Ebie McFarland. Photo: Jon Paul Bruno
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.
Raised just 90 miles outside of Nashville in the small town of Waverly, Tennessee, Ebie McFarland, a Vanderbilt University grad, founded award-winning PR company Essential Broadcast Media, LLC in 2007. Since then, she has helped launch the careers of critically acclaimed artists such as Ashley McBryde, Caitlyn Smith and Whiskey Myers, as well as earned the trust of discriminating artists such as George Strait, Kenny Chesney and Eric Church. She has retained longtime clients such as Ryman Hospitality, Darius Rucker and Hootie & the Blowfish, further reinforcing McFarland and her team understand and execute the growing importance of telling one’s story with passion, grit and perseverance.
In addition to being a publicist and owner of Essential Broadcast Media, McFarland is highly involved in various organizations. She is Vice President of the ACM Board of Directors, and sits on the CMA Board of Directors, the ACM Lifting Lives Board, the Vanderbilt University Project on Unity and American Democracy Advisory Board, and the Millions of Conversations Advisory Council. She has been honored as part of Nashville Business Journal‘s 40 Under 40 list (2012), MusicRow’s Rising Women on the Row (2014), the CMA SRO Publicist of the Year (2015), CMA Publicist of the Year (2017, 2019), and with the Nashville Business Journal‘s Women in Music Award (2017).
Ebie alongside management with clients Kenny Chesney and Michael Franti at SoFi Stadium. Photo: Allister Ann
MusicRow: Where did you grow up? How did you get into music?
I grew up in Waverly, Tennessee. It’s an hour and a half west of Nashville. That’s why I ended up executive producing the Loretta Lynn “Hometown Rising” benefit concert, because that was my hometown that flooded last year. Until she retired, my mom was a psychiatric nurse practitioner. She and my dad met while camping and going to art experiences in Kentucky, years and years ago. My dad was always a painter, but grew up up on Joe Cocker, Tina Turner, and The Rolling Stones. I don’t remember this, but my first concert was Talking Heads when I was two years old. The first concert I really remember was Jon Bon Jovi.
I graduated high school in ’99 and went to Vanderbilt University. They did not have a music program at that time, so I did a bachelor of science. I have a cognitive studies major and a child development and women’s studies minor. It comes in handy working with artists because the best ones are a little crazy. Understanding and getting to the root of the origin story is probably the most exhilarating part of my job. If it is Ashley McBryde and “Girl Goin’ Nowhere,” and that moment that fueled that chip on her shoulder. If it’s anything Eric Church offers up, I always feel like there’s a “why” with him. In working with new artists, like Caitlyn Smith and Walker Hayes, it’s understanding what stories to lean into that really connect and having that conversation with them that helps drill that down.
What happened after graduation?
I started working entry level at a PR firm that’s now defunct. I was at Webster & Associates for four years. I made $8 an hour so I also worked at a tanning bed and I bartended on weekends. I remember not being paid until every other week from one of the jobs and having to put an IOU for toilet paper [so I could take some] home until I could buy toilet paper and then pay them back. (Laughs)
It was dark days in PR early on. Even around the holidays, you weren’t guaranteed to make your paycheck because so many artists took the holidays off and it wasn’t tour season. I remember the looming threat from my boss at the time was, “We’ll see if we can keep the lights on this Christmas or if we need to light more candles.”
Pictured: Team Ashley McBryde at the Ryman after one of her AIMP wins. Selfie courtesy of Ashley McBryde.
You started your own PR firm in 2007. How did that come to be?
It’s truly a 10 year town. I started my company in 2007. Darius Rucker had signed with UMG and he was doing a “Hootie Homegrown Tour.” [At the time] I had all the rock acts. I had Sister Hazel, Hootie & the Blowfish, Van Zant, Lynyrd Skynyrd, Kid Rock, and Hank Jr. When I found out Darius had signed, I started thinking it might be a good time to go out and super-service one or two clients and try to do this on my own. So I started the company when I was 26 years old. I very naively thought, “I can do this.”
I’m glad I bet on myself, but at the same time, when you have mentors helping you along the way, you learn so much faster. I’m super grateful for the mentors that were and still are there for me, including Doc McGhee and Joe Galante. I’m very fortunate, looking back, on the people that took time out of their days to help me.
How did you grow your roster from there?
After working with Darius for a few years, I started working with other management firms. I started working with Q Prime on Little Big Town. They left and went to Jason Owen, so Q Prime asked if I could work on Eric Church on the Carolina record. So Eric was my next big one as far as signing, and somebody that I’ve been with the longest. I started working with George Strait in 2012, ahead of Cowboy Rides Away, and did everything from the strategy on the announcement through the two-year tour into Vegas, then subsequently these stadium shows that he’s doing. I’ve been with George for 10 years now, and Kenny Chesney since 2014. I started working with Caitlyn Smith and Chase Rice around then, too.
I had been working with Miranda [Lambert] on the touring side for a few years, so I was very honored when she called. That’s a big change anytime an established artist makes a PR change. I thought I was going over to the office to talk about the tour, and I sat down with her and Marion [Kraft] and [they asked me to do] Palomino and everything from Miranda, with Mutt Nation, the forthcoming announcements that she has, and strategizing the Las Vegas announcements. It’s been a blessing to work with so many in-charge people who know who they are and know what they stand for. They know what they want to do.
Pictured: Comedian Sebastian Maniscalco and Ebie ahead of his four 2019 Madison Square Garden shows. Photo: Brian Samuelson
Because you were young when you started your company, did you have to fight for people to take you seriously?
Yes and no. Enthusiasm goes so far. When the artist is fired up about an idea that I come to them with, then everybody else doesn’t really have a chance to undercut me. Being a little bold in that sense, as long as you really thought it out, [paid off]. Scott McGhee used to always say, “Is it important, is it urgent and is it interesting?” If it checks those three boxes, it’s worth taking to the artist. So I always try to answer those reasons before I take something to someone.
When do you feel most fulfilled in what you do?
Definitely at the live shows. When it’s all together and the fans gravitate toward a song; they have their phones up and they’re FaceTiming other people because they want to be in that moment with even more people, that’s the most fulfilling.
The happiest I get for an artist is when I hear a song that fulfilled the life it should have had. The saddest thing is when I hear a song and it never gets to reach that moment. There are so many hidden gems on albums that I don’t know why those songs were never smashes.
What’s some of the best advice you’ve ever gotten?
To truly listen more. [I listen] in meetings when artists are talking. I feel like the access we’re given has pretty unparalleled insights. So in the moment, I try to be as present as possible, absorb it all, and then come back with, “Hey, here’s some ideas because I heard you when you said this.”
Galante is always saying use your voice and speak up in meetings, in the sense of CMA Board meetings. That’s why I probably volunteer so much. I sit on [a lot of boards]. That’s like a full time job, in addition to doing the job. (Laughs) I wish more industry members and artists had the time to dedicate to that because I think that’s where you can really impact real change—systemic, generational change.
Pictured: Ebie and George Strait
What are some things that you think are really great about our industry and what are some things that we could work on?
We can always be working on how we communicate. Working in communications, knowledge is power. There’s still folks that want to retain that power so they hold back on that knowledge. That doesn’t really help anyone. I get it, but at the same time, we as an industry could do a better job telling the story of what we are doing on a foundational level.
Country music is the soul of America. I’m very proud of our songwriters and the songwriting community. Anything we can do to further elevate their voices and their roles in the industry is important. Something that everyone on our roster, including the comedians, have in common is that they’re all storytellers. Every single one of them, even the Ryman. I mean, name a better stage; her story is insane. When we move too fast, we don’t do the story justice. If we could all just take a little bit more intention and time to do that, then we’ll all benefit.
What is a moment that you have had that your little kid self would think is so cool?
There was a moment on the George Strait tour where afterwards I went on George’s bus. We were recapping the weekend and he was playing some music. It wasn’t his music, he just had music on in the background. He and Martina [McBride] went into this moment of singing back and forth on the bus. For whatever reason, I jumped up and was singing with them. (Laughs) I will never forget it. I caught myself and was like “Oh, I can’t even sing!” I was just in the moment having so much fun. I remember George laughing and patting me on the shoulder. I got so carried away in the moment that I jumped in and crashed George Strait and Martina McBride singing. My younger self would’ve kicked myself off the bus. (Laughs)
‘Breland & Friends’ Bring The Heat To The Ryman For Oasis Center Benefit Concert
/by Lydia FarthingBreland performs onstage for “Breland & Friends” concert to benefit the Oasis Center, sponsored by Amazon Music at Ryman Auditorium on April 12, 2022. Photo: Jason Kempin/Getty Images for “Breland & Friends”
Rising country and R&B artist Breland took over Nashville’s historic Ryman Auditorium Tuesday night (April 12) as he hosted “Breland & Friends,” benefitting Middle Tennessee’s Oasis Center.
Joined by 17 of country music’s biggest and fastest-rising stars, all ticket sales and contributions went towards supporting the Oasis Center and its ongoing mission. The Oasis Center is a nationally-recognized organization which serves to help displaced young people in Middle Tennessee by focusing on promoting safety, belonging, empowerment, and generosity.
“This is really crazy. I never thought I would be able to sell out the Ryman this early in my career… It only took 17 other artists to help me do it!” Breland quipped. “We are out here for a really great cause—the Oasis Center in Nashville—to help teens in crisis. They’ll be accepting donations, but I just wanted to say that it is for a great cause and y’all came here for the right show. You’re going to have a great time. ”
Kicking things off, Breland opened the high-energy, stacked set by bringing out one-third of Lady A, Charles Kelley, as the pair gave their own version of the trio’s hit song “Need You Now.” Dripping in pitch-perfect harmonies, the two also shared a never-before-heard tune called “Told You I Could Drink,” which they wrote together.
Breland and Brittney Spencer. Photo: Jason Kempin/Getty Images for “Breland & Friends”
Next on the docket was a chilling duet performance with rising country/Americana sensation Brittney Spencer, who sang a captivating ode to anxiety.
“Brittney and I met about a year and a half ago, and the night that we met we had a four or five hour long conversation of just bearing our hearts and souls. We didn’t have any intention of writing, but we ended up writing this song,” Breland recalled. “Sometimes you write songs and you know they’re special but you don’t know where you’ll have the opportunity to [perform it]. The Oasis Center does a lot of work with teens that are dealing with mental health issues, anxieties, and things like that, so I thought it would be fitting to sing this tonight.”
“It was our first time meeting and he came to my studio apartment and we wrote a song. We wanted to write a song that talked about anxiety and feeling overwhelmed. I know a lot of people in this room can relate, so after we finished we realized that it wasn’t like anything that we had done before but we thought it was important,” Spencer added. “To be able to share it tonight is really exciting for us because I don’t think either of us ever thought it would happen.”
The song, which could be called “Truly Sorry,” was backed by a lone acoustic guitar. You could have heard a pin drop in the beloved mother church of country music.
RaeLynn and Breland. Photo: Jason Kempin/Getty Images for “Breland & Friends”
The night rolled on with infectious performances from the glittery Raelynn, the soulful Lily Rose, Australian-duo Seaforth, up-and-coming trio Restless Road, and singer-songwriter Tyler Braden who teased a song that is set to be included on Breland’s upcoming debut album, which is slated for release this June.
Also making appearances throughout the evening were multi-Platinum entertainer Kane Brown who gave a rousing performance of his smash duet “Famous Friends,” as well as Thomas Rhett singing his newest release with Breland called “Praise The Lord,” which brought the crowd to their feet. Iconic rapper and longtime country music collaborator Nelly also showed up to bring a burst of energy and funk to the set with Breland on “High Horse.”
The last 30 minutes of the set brought quite the punch with special guests such as Dierks Bentley, Jimmie Allen and Lathan Warlick, Mickey Guyton, and Russell Dickerson & Tyler Hubbard showing up to each take their turn singing with the young entertainer.
Bentley took the stage to sing a special duet version of his song “Riser,” as well as their No. 1 hit song “Beers On Me.”
Dierks Bentley and Breland. Photo: Jason Kempin/Getty Images for “Breland & Friends”
“Dierks has had 20+ No. 1s at country radio, but I just want to be really transparent and honest here. We look for artists in town and in country music to actively show their allyship through collaboration and through opening up their tours. Dierks took this song to country radio with me on it knowing that I had never been to country radio before,” Breland explained. “You took it to No. 1 and it’s my first No. 1 at country radio.”
Allen and Warlick joined for a debut performance of “Somebody” from Allen’s collaborative album Bettie James (Deluxe), which featured stirring three-part harmonies and a welcomed fusion of funk, soul, and country sounds. Allen also delivered a solo, acoustic version of his No. 1 hit “Freedom Was A Highway” for the packed audience.
Guyton lent her vocals on Breland’s debut song, “Cross Country,” while Dickerson and Hubbard brought the party on “It’s About Time.” Dickerson also stayed to continue the highwire energy on Breland’s “Throw It Back.”
Breland and Sam Hunt. Photo: Jason Kempin/Getty Images for “Breland & Friends”
“I just wanted to say, before we [sing this last song], that this has been such an incredible night. Thank you guys for coming out here and for supporting the Oasis Center and live music,” Breland shared. “The first song that I ever put out is a song called ‘My Truck’ and I had the chance to get somebody on it that really put me over the top and helped me move to Nashville.”
Breland brought out the final special guest of the night, Sam Hunt, to wrap up the hit-filled set with his breakthrough single “My Truck.”
Asleep At The Wheel, Rissi Palmer, More Among First Wave Of AmericanaFest Performers
/by Lydia FarthingPictured (L-R, top row): Shemekia Copeland, Watkins Family Hour, Molly Tuttle & Golden Highway; (L-R, bottom row): Joshua Ray Walker, Miko Marks, Asleep at the Wheel
The Americana Music Association has announced the first round of acts slated to perform at the annual AmericanaFest, running from Sept. 13-17 in Nashville.
Among the noteworthy artists that have been added in the first wave of performers are Asleep at the Wheel, Black Opry Revue, James McMurtry, The Jerry Douglas Band, Joshua Ray Walker, Miko Marks, Molly Tuttle & Golden Highway, Rissi Palmer, Rob Ickes and Trey Hensley, Shemekia Copeland, Town Mountain, and Watkins Family Hour, among many others. The full lineup can be found below.
The five-day festival and conference event brings together award-winning legends, trailblazing mainstays and buzz-worthy new artists for its 22nd year. More than 200 artists and bands will be participating in this year’s festivities.
The event also features an industry conference, bringing together members of the music business to discuss current industry topics and issues through panels and workshops. The week of festivities kicks off with the Americana Honors & Awards, which celebrates Americana luminaries and welcomes the next generation of trailblazers. Tickets will be available for purchase at a later date.
2022 AmericanaFest Passes, which allow admission into all evening showcase venues and select sanctioned special events, are currently on sale to the public. 2022 Conference + Festival Passes, which provide access to the daytime educational conference, the evening music festival, and all sanctioned special events are also available now.
AmericanaFest 2022 Lineup:
Aaron Raitiere
The Abrams
The Accidentals
Ali McGuirk
Alisa Amador
Allison de Groot & Tatiana Hargreaves
Amy Speace
Andy McKee
Asleep at the Wheel
The Ballroom Thieves
Bella White
Bette Smith
Black Opry Revue
Blue Dogs
The Bones of J.R. Jones
Bowen Young
Brennen Leigh
Brit Taylor
Bruce Molsky
Buffalo Nichols
Caroline Spence
Charles Wesley Godwin
Christie Lenée
Cory Branan
Dan Rodriguez
Dead Horses
The Deslondes
Digging Roots
Drayton Farley
Emily Kinney
Gaby Moreno
The Heavy Heavy
Henry Wagons
Jake Blount
James McMurtry
Jamie Lin Wilson
JD Clayton
Jedd Hughes
The Jerry Douglas Band
Jesse Daniel
Jessica Willis Fisher
Jim Lauderdale
Joe Purdy
John Fullbright
Jonny Morgan
Joshua Ray Walker
Kaia Kater
Kaitlin Butts
Kayla Ray
Kelly Willis
Kiely Connell
Laney Lou and the Bird Dogs
Lindsay Lou
Luke Schneider & Friends: A Pedal Steel Showcase
LULLANAS
Melissa Carper
Michaela Anne
Mike Compton
Miko Marks
Molly Tuttle & Golden Highway
My Politic
Myron Elkins
Nat Myers
Nathan Graham
Oshima Brothers
The Pine Hearts
Po’ Ramblin’ Boys
Rachel Brooke
Rainbow Girls
Rascal Martinez
Rissi Palmer
River Whyless
Rob Ickes and Trey Hensley
Shemekia Copeland
Sister Sadie
Sunny Sweeney
Sunny War
The Sweet Lillies
Tall Heights
Tammy Rogers & Thomm Jutz
Theo Lawrenc
Tim Baker
Town Mountain
Tray Wellington Band
Troubadour Blue
Watkins Family Hour
The Wilder Blue
William Prince
Willie Watson
WME Adds Corey Kent To Artist Roster
/by Lydia FarthingPictured (L-R): George Couri (888), Nate Towne (WME), Corey Kent, Hayley Riddle (WME), Chris Fox (888). Photo: Jen Kuhl
Singer-songwriter Corey Kent has signed with WME for global representation. He will work with agents Nate Towne and Hayley Riddle alongside his management team at Triple 8 Management.
In 2019, Kent signed a publishing deal with Combustion Music and has since written songs for Kolby Cooper, Brandon Jenkins, and Clark Green’s hit song, “Hit You Where It Hurts.” In 2021, he was providing support on tours with artists such as Parker McCollum, Eli Young Band, Cody Johnson, and Koe Wetzel. Kent’s song “Gold” captured 2.5 million streams and crowd favorite, “Ain’t My Day,” quickly amassed 2 million streams.
In December of 2021, Kent released his sophomore album, ’21, making its way up to the No. 4 debut album on Spotify in the US. The album’s focus track, “There’s Always Next Year” found its way onto numerous playlists, such as New Music Friday, Country Risers, Country Caffeine, Texas Music Now, Next from Nashville, and Texas Forever. He was also named Country Riser of the Month for March 2022, a program launched by Apple Music in February 2022 with Hailey Whitters.
Kent recently released his new single, “Wild as Her,” produced by Chris Farren and published through Combustion Music. The track has already garnered over 17 million streams since its release on March 4 and is steadily climbing the streaming charts. The track also hit the No. 1 spot on Apple Music’s Country Chart, landed at No. 7 on Spotify’s US Viral Top 50 Chart, and hit No. 36 on Spotify’s Global Viral Top 50 Chart as the only country act.
“I’m excited about our partnership with Nate Towne and the team at WME!” says Kent. “I was looking for a team that was passionate about our music, understood our vision, had the capacity to take us on and could match how hard we were already working. That’s exactly what we found in Nate at WME”.
“We’re thrilled to be a part of Corey’s team and to welcome such a talented singer-songwriter to our roster,” adds Towne. “Corey’s had tremendous success out on the road and we look forward to building on that.”
WME Names Brian Jones As Partner, Announces Additional Promotions & New Hires
/by LB CantrellPictured (L-R, front row): Grace Stern, Dylan Zenga, Kara Lusk, Brian Jones, Carlile Willett, Andy Mack, Allie Galyon. (L-R, middle row): Justin Edwards, Ryan Jones, Michael Coughlin, Lindsey Dodge. (L-R, back row): Mary-Michael Teel, Moira McCravey, Kevin Falck, Stefanie Billue, Kari Kronsbein. Photo: Hunter Berry, Hunter Berry Photography
WME’s Nashville office has announced the promotion of country music agent Brian Jones to Partner, as well as additional promotions and new hires within their country and business affairs departments.
Jones joined WME nine years ago, bringing over 25 years of booking experience to the agency. He began his agent career in the mid-’90s booking acts for Buddy Lee Attractions and held an 18-year tenure working with The Bobby Roberts Company. With his promotion to partner, he will continue to oversee bookings for arenas, amphitheaters, theaters, and casinos in the southwest and serve as the responsible agent for WME clients Chris Janson, Adam Doleac, and Country Music Hall of Fame members Ronnie Milsap and Marty Stuart.
In addition to Jones’ promotion, four out of Nashville’s country department have been elevated to agent, including Lindsey Dodge, Kevin Falck, Adam Fisher and Moira McCravey. Additional promotions include Kari Kronsbein to Manager of Human Resources, Dylan Zenga to Business Affairs Executive, and Carlile Willett to Coordinator in the country department.
New hires Stefanie Billue and Kara Lusk will also join the country department. Billue brings 18 years of marketing and industry experience to the WME team where she will be spearheading tour marketing for their country roster. Lusk will bring her 10 years of experience to her new role of leading external relations. Her prime focus will be building company and client relationships with Nashville’s sports teams, businesses, and community partners while also supporting the Nashville office’s events and communication efforts.
“Each of these individuals embodies the spirit of WME’s Nashville office, bringing a tremendous amount of talent, expertise and energy to the team” share Co-Heads of WME’s Nashville office, Becky Gardenhire, Joey Lee and Jay Williams, in a joint statement. “We’re excited to recognize the hard work of Brian and our newly promoted agents and staff, and welcome Stefanie and Kara whose arrival will enhance the way we serve our clients.”
The staffing announcements come on the heels of several triumphs for WME country acts. The agency’s country roster won nine out of the thirteen categories at this year’s Academy of Country Music Awards, with Miranda Lambert taking home the top honor of Entertainer of the Year. WME also represents 5 of the 6 acts on Pollstar’s top 30 touring acts of 2021, including Chris Stapleton, Luke Bryan, Garth Brooks, Luke Combs and Eric Church.
Dierks Bentley, Morgan Wallen To Headline Seven Peaks Music Festival
/by Lydia FarthingThe lineup for Dierks Bentley‘s Seven Peaks Music Festival has been revealed, including headlining spots from Bentley and Morgan Wallen.
Produced by Live Nation, the weekend will include additional main stage performances from Boy Named Banjo, Ashley Cooke, Jordan Davis, Jackson Dean, Travis Denning, Hardy, Kendell Marvel, Ashley McBryde, Old Crow Medicine Show, Caitlyn Smith, Rapidgrass, Alana Springsteen and Lainey Wilson. The festival’s Friday night festivities will kick off with a stacked lineup of 90’s acts, including Hot Country Knights, Tracy Lawrence, The Frontmen and Pam Tillis.
The festival’s third installment will take place over Labor Day Weekend (Sept. 2-4) in its new home of Villa Grove, Colorado in the San Luis Valley. Passes will go on sale to the general public beginning April 22 at 12 p.m. CT.
My Music Row Story: Essential Broadcast Media’s Ebie McFarland
/by LB CantrellEbie McFarland. Photo: Jon Paul Bruno
Raised just 90 miles outside of Nashville in the small town of Waverly, Tennessee, Ebie McFarland, a Vanderbilt University grad, founded award-winning PR company Essential Broadcast Media, LLC in 2007. Since then, she has helped launch the careers of critically acclaimed artists such as Ashley McBryde, Caitlyn Smith and Whiskey Myers, as well as earned the trust of discriminating artists such as George Strait, Kenny Chesney and Eric Church. She has retained longtime clients such as Ryman Hospitality, Darius Rucker and Hootie & the Blowfish, further reinforcing McFarland and her team understand and execute the growing importance of telling one’s story with passion, grit and perseverance.
In addition to being a publicist and owner of Essential Broadcast Media, McFarland is highly involved in various organizations. She is Vice President of the ACM Board of Directors, and sits on the CMA Board of Directors, the ACM Lifting Lives Board, the Vanderbilt University Project on Unity and American Democracy Advisory Board, and the Millions of Conversations Advisory Council. She has been honored as part of Nashville Business Journal‘s 40 Under 40 list (2012), MusicRow’s Rising Women on the Row (2014), the CMA SRO Publicist of the Year (2015), CMA Publicist of the Year (2017, 2019), and with the Nashville Business Journal‘s Women in Music Award (2017).
Ebie alongside management with clients Kenny Chesney and Michael Franti at SoFi Stadium. Photo: Allister Ann
MusicRow: Where did you grow up? How did you get into music?
I grew up in Waverly, Tennessee. It’s an hour and a half west of Nashville. That’s why I ended up executive producing the Loretta Lynn “Hometown Rising” benefit concert, because that was my hometown that flooded last year. Until she retired, my mom was a psychiatric nurse practitioner. She and my dad met while camping and going to art experiences in Kentucky, years and years ago. My dad was always a painter, but grew up up on Joe Cocker, Tina Turner, and The Rolling Stones. I don’t remember this, but my first concert was Talking Heads when I was two years old. The first concert I really remember was Jon Bon Jovi.
I graduated high school in ’99 and went to Vanderbilt University. They did not have a music program at that time, so I did a bachelor of science. I have a cognitive studies major and a child development and women’s studies minor. It comes in handy working with artists because the best ones are a little crazy. Understanding and getting to the root of the origin story is probably the most exhilarating part of my job. If it is Ashley McBryde and “Girl Goin’ Nowhere,” and that moment that fueled that chip on her shoulder. If it’s anything Eric Church offers up, I always feel like there’s a “why” with him. In working with new artists, like Caitlyn Smith and Walker Hayes, it’s understanding what stories to lean into that really connect and having that conversation with them that helps drill that down.
What happened after graduation?
I started working entry level at a PR firm that’s now defunct. I was at Webster & Associates for four years. I made $8 an hour so I also worked at a tanning bed and I bartended on weekends. I remember not being paid until every other week from one of the jobs and having to put an IOU for toilet paper [so I could take some] home until I could buy toilet paper and then pay them back. (Laughs)
It was dark days in PR early on. Even around the holidays, you weren’t guaranteed to make your paycheck because so many artists took the holidays off and it wasn’t tour season. I remember the looming threat from my boss at the time was, “We’ll see if we can keep the lights on this Christmas or if we need to light more candles.”
Pictured: Team Ashley McBryde at the Ryman after one of her AIMP wins. Selfie courtesy of Ashley McBryde.
You started your own PR firm in 2007. How did that come to be?
It’s truly a 10 year town. I started my company in 2007. Darius Rucker had signed with UMG and he was doing a “Hootie Homegrown Tour.” [At the time] I had all the rock acts. I had Sister Hazel, Hootie & the Blowfish, Van Zant, Lynyrd Skynyrd, Kid Rock, and Hank Jr. When I found out Darius had signed, I started thinking it might be a good time to go out and super-service one or two clients and try to do this on my own. So I started the company when I was 26 years old. I very naively thought, “I can do this.”
I’m glad I bet on myself, but at the same time, when you have mentors helping you along the way, you learn so much faster. I’m super grateful for the mentors that were and still are there for me, including Doc McGhee and Joe Galante. I’m very fortunate, looking back, on the people that took time out of their days to help me.
How did you grow your roster from there?
After working with Darius for a few years, I started working with other management firms. I started working with Q Prime on Little Big Town. They left and went to Jason Owen, so Q Prime asked if I could work on Eric Church on the Carolina record. So Eric was my next big one as far as signing, and somebody that I’ve been with the longest. I started working with George Strait in 2012, ahead of Cowboy Rides Away, and did everything from the strategy on the announcement through the two-year tour into Vegas, then subsequently these stadium shows that he’s doing. I’ve been with George for 10 years now, and Kenny Chesney since 2014. I started working with Caitlyn Smith and Chase Rice around then, too.
I had been working with Miranda [Lambert] on the touring side for a few years, so I was very honored when she called. That’s a big change anytime an established artist makes a PR change. I thought I was going over to the office to talk about the tour, and I sat down with her and Marion [Kraft] and [they asked me to do] Palomino and everything from Miranda, with Mutt Nation, the forthcoming announcements that she has, and strategizing the Las Vegas announcements. It’s been a blessing to work with so many in-charge people who know who they are and know what they stand for. They know what they want to do.
Pictured: Comedian Sebastian Maniscalco and Ebie ahead of his four 2019 Madison Square Garden shows. Photo: Brian Samuelson
Because you were young when you started your company, did you have to fight for people to take you seriously?
Yes and no. Enthusiasm goes so far. When the artist is fired up about an idea that I come to them with, then everybody else doesn’t really have a chance to undercut me. Being a little bold in that sense, as long as you really thought it out, [paid off]. Scott McGhee used to always say, “Is it important, is it urgent and is it interesting?” If it checks those three boxes, it’s worth taking to the artist. So I always try to answer those reasons before I take something to someone.
When do you feel most fulfilled in what you do?
Definitely at the live shows. When it’s all together and the fans gravitate toward a song; they have their phones up and they’re FaceTiming other people because they want to be in that moment with even more people, that’s the most fulfilling.
The happiest I get for an artist is when I hear a song that fulfilled the life it should have had. The saddest thing is when I hear a song and it never gets to reach that moment. There are so many hidden gems on albums that I don’t know why those songs were never smashes.
What’s some of the best advice you’ve ever gotten?
To truly listen more. [I listen] in meetings when artists are talking. I feel like the access we’re given has pretty unparalleled insights. So in the moment, I try to be as present as possible, absorb it all, and then come back with, “Hey, here’s some ideas because I heard you when you said this.”
Galante is always saying use your voice and speak up in meetings, in the sense of CMA Board meetings. That’s why I probably volunteer so much. I sit on [a lot of boards]. That’s like a full time job, in addition to doing the job. (Laughs) I wish more industry members and artists had the time to dedicate to that because I think that’s where you can really impact real change—systemic, generational change.
Pictured: Ebie and George Strait
What are some things that you think are really great about our industry and what are some things that we could work on?
We can always be working on how we communicate. Working in communications, knowledge is power. There’s still folks that want to retain that power so they hold back on that knowledge. That doesn’t really help anyone. I get it, but at the same time, we as an industry could do a better job telling the story of what we are doing on a foundational level.
Country music is the soul of America. I’m very proud of our songwriters and the songwriting community. Anything we can do to further elevate their voices and their roles in the industry is important. Something that everyone on our roster, including the comedians, have in common is that they’re all storytellers. Every single one of them, even the Ryman. I mean, name a better stage; her story is insane. When we move too fast, we don’t do the story justice. If we could all just take a little bit more intention and time to do that, then we’ll all benefit.
What is a moment that you have had that your little kid self would think is so cool?
There was a moment on the George Strait tour where afterwards I went on George’s bus. We were recapping the weekend and he was playing some music. It wasn’t his music, he just had music on in the background. He and Martina [McBride] went into this moment of singing back and forth on the bus. For whatever reason, I jumped up and was singing with them. (Laughs) I will never forget it. I caught myself and was like “Oh, I can’t even sing!” I was just in the moment having so much fun. I remember George laughing and patting me on the shoulder. I got so carried away in the moment that I jumped in and crashed George Strait and Martina McBride singing. My younger self would’ve kicked myself off the bus. (Laughs)
CMT, Mtheory Announce Inaugural Class For New Equal Access Development Program
/by Lydia FarthingPictured (L-R, top row): Charlene Bryant, Madeline Edwards, and Miko Marks; (L-R, bottom row): Valerie Ponzio, Kadeem Phillips and Marques Vance
Six candidates have been chosen to participate in the newly-launched Equal Access Development Program, an artist and management training initiative helmed by CMT and management services company Mtheory.
Artists chosen for the inaugural program include Madeline Edwards, Miko Marks and Valerie Ponzio; and music management professionals Charlene Bryant, Kadeem Phillips and Marques Vance.
Designed to foster and support all marginalized communities that are underrepresented in the genre—including Black, Native and Indigenous, Latino, LGBTQ+ and women—the program was first announced onstage at the 2022 CMT Music Awards by CBS Mornings co-host Gayle King, who called the new effort “a bold commitment towards ensuring an inclusive future for all voices in country music.”
Equal Access will work intensively with participants for one year, providing funding, training and support, as well as access to Mtheory’s management services, helping them further navigate and grow within the country music industry.
“Mtheory is thrilled to partner with CMT to create this groundbreaking initiative with the goal of championing artists of color, and addressing the inequities in the workforce pipeline for all underrepresented groups in the country music industry,” notes Cameo Carlson, President, Mtheory Nashville. “By developing talent both on and off the stage, Equal Access hopes to tackle the lack of diversity and insular nature of the country industry head-on, and create networks and solutions for artists and managers.”
“CMT has long championed unheard voices in country music, and Equal Access is the next step in our ongoing efforts to break down barriers and move the format forward,” adds Leslie Fram, SVP, Music & Talent, CMT. “We look forward to working with and providing opportunities for this amazing group of artists and managers, helping them make important professional connections to build successful careers within country music.”
G Major Promotes Samantha Thornton To Director Of Marketing & Digital Partnerships
/by LB CantrellSamantha Thornton. Photo: Nicola Harger
G Major Management has elevated Samantha Thornton, a ten-year veteran of the company, to Director of Marketing and Digital Partnerships.
In her new role, Thornton will handle marketing and digital relationships with partners including Amazon, Apple, Pandora, Spotify, and YouTube for all G Major clients, including Thomas Rhett.
“Samantha is an integral asset to our management team. I have had the honor of working with her over the past ten years—since her graduation from Belmont University,” shares G Major founder, Virginia Bunetta. “Throughout her time with G Major, she has worked on nearly every aspect of an artist’s career from new artist development to touring to album releases. Her new role expands her growth as our industry continues to evolve.”
Thornton is a CMA and ACM member who volunteers her time working as an advocate for Kids on Stage Foundation to bring performing arts to kids in public education across Middle Tennessee. The cause is a personal one for her as she benefited from the program herself growing up in Columbia, Tennessee.
Congratulate Thornton at samantha@gmajormgmt.com.
Shenandoah Signs Recording Contract With 8 Track Entertainment
/by LB CantrellPictured (L-R): Bill Harbin, V.P./Partner 8 Track Ent.; Jeff Goodwin, V.P./Partner 8 Track Ent.; Shenandoah’s Manager, Cole Johnstone; Mike McGuire, Shenandoah; Marty Raybon, Shenandoah; Noah Gordon, Pres./Partner 8 Track Ent.; Rodney Hall, Co-Owner/Pres. FAME Publishing/FAME Records/FAME Recording Studios. Photo: Claire Nichols.
Award-winning country band Shenandoah has signed a worldwide recording agreement with newly-formed 8 Track Entertainment, which will be distributed by Warner Music Group’s ADA (Alternative Distribution Alliance). New music from the band is to be expected soon.
The Grammy, CMA and ACM-winning band has tallied more than 300 million streams, over 8 million combined album sales, and 13 No. 1 radio singles over the course of a career that spans more than three decades. Shenandoah is currently on the road for their “35th Anniversary Tour.”
“The most incredible things continue to happen in the life of Shenandoah,” explains the band’s frontman Marty Raybon. “A very large piece of our moving forward is the signing with 8 Track Entertainment. This in so many ways will enlarge the music reach, even the brand Shenandoah. We are looking forward to the partnership and the work we have before us. ’90s country music is still alive, and we are going to make more of it, just all grown up now.”
The deal also marks the beginning of a partnership between 8 Track Entertainment and the historic Fame Recording Studios for future music projects. 8 Track Entertainment founding partners Noah Gordon (president), Jeff Goodwin (vice president, marketing & partnerships), and Bill Harbin (vice president, corporate partnerships) announced that the corporation will be based in Muscle Shoals with satellite offices in Nashville.
“I am absolutely delighted to sign Shenandoah to 8 Track Entertainment as Muscle Shoals is where it all began for this group at the outset of their career,” says Gordon. “They will return to FAME to record their next project, scheduled for release in the coming months.”
“We are very excited to partner with 8 Track Entertainment on this next chapter in Muscle Shoals music’s historic legacy. Our music is currently on fire with the Shoals represented on almost every major award show over the last few years,” adds Rodney Hall, Co-Owner and President of FAME Publishing/FAME Records/FAME Recording Studios. “We look forward to working with the entire Shoals music scene to bring opportunity to artists, producers, engineers, studios, songwriters, musicians as well as all the other music related businesses.”
NSAI Welcomes 2022 Board Of Directors
/by Lydia FarthingThe Nashville Songwriters Association International (NSAI) recently welcomed its 2022 Board of Directors, including newly elected member Jamie Moore, who began his two-year term.
Jamie Moore. Photo: Chris Hornbuckle
Moore is a four-time Grammy nominated songwriter and producer from Muscle Shoals, Alabama. A multi-instrumentalist, he came to Nashville and quickly began rising to the top of Nashville’s songwriting community. He has a catalog of multi-genre hits and songs recorded by artists such as Carrie Underwood, Toby Mac, Chris Lane, Bren Joy, Blake Shelton, Florida Georgia Line, Tim McGraw and Morgan Wallen. In 2016, he experienced his first No. 1 with Florida Georgia Line’s “May We All,” and in 2020 had his second No. 1 with Wallen’s “Chasin’ You.”
Current board members who were re-elected to an additional two-year term include Steve Bogard, Jeff Cohen, Chris DeStefano, J.T. Harding, Byron Hill, Josh Kear, Jon Nite, Liz Rose, Jenn Schott and Emily Shackelton. Roger Brown and Lee Thomas Miller were re-elected to one-year terms as Legislative Co-Chairs, Rhett Akins and Caitlyn Smith were re-elected to one-year terms to the Artist Writer board positions, and Brett James was re-elected to a one-year term to the Industry Liaison position.
They are joined by existing board members Kelly Archer, Sarah Buxton, Corey Crowder, Jessie Jo Dillon, Tim Nichols, Josh Osborne, Rivers Rutherford, Anthony Smith, Sharon Vaughn, Laura Veltz and Troy Verges, who all have one year remaining on their term.
“We want to thank these 27 incredible songwriters for their time and commitment to NSAI’s mission,” says Bogard, NSAI Board President. “There are many challenges still ahead in order for American songwriters to achieve fair compensation in the era of the digital delivery of music. This group has offered their time and talents to move this work forward.”