didn’t want to be a teacher and I didn’t want to be a performer. I didn’t even really like playing the piano that much, I just got this great scholarship. While looking at majors, I found one and was like, “Oh my God, that job only works twice a week and makes a full salary. I’m going to major in church organ!” [Laughs] It was so ridiculous.
Two or three weeks into it, I was miserable, but I toughed it out for a year. The school was really small with only around 350 students, but there was one girl there who was graduating and going to NYU for law school. She said she was going to be an entertainment lawyer. That opened my eyes to the entertainment industry. Over the summer after my freshman year, I started looking online and discovered MTSU and Belmont. I knew I wanted to move out of the northeast, and being from a small town, country music was massive. I came down here to visit and just loved MTSU.
Pictured (L-R): Martha Earls, Kent Earls, Chuck Wicks, Luke Bryan, Rusty Gaston
How did you start your career while at MTSU?
I started interning at Warner Chappell. Dale Bobo was there at the time. Him and Michael Knox hired me for my internship. Tim Wipperman ran the company and he was amazing. I was in the catalog room, which was the last stop writers would make before they went out the side door into the parking lot at Warner Chappell. They would always drop by and hang out. I loved it. I really fell in love with the creatives. That was the start to my music industry career.
I interned that summer of my senior year and then told them I was having such a great time and didn’t want to leave. They let me do another internship. They didn’t have the budget to pay me but I didn’t care. Then the receptionist left and they offered me that job. I was still in school and taking a decent number of classes, but I was like, “Yes, absolutely.” In March of my senior year, they promoted me to a full time position in the tape room.
About a year later, they promoted me to a junior song plugger. I found during my time at Warner Chappell that I really liked working with the artists-songwriters even more than the regular songwriters. I really enjoyed taking the meetings with artists rather than going and meeting with other A&R people. For whatever reason, I could really dial into the artists. I got to work with Jason [Aldean] early on and Little Big Town.
What was next for you?
Next, I went to BMG publishing. At the time, Karen Conrad and Ron Stuve were there. That was great because it was different than Warner, where we had like 100 songwriters. At BMG, Ron and Karen ran it more like an independent—they only had about 20 songwriters. And again, I kept [being drawn to] signing artists. We signed Jake Owen, Chuck Wicks, and a couple other guys.
Pictured (L-R): Braeden Rountree, Martha Earls, Kane Brown, Liz Kennedy, Randy Goodman
Then you started a publishing company with Mike Molinar.
I felt a constant pull to do more. Mike was working for Cal Turner at the time. We decided we needed to start a company. I always felt a desire to have my own company and Mike was ready to spread his wings. We went around town and pitched our idea to start a publishing company to everybody. Nobody was really into it. We finally found an investor and he really believed in Mike and I.
He invested in our company and it was very family-oriented. Mike and I signed three or four songwriters. We had some success, we had some big cuts, and we got it going. The investor ended up buying us out, which was great. It gave us the capital to start the 2.0 version of the company, but it was all very bare bones.
When we started building the next version of the publishing company, I started feeling like I wasn’t maximizing myself. I always felt like the shoe didn’t quite fit. So when Mike and I started the 2.0 version of the company, we decided to sign more artists and producers. We signed an artist named Greg Bates, who was at Belmont at the time. Jimmy Harnen heard about him and invited him to come to Big Machine. He played at Big Machine and Jimmy signed him. Then I just started handling everything for him.
So that’s how you got into artist management.
I don’t even know if she knows, but Kerri Edwards is such an important example for female managers in the music industry. At that time, I was thinking, “Kerri started working with Luke [Bryan] out of the publishing company. I’m just going to follow that mold until it doesn’t work anymore.” It came so much more naturally to me to manage an artist’s career than this literal decade of publishing experience. That was what got me into management.
Things were going well with the company that Molinar and I started. Scott Borchetta didn’t have anything like that, so our company became what is now the publishing company that Mike Molinar has. He’s done such amazing things with it. I was able to be at Big Machine for a year while we transitioned that company over, and that was amazing. Even though everybody knew I was going to do management full time, I got to learn so much. It was right when Taylor Swift was releasing Red and making her jump from being a huge country artist to being a global superstar. That’s what I got to witness.
Fast forward to now, with what I’m doing with Kane, that experience was such a gift. It was placed in front of me for me to learn anything is possible. Scott had no fences built around anything.
What did you do after your time at Big Machine?
I knew I wanted do management full time, but I felt like there was more to learn. I went over to Sandbox and was there for two years. That was a whole different experience. They released Kacey Musgraves‘ Same Trailer, Different Park album on a Friday and I started on the next Monday. It was really interesting to watch an artist blow up without having the traditional country radio piece.
At the end of that, I was asked to be a consultant for Michael Blanton and his company. In exchange for two hours of consulting a week, he gave me an office. Jay Frank, who had his own digital marketing company, called me and asked me to run his independent label. I had never done anything for an independent label before, but he needed somebody to oversee it. That was crazy, too. I learned how to make a music video for $5,000, how to get vinyl pressed, and all that kind of stuff.
Pictured (L-R): Kane Brown, Martha Earls
How did you end up working with Kane?
One day Jay said, “We have this guy that somebody on our staff found online. He’s country and we signed him to a management agreement if you want to help out with that.” I don’t think Jay really knew what he had with Kane at the time. I met Kane and I was like, “Jay, all this other stuff you’re working on is nonsense. This is the thing. Kane is the thing.” I just jumped in feet first with Kane.
In 2016, it became just me and Kane. We’ve just been building what we’re doing ever since. It’s kind of a mixture of the tenacity that Scott had that says we can have great success and do anything, and then also the understanding of you don’t have to do things the traditional way. From having created my own publishing company and really struggling, I didn’t get defeated by anything.
Now Kane is a multi-Platinum superstar, but what were those first few years like?
[The first thing we did] was put out an EP called Chapter One that had “Used To Love You Sober” on it. Florida Georgia Line and Seth England could see things early with him, so they put him on tour. He was first of four and got to play for 15 minutes, but it was amazing. We were having trouble at country radio with “Used To Love You Sober,” and there was a lot of preconceived notions about who people thought Kane Brown was, because of how he looks. He’s biracial, he had tattoos, he had success on social media.
Kane met Dann Huff. Dann cut “What Ifs,” a song that Kane wrote. “What Ifs” wasn’t a single yet, so we put that [Kane Brown] album out with no single on the radio, and it still did really great. In 2017, we got a new radio guy at RCA when Dennis Reese came over. He’s been Kane’s biggest champion at the label. He’s such a wonderful guy. He came from the pop world, so he didn’t have any boundaries. [With Dennis on board], “What Ifs” became an eight-time Platinum single. It’s one of the biggest songs in the history of country music. That got things going and we’ve just been building on that ever since.
Pictured (L-R): Clay Bradley, Michael Giangreco, Ernest, Rusty Gaston, Kane Brown, Stevie Frasure, Jesse Frasure, Kent Earls, Levon Gray, Vanna Moua, Martha Earls, Spencer Nohe, Dennis Reese. Photo: Steve Lowry
In the last few years, your company has grown substantially. You and Kane have built a joint venture record label with Sony Music Nashville, as well as a publishing company with Sony Music Publishing.
We were out in LA for for the “Saturday Nights” video shoot. I was feeling like it was time to start growing. I asked him, “How do you see yourself? Do you see yourself as an artist who tours six months out of the year and then takes six months off and chills with his family? Or do you see yourself like a Florida Georgia Line, who when they’re not touring, they’re still writing, producing, signing artists, running a publishing company and a clothing store?” He said, “I want to be like that. I don’t know how long everything will last.”
That was when we decided to expand the company. I saw all these different verticals. I could see a joint venture label, where we sign artists, as well as a publishing side of things. We started a production company and signed other management clients, too. Kane gets a taste of all of it because I want him to feel invested in everything.
If someone were to ask you how to be successful in this industry, what would you tell them?
That’s a great question. You can measure success so many different ways. I feel like what it is is being comfortable, satisfied and proud of the work that you’re doing. Owning your space and acknowledging to yourself that you deserve to be there.
My Music Row Story: Neon Coast’s Martha Earls
/by LB CantrellMartha Earls. Photo: Angelea Presti
Martha Earls is the owner of management company Neon Coast, and personal manager to Platinum-selling artist Kane Brown. Signed to Neon Coast is country band Restless Road along with other music and non-music clients. Together with Brown, under the Neon Coast name, she started Sony joint venture record label, 1021 Entertainment, and production company Demasiado.
Demasiado has produced award-winning music videos, awards show performances and television commercials. More recent signings to the management company include Nightly, Dylan Schneider and Feather. Earls started her management company following a successful run in music publishing. She has been honored multiple times by Billboard and the Nashville Business Journal.
MusicRow: Where did you grow up?
I was born in Ohio, but grew up in central Pennsylvania. I obviously had no idea about the music industry. I was good at playing the piano and I was good at track and field. I got a really great college scholarship based on my piano playing, so I went to a small music school in New Jersey. That’s where I met Mike Molinar and how we became friends. He’s from El Paso, but he moved up there to go to this music school.
What a coincidence. Did you know what you wanted to pursue while in college?
You had to declare a major and I didn’t know what I wanted my major to be. I didn’t want to be a teacher and I didn’t want to be a performer. I didn’t even really like playing the piano that much, I just got this great scholarship. While looking at majors, I found one and was like, “Oh my God, that job only works twice a week and makes a full salary. I’m going to major in church organ!” [Laughs] It was so ridiculous.
Two or three weeks into it, I was miserable, but I toughed it out for a year. The school was really small with only around 350 students, but there was one girl there who was graduating and going to NYU for law school. She said she was going to be an entertainment lawyer. That opened my eyes to the entertainment industry. Over the summer after my freshman year, I started looking online and discovered MTSU and Belmont. I knew I wanted to move out of the northeast, and being from a small town, country music was massive. I came down here to visit and just loved MTSU.
Pictured (L-R): Martha Earls, Kent Earls, Chuck Wicks, Luke Bryan, Rusty Gaston
How did you start your career while at MTSU?
I started interning at Warner Chappell. Dale Bobo was there at the time. Him and Michael Knox hired me for my internship. Tim Wipperman ran the company and he was amazing. I was in the catalog room, which was the last stop writers would make before they went out the side door into the parking lot at Warner Chappell. They would always drop by and hang out. I loved it. I really fell in love with the creatives. That was the start to my music industry career.
I interned that summer of my senior year and then told them I was having such a great time and didn’t want to leave. They let me do another internship. They didn’t have the budget to pay me but I didn’t care. Then the receptionist left and they offered me that job. I was still in school and taking a decent number of classes, but I was like, “Yes, absolutely.” In March of my senior year, they promoted me to a full time position in the tape room.
About a year later, they promoted me to a junior song plugger. I found during my time at Warner Chappell that I really liked working with the artists-songwriters even more than the regular songwriters. I really enjoyed taking the meetings with artists rather than going and meeting with other A&R people. For whatever reason, I could really dial into the artists. I got to work with Jason [Aldean] early on and Little Big Town.
What was next for you?
Next, I went to BMG publishing. At the time, Karen Conrad and Ron Stuve were there. That was great because it was different than Warner, where we had like 100 songwriters. At BMG, Ron and Karen ran it more like an independent—they only had about 20 songwriters. And again, I kept [being drawn to] signing artists. We signed Jake Owen, Chuck Wicks, and a couple other guys.
Pictured (L-R): Braeden Rountree, Martha Earls, Kane Brown, Liz Kennedy, Randy Goodman
Then you started a publishing company with Mike Molinar.
I felt a constant pull to do more. Mike was working for Cal Turner at the time. We decided we needed to start a company. I always felt a desire to have my own company and Mike was ready to spread his wings. We went around town and pitched our idea to start a publishing company to everybody. Nobody was really into it. We finally found an investor and he really believed in Mike and I.
He invested in our company and it was very family-oriented. Mike and I signed three or four songwriters. We had some success, we had some big cuts, and we got it going. The investor ended up buying us out, which was great. It gave us the capital to start the 2.0 version of the company, but it was all very bare bones.
When we started building the next version of the publishing company, I started feeling like I wasn’t maximizing myself. I always felt like the shoe didn’t quite fit. So when Mike and I started the 2.0 version of the company, we decided to sign more artists and producers. We signed an artist named Greg Bates, who was at Belmont at the time. Jimmy Harnen heard about him and invited him to come to Big Machine. He played at Big Machine and Jimmy signed him. Then I just started handling everything for him.
So that’s how you got into artist management.
I don’t even know if she knows, but Kerri Edwards is such an important example for female managers in the music industry. At that time, I was thinking, “Kerri started working with Luke [Bryan] out of the publishing company. I’m just going to follow that mold until it doesn’t work anymore.” It came so much more naturally to me to manage an artist’s career than this literal decade of publishing experience. That was what got me into management.
Things were going well with the company that Molinar and I started. Scott Borchetta didn’t have anything like that, so our company became what is now the publishing company that Mike Molinar has. He’s done such amazing things with it. I was able to be at Big Machine for a year while we transitioned that company over, and that was amazing. Even though everybody knew I was going to do management full time, I got to learn so much. It was right when Taylor Swift was releasing Red and making her jump from being a huge country artist to being a global superstar. That’s what I got to witness.
Fast forward to now, with what I’m doing with Kane, that experience was such a gift. It was placed in front of me for me to learn anything is possible. Scott had no fences built around anything.
What did you do after your time at Big Machine?
I knew I wanted do management full time, but I felt like there was more to learn. I went over to Sandbox and was there for two years. That was a whole different experience. They released Kacey Musgraves‘ Same Trailer, Different Park album on a Friday and I started on the next Monday. It was really interesting to watch an artist blow up without having the traditional country radio piece.
At the end of that, I was asked to be a consultant for Michael Blanton and his company. In exchange for two hours of consulting a week, he gave me an office. Jay Frank, who had his own digital marketing company, called me and asked me to run his independent label. I had never done anything for an independent label before, but he needed somebody to oversee it. That was crazy, too. I learned how to make a music video for $5,000, how to get vinyl pressed, and all that kind of stuff.
Pictured (L-R): Kane Brown, Martha Earls
How did you end up working with Kane?
One day Jay said, “We have this guy that somebody on our staff found online. He’s country and we signed him to a management agreement if you want to help out with that.” I don’t think Jay really knew what he had with Kane at the time. I met Kane and I was like, “Jay, all this other stuff you’re working on is nonsense. This is the thing. Kane is the thing.” I just jumped in feet first with Kane.
In 2016, it became just me and Kane. We’ve just been building what we’re doing ever since. It’s kind of a mixture of the tenacity that Scott had that says we can have great success and do anything, and then also the understanding of you don’t have to do things the traditional way. From having created my own publishing company and really struggling, I didn’t get defeated by anything.
Now Kane is a multi-Platinum superstar, but what were those first few years like?
[The first thing we did] was put out an EP called Chapter One that had “Used To Love You Sober” on it. Florida Georgia Line and Seth England could see things early with him, so they put him on tour. He was first of four and got to play for 15 minutes, but it was amazing. We were having trouble at country radio with “Used To Love You Sober,” and there was a lot of preconceived notions about who people thought Kane Brown was, because of how he looks. He’s biracial, he had tattoos, he had success on social media.
Kane met Dann Huff. Dann cut “What Ifs,” a song that Kane wrote. “What Ifs” wasn’t a single yet, so we put that [Kane Brown] album out with no single on the radio, and it still did really great. In 2017, we got a new radio guy at RCA when Dennis Reese came over. He’s been Kane’s biggest champion at the label. He’s such a wonderful guy. He came from the pop world, so he didn’t have any boundaries. [With Dennis on board], “What Ifs” became an eight-time Platinum single. It’s one of the biggest songs in the history of country music. That got things going and we’ve just been building on that ever since.
Pictured (L-R): Clay Bradley, Michael Giangreco, Ernest, Rusty Gaston, Kane Brown, Stevie Frasure, Jesse Frasure, Kent Earls, Levon Gray, Vanna Moua, Martha Earls, Spencer Nohe, Dennis Reese. Photo: Steve Lowry
In the last few years, your company has grown substantially. You and Kane have built a joint venture record label with Sony Music Nashville, as well as a publishing company with Sony Music Publishing.
We were out in LA for for the “Saturday Nights” video shoot. I was feeling like it was time to start growing. I asked him, “How do you see yourself? Do you see yourself as an artist who tours six months out of the year and then takes six months off and chills with his family? Or do you see yourself like a Florida Georgia Line, who when they’re not touring, they’re still writing, producing, signing artists, running a publishing company and a clothing store?” He said, “I want to be like that. I don’t know how long everything will last.”
That was when we decided to expand the company. I saw all these different verticals. I could see a joint venture label, where we sign artists, as well as a publishing side of things. We started a production company and signed other management clients, too. Kane gets a taste of all of it because I want him to feel invested in everything.
If someone were to ask you how to be successful in this industry, what would you tell them?
That’s a great question. You can measure success so many different ways. I feel like what it is is being comfortable, satisfied and proud of the work that you’re doing. Owning your space and acknowledging to yourself that you deserve to be there.
The MLC Expands Ambassador Programs To Increase Educational Outreach
/by Lorie HollabaughThe Mechanical Licensing Collective has launched a new Student Ambassador program to complement its existing Educator Ambassador program.
The new program is open to all students currently enrolled in college or university classes. Student Ambassadors are required to demonstrate knowledge of what The MLC is and commit to spreading the word about The MLC to songwriters, composers, and lyricists in their local communities and on social media. As Ambassadors, they will support their musical peers, help them sign up for MLC membership, and get their songs registered while gaining valuable hands-on music business experience.
Approved Ambassadors gain access to digital resources, virtual and in-person events and training, and private online communities designed to support further learning and professional development.
The MLC Educator Ambassador program launched in the fall of 2021 and provides academic educators the opportunity to earn the designation MLC Educator Ambassador through an assessment of their knowledge about The MLC and commitment to continued dissemination of information about The MLC within their academic institution. The program is open to educators who teach courses in high schools, colleges, universities, and law schools.
“Our MLC Educator Ambassador program provides a great opportunity for us to engage with instructors who teach about the music business, copyright, or licensing, and for instructors to demonstrate to their academic institutions that they have recognized expertise on the topic of digital mechanical licensing,” explains The MLC’s Head of Educational Partnerships Serona Elton.
“MLC Student Ambassadors are going to help us reach songwriters and composers in local communities all over the United States, especially those who are studying music in school,” she continues. “Student Ambassadors themselves will gain professional music business experience by having repeated discussions regarding mechanical licensing and royalties and publishing administration. There is no better way to demonstrate knowledge of a topic than showing that you can teach it to someone else.”
“Education plays a huge role in improving the accuracy of the data our industry relies on,” says The MLC’s CEO Kris Ahrend. “Creating a network of advocates and experts across the country who are knowledgeable about how The MLC works will help us educate many more creators about their rights and hopefully encourage more of them to connect with The MLC so they can receive the mechanical royalties they are owed.”
This community-based network supports The MLC’s mission to educate songwriters at every level. For more information, click here.
Industry Ink: Kameron Marlowe, Dylan Marlowe, Steep Canyon Rangers, Chick Singer Night
/by Lydia FarthingKameron Marlowe Notches Second Gold Certification
Kameron Marlowe and the Sony Music Nashville staff. Photo: Helena Akhtar
Columbia Nashville/Sony Music Nashville singer-songwriter Kameron Marlowe recently celebrated his Gold-certified single “Burn ‘Em All” with the staff at Sony Music Nashville. The team presented him with the commemorative plaque ahead of the release of his debut album, We Were Cowboys.
“Burn ‘Em All” was written by Marlowe alongside Brinley Addington, Joey Hyde and Aaron Eshuis, and produced by Grammy-nominated Brad Hill. The track marks Marlowe’s second Gold record following the certification of hit single “Giving You Up” last year.
“Wow, a second Gold record. I honestly didn’t expect this, and I am just so grateful for the fans that listen to my music,” Marlowe notes. “Thank you to Brinley, Joey, and Aaron for writing this song with me! Cheers y’all!”
Marlowe is set to kick off his headlining “We Were Cowboys” tour at Nashville’s Brooklyn Bowl on Sept. 8 with singer-songwriter Wyatt McCubbin as support on most dates. For a full list of upcoming dates, click here.
Dylan Marlowe Marks First No. 1 With ‘Last Night Lonely’
Pictured (L-R): PIA Entertainment’s Cade Price, Alyssa Ramsey, Marlowe, PIA founder award-winning songwriter Dallas Davidson, Lauren Lieu, Grayson Clotfelter. Photo: The Dwyers
Rising Play It Again Entertainment artist Dylan Marlowe notched his first-ever No. 1 single as a songwriter when Jon Pardi’s “Last Night Lonely” hit the top of the country singles charts this week. Marlowe co-wrote the tune with Jimi Bell and Joe Fox.
Marlowe is making his mark as a recording and touring artist, following his CMA Fest performance in June and accumulating over 14 million streams in the last three months. He recently wrapped his major tour debut earlier this year on Dylan Scott’s “Livin’ My Best Life Tour,” and is preparing to hit the road again next month on Cole Swindell’s “Back Down To The Bar Tour,” which will run through end of November.
His current song, “Why’d We Break Up Again,” is available now on all digital service providers. Written by Marlowe, Fox and Brett Tyler, the track follows on the heels of “GTB,” “When I Look Back”, and his hit “I’ll Keep The Country” which has been streamed over eight million times.
Steep Canyon Rangers Announce Aaron Burdett As Newest Member
Pictured (L-R): Nicky Sanders, Mike Ashworth, Mike Guggino, Graham Sharp, Barrett Smith, Aaron Burdett
Grammy award-winning group Steep Canyon Rangers has added North Carolina singer-songwriter Aaron Burdett as the newest member. Burdett started playing shows with the band in August and is now officially on board.
With top awards in multiple songwriting competitions hosted by the likes of Merlefest, The USA Songwriting Competition, Mountain Stage, the NC Songwriter’s Co-op and more, Burdett’s last four albums have been voted top 20 Albums of the Year by WNCW radio listeners.
“Aaron showed up on our radar late in the audition process, and we were all struck by the honesty and power of his music,” the band shares. “He arrives as an exceptional North Carolina artist in his own right, and our connection feels fresh and familiar at the same time. His talent as a singer and songwriter is already pushing the band to new heights.”
“I got the call out of the blue from SCR on a Monday morning a couple of months ago, and although I’d never imagined collaborating with them, the closer I looked at it, the better fit it seemed to be,” adds Burdett “As we’ve tested the waters and played gigs and traveled and hung out together, that feeling has only grown and solidified. It’s a dream come true to have an opportunity to play with musicians of this caliber and at this level. We already sound really good together, and I can’t wait to see where we are a year from now.”
Comprised of Graham Sharp (vocals/banjo), Mike Guggino (vocals/mandolin/mandola), Nicky Sanders (vocals/fiddle), Mike Ashworth (vocals/drums), Barrett Smith (vocals/bass) and Burdett (vocals/guitar), the band has a new album in the works and a full schedule of upcoming shows.
Chick Singer Night Marks 20 Years Of Showcases At The Bluebird Cafe
Pictured (L-R): CSN Director Jaclyn Brown, Tori Tullier, Bonnie J. Baker, Emi Sunshine, Lauren Lucas, Jamie Floyd. Photo: Steve Lowry
Chick Singer Night celebrated its 20th year of female-focused songwriter showcases at the Bluebird Cafe last Thursday (Aug. 25). The evening included performances from Tori Tullier, Bonnie J. Baker, Emi Sunshine, Lauren Lucas, and Jamie Floyd.
Artist Manager Jerry Bentley Passes
/by Lorie HollabaughJerry Bentley with Lee Greenwood
Jerry Bentley, the former manager of Lee Greenwood, passed away at his home just outside of Huntsville, Alabama on Sunday (Aug. 28). He was 80.
Bentley served as a Marine and was wounded in Vietnam in 1967. He spent 15 years at GTE before joining Greenwood’s team in 1984, becoming his closest friend and most trusted advisor for 45 years. Over the years, he worked with many of Nashville’s finest, even earning an IEBA (International Entertainment Buyer’s Association) award. In recent years he had retired to spend more time with wife Elaine, daughters Beth and Laurie, and his grandchildren, whom he treasured.
“One of the finest southern gentlemen and American patriots entered his heavenly home, my manager and good friend of 45 years, Jerry Bentley,” said Lee Greenwood in a statement. “Kim, Parker, Dalton, Sarah, and our entire LG Inc family from throughout the years are lifting the Bentley family up in our prayers. Our admiration and love for all of you is endless. Thank you for all you have contributed to our family.”
Visitation for Jerry Bentley was held yesterday (Aug. 30) at Laughlin Service Funeral Home in Huntsville, Alabama. The funeral will be at 1:00 p.m. today (Aug. 31) at Mt. Zion Baptist Church in Huntsville. Burial will be in Mt. Zion Cemetery.
Laura Wright Alexander Joins Young Guns Publishing As SVP, Creative
/by Lydia FarthingLaura Alexander. Photo: Jason Myers
Young Guns Publishing has tapped industry veteran Laura Wright Alexander as SVP, Creative. In her new position, she will champion reigning MusicRow Song of the Year writer Ben Stennis, and chart-topping writer Jared Mullins.
Born and raised in Nashville, Alexander spent 12 years at Writer’s Den Music, EMI Music Publishing, Big Yellow Dog and Kobalt Music, where she worked with songwriters such as Natalie Hemby, The Warren Brothers, Daniel Tashian, Josh Jenkins and more. She also worked closely with singer-songwriters Maren Morris and Thomas Rhett.
In 2019, she pivoted to join the Adventurous Journeys (AJ) Capital team and helped launch the Graduate Nashville hotel. While there, Alexander was tasked with telling the story of the boutique hotel and establishing the narrative of its creative identity.
When Stennis, whom Alexander had worked with at Kobalt Music, called asking if they might be able to work together again, she began considering a potential return to publishing. She now aims to help further lay the groundwork of Young Gun’s roster of songwriters and to continue building their momentum.
“Trust and relationships are the two most important things to me when it comes to being a champion for great music,” shares Alexander. “The fact that Ben Stennis called me with the idea to work together meant the world. After talking to Will [Hamrick, CEO of Young Guns] as well, I understood that this is a real opportunity to take ahold of something and make an immediate impact together.”
“From the moment this creative role became available, Laura was our first call as we knew she would be the perfect fit,” adds Hamrick. “Over the years, we have discussed working together and I am thrilled to see it come to fruition. Her reputation, relationships and work ethic are second to none. With Laura joining the team, I couldn’t be more excited about the direction our company is going in and for what the future holds for the YGP family.”
Alexander can be reached at laura@younggunspublishing.com.
Founded in 2011, Young Guns is administered by Kobalt Music Publishing and has seen success in the film and TV industry. The company’s roster includes Stennis, Mullins, and singer-songwriter Jackie Lee.
Hall Of Fame Songwriter Don Schlitz Joins The Grand Ole Opry Family
/by Liza AndersonVince Gill and Don Schlitz. Photo: Chris Hollo
Award-winning songwriter and member of both the National Songwriter Hall of Fame and the Nashville Songwriter Hall of Fame Don Schlitz was officially inducted into the Grand Ole Opry last night by Opry member Vince Gill.
After Schlitz opened his performance with “The Gambler” and “When You Say Nothing At All,” he shared to the audience, “Since Kenny [Rogers] and Keith [Whitley] aren’t here, I get to represent what you and they had together. I get to be a bridge for them. That’s why I get to be a member of this special place, because I’m representing these artists.”
Pictured (L-R): Randy Travis, Don Schlitz and Vince Gill. Photo: Chris Hollo
Next, the 4x ASCAP Country Songwriter of the Year welcomed Opry member and Country Music Hall of Famer Randy Travis to the stage. After waving hello to the audience, Travis was seated on stage to watch Schlitz perform the Schlitz-penned Travis classic “Forever and Ever, Amen,” which was followed by a video of numerous country artists singing Schlitz’s compositions on the Opry stage over the last five decades.
“Don Schlitz’s songs have had a home on the Opry stage for years, and we are all thrilled that our friend Don is now officially home here as well,” says Dan Rogers, Opry Executive Producer. “The Opry will outlive all of us, and I have faith that generations from now, great artists will still take to the Opry to sing Don Schlitz songs, all of them gifts that keep giving to music fans.”
Dolly Launches New Pet Apparel & Accessories Line, Doggy Parton
/by Lorie HollabaughDolly Parton & her goddog Billy The Kid. Photo: Sebastian Smith
Dolly Parton has branched out into the pet world with her growing merchandise line as she launches her latest brand, Doggy Parton–a line of dog apparel, accessories, toys and more, in partnership with SportPet Designs.
Dolly Parton. Photo: Sebastian Smith
The line features gingham, blue jean and cowgirl pet clothes; sequined collars and leashes; a rhinestone harness; and guitar, microphone, high heel squeaky toys, among other items. A “pet” project that is near and dear to Parton’s heart, part of the proceeds from Doggy Parton will go to Willa B. Farms, a rescue that provides a loving home to displaced animals of all kinds.
“Puppy Love was my very first record and 6 decades later, my love for pets is stronger than ever. This inspired me to start my own line of Doggy Parton apparel, accessories, toys and more with a little ‘Dolly’ flair,” says Parton. “Part of the proceeds will support Willa B Farms, a rescue where animals in need find never-ending love. Don’t we all need that?’”
Initially, Doggy Parton products will be available via DoggyParton.com and Amazon
‘Nashville’s Big Bash’ Returns To CBS To Ring In The New Year
/by Lydia FarthingNew Year’s Eve Live: Nashville’s Big Bash will return to ring in the new year. Slated for Saturday, Dec. 31 from 7:00-9:00 p.m. and then 9:30 p.m.-12:30 a.m. CT, the festivities will be aired on the CBS Television Network and will be available to stream live and on demand on Paramount+.
Taking over from downtown Nashville, the star-studded special will be packed with performances, with the first round of entertainers including Brooks & Dunn, Kelsea Ballerini, Little Big Town and Zac Brown Band. Additional artists and information will be announced at a later date.
The inaugural broadcast in 2021 peaked with 5.51 million viewers in the midnight hour. Similar to last year, the five-hour celebration will feature nearly 50 performances from locations across the city, including the main stage in Nashville’s Bicentennial Capitol Mall State Park. The broadcast will include the traditional countdown at midnight ET, culminating with the Nashville Music Note Drop and fireworks at midnight CT.
New Year’s Eve Live: Nashville’s Big Bash executive producers, Robert Deaton and Mary Hilliard Harrington, work in partnership with the Nashville Convention and Visitors Corp. The special will be directed by Sandra Restrepo.
Aaron Watson Plays Brooklyn Bowl After Three-Month Medical Hiatus
/by Steven BoeroAaron Watson. Photo: Scott Delony
After being sidelined by a vocal cord injury for three months, independent country artist Aaron Watson put on a high-energy, fan-engaging show at Nashville’s Brooklyn Bowl on Friday night (Aug. 26).
“I took a little three month vacation and had vocal cord surgery,” Watson said early on in the show. “So I’m happy to be here. I can’t wipe the smile from my face.”
Watson hadn’t performed in Nashville in over two years and was welcomed to a packed and lively crowd. Though needing to take a few breaks in between songs to rest his voice, Watson delivered an array of fan-favorites, including “Freight Train,” “July in Cheyenne,” and “Outta Style,” along with a handful of covers.
The night kicked off with opening act and up-and-coming Texas artist Erin Kinsey who wowed fans with her impressive guitar skills and performances of her popular songs “Just Drive” and “Vegas.” She played a handful of unreleased tunes for the Nashville crowd, which received warm reactions.
Watson later praised Kinsey for her talent and her TikTok rendition of “Outta Style.” “I’ll probably be opening up for you one day,” Watson noted. “Just remember us, girl. Y’all check her out, she’s awesome. I’m excited to have shared the stage with her tonight.”
Watson hit the stage, opening with his single and current blue collar anthem “Cheap Seats” from his 2022 record Unwanted Man. The song emphasizes his journey as an independent artist, having always been a fan-first entertainer.
Erin Kinsey. Photo: Robert Chavers
Despite his recent surgery, Watson sounded great with his band of many years backing his huge repertoire of songs.
He got the Nashville crowd into the show immediately by playing fan-favorites “Boots,” “Wild Fire,” and “Silverado Saturday Night.” In between breaks to rest his voice, Watson acknowledged that his doctor, who performed surgery on his vocal cords, was at the show.
“If you’ve been to my shows, you know I’m usually one song after the other, but I have to take time to hydrate my vocal cords,” he explained. “I got the doc here tonight watching me and I’m [telling myself], ‘You better stop in between these songs and take a drink of water or he’s going to get pissed.'”
Watson made the show even more intimate, talking to fans on the floor, especially those hailing from the Lone Star state. He even took some deep cut requests such as “Shut Up And Dance” from his 2003 record of the same name, and thanked Friday night’s audience for being a real ‘honky tonk’ crowd.
“A lot of times playing in Nashville isn’t my favorite because it’s stressful. [When you’re here], you have meetings and a lot people show up in suits,” Watson said. “A true honky tonk crowd showed up tonight and that makes me so happy.”
Later in the night, he slowed things down to honor the veterans with his song “Dog Tags,” which he wrote for his father who is a wounded war veteran. He asked every fan to shine their phone lights to show the veterans in the crowd support and bring attention to the mental illness struggle in the veteran community.
“My dad is my hero. This was a song that was easy for me to write because it was something that came from the heart,” he shared. “I spent a lot of time at the VA hospital in Amarillo where I grew up, so at a very early age I developed a great amount of love and respect for the men and women that serve this great nation.”
Watson continued the theme of honoring those he loved and looked up to with “Amazing Grace” followed by “Barbed Wire Halo.”
He finished with his song about legendary bull rider Lane Frost on “July in Cheyenne.” He wrote the song about Frost while he and his wife were struggling with the loss of their newborn daughter. He emphasized his Christian faith leading him through this dark time as it had for Frost’s mother.
“Lane’s mom said something that hit me right here,” Watson said while pointing to his heart. “It got me refocused on the bigger picture… I wrote this song as a thank you, but I think God inspired me to write this song and share my story with y’all.”
After his tribute to the late rodeo cowboy, Watson let his band go off and play a medley of country, pop and rock songs, which included Alan Jackson’s “Chattahoochee,” Alabama’s “Dixie Land Delight,” George Strait’s “Amarillo By Morning,” AC/DC’s “Thunderstruck,” The White Stripe’s “Seven Nation Army” and Bruno Mars’ “Uptown Funk.”
He ended his show with his monster top 10 hit “Outta Style,” where he thanked his fans for making it a country radio hit without the help of a major label. Watson capped off the night by staying late and giving out hugs and selfies at his merch table.
Watson hits the road again on Sept. 2 when he plays Bellvue, Colorado and will be back on track to finish his 2022 tour throughout the south and west.
Giovannie And The Hired Guns Sign With Warner Music Nashville
/by Lydia FarthingPictured (L-R): Jerrod Flusche, Alex Trejo, Giovannie Yanez, Milton Toles, Carlos Villa. Photo: Brass Knuckle Vision
Giovannie and The Hired Guns have signed with Warner Music Nashville and will release their anticipated album, Tejano Punk Boyz, on Oct. 28.
In the last year, the Texas band has been named one of Amazon Music’s 2022 Artists to Watch, and their breakout single, “Ramon Ayala,” has garnered 18 million digital streams since independently releasing last summer. Following its No. 1 on the Active Rock Radio Chart, the track claimed the No. 1 slot on the Alternative Radio Chart this week, and has notched five weeks at No. 1 on Billboard’s Rock & Alternative Airplay Chart. This is the first time since 2006 that an artist’s first career-charting radio single reached No. 1 at both Alternative and Active Rock.
Fronted by Mexican-American lead singer and guitarist Giovannie Yanez, the group also includes Carlos Villa (guitar), Jerrod Flusche (guitar), Alex Trejo (bass guitar) and Milton Toles (drums).
“This year has felt like a dream that never ends. The No. 1s are so cool because we are reaching so many new fans. We can’t wait to share the full album soon,” says Yanez.
Griff Morris of Crush South Management adds: “This band is on a mission to take over the world. They have the talent, work ethic and vision to do exactly that. Bet on it.”
“This partnership is a perfect example of Warner Music Nashville’s philosophy to let the music lead. Giovannie and The Hired Guns are pure adrenaline and one of a kind,” notes Co-President of Warner Music Nashville, Cris Lacy. “Their broad musical reach has inspired an exciting ’first’ for us, a collaboration with one of our US rock sister labels and Warner Music Latina to make sure Gio’s ascension to superstardom is multilateral.”