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.
This edition of “My Music Row Story” is sponsored by Worldwide Stages.
As Sr. VP Music and Talent at CMT, Leslie Fram oversees music on all of its platforms and negotiates talent for major tentpoles specials and music specials. A champion of female artists, in 2013 she created CMT’s Next Women Of Country franchise which has grown to include a tour, and also oversees CMT’s Equal Play platform. Before joining CMT in 2011, Fram had a long and impressive career in radio. She is one of the Co-Founders of Change The Conversation and Nashville Music Equality. Fram has been honored by the T.J. Martell Foundation, Billboard Women In Music and more.
MusicRow: Where did you grow up?
I grew up in a little town called Fairhope, Alabama. I’m the only southerner in my family. My family is from Massachusetts and moved to the south before I was born.
Were you musical as a child?
Yes. I didn’t play an instrument, but was turned on to music by my older brother who turned me on to a lot of classic rock, from Led Zeppelin to Heart. Then I started discovering my own artists that I liked. It went from one extreme to the other—I loved rock and folk. Country was not in my sphere at all, I have to admit. I would listen to radio stations late at night and really liked a lot of underground music. I was very shy, so I listened to music as a form of entertainment. I would call DJs to request songs.
Pictured: Sting and Leslie Fram
Is that why you started your career in radio?
At first, I wanted to be a journalist, but I got a job at this radio station and I was hooked. Radio was IT for me. It was definitely my first love.
In college I was working an album-oriented rock and top 40 radio station. So I was doing midnight to 6:00 a.m. and going to college from 8:00 a.m. to noon—and falling asleep in my 12 o’clock class.
When I graduated, I ended up getting a job in Atlanta at a radio station called Power 99 that turned into 99X in 1992, which was the beginning of the evolution of alternative music and the explosion of Nirvana and all of those bands. So I was really lucky to be at the height of alternative in the ’90s.
What was next?
I left Atlanta and went to a radio station in New York for three years called WRXP. It was a rock-alternative hybrid. I went to be the program director in 2008, but when I got there, they said, “Hey, how would you like to do a morning show with Matt Pinfield?” He came from MTV and had a radio background. I was like, “Well, how can I turn this down?” [I didn’t realize] that my day would be getting up at 4:00 a.m. and working until 6:00 or 7:00 at night and then going out. (Laughs) But I did it for three years, living and doing radio in New York and going to all these historic venues to see shows. I was like a kid in a candy store. It was incredible. So I was the program director and on-air with him, but the company sold the station in 2011 and the new owners turned it into a news talk station.
Pictured: Leslie Fram and 99X colleagues with Johnny Cash
My radio mentor was Brian Philips when I worked at 99X. Brian was president of CMT, so he invited me to come to Nashville to meet everyone and see CMT. I came in for a very long weekend and at the end of the weekend, he offered me the job to come and oversee music. I said “Yes” without even thinking about it because I loved it in Nashville and obviously loved Brian.
How did you get your feet wet in country music?
For the first year, I really put my head down and people in the building were so helpful. I would go to shows just so I could learn the format and how it worked. I discovered all the artists and met a whole new set of people from managers, labels, publishers and publicists. I obviously fell in love with, first and foremost, Nashville. The community of people here are incredible.
[Before I got to Nashville,] when I was in New York and at this rock station, Skip Bishop was working for Sony. Skip and I knew each other from my rock years, and he would send me music all the time. He sent me music from this up-and-coming female artist they had signed named Miranda Lambert, and he invited me to go to her show. So I go to this show in New York, not realizing it was a CMT Tour, and I see a lot of the rock [staffers from the] management company Q-Prime. I said, “Why are you guys here?” They said, “We have the opening act, Eric Church.” So I fell in love with Miranda and Eric Church. I just couldn’t believe how much of a rockstar she was on stage.
Pictured: Matt Pinfield, Brad Paisely & Leslie Fram
Skip also brought Brad Paisley into our studio. We had him on the air for an hour. I went to see him in Madison Square Garden. Keith Urban played Madison Square Garden and I went to see him, so I started opening up my eyes to some of these [country] shows then.
You joined CMT in 2011, and your impact since then has been enormous with new initiatives like Next Women of Country and many more. What was your vision for CMT when you started moving up the ranks?
When I got there, I was blown away by the music team. They’re all experts in their own field; they are music junkies. They go see all types of music. I was like, “Wow, I have this team that I can empower that are so incredibly talented. They are music fans first and foremost.”
The lay of the land was that women were not being well represented on contemporary country radio, and I didn’t understand why. So after doing a deep dive there, and knowing that Viacom was behind us wanting to start a female franchise, my first passion point was launching Next Women of Country in 2013. [We wanted] CMT to be a vehicle to support these artists on all of our platforms and then continue to grow it with a tour, because if you remember, you couldn’t get on a tour unless you had a song on the radio. Half of these artists had no tours and no chance to play on stage anywhere, so we started the tour. It just kept developing, so we knew that we could have an impact on new artists and artist discovery.
Pictured: Tracy Gershon, Leslie Fram, Beverley Keel & Dr. Jada Watson
Not only are you helping to lift up female artists at CMT with Next Women of Country, but you also co-founded the initiatives Change the Conversation and Nashville Music Equality, and are a very big advocate for equality in country music when it comes to gender and race. Do you feel we are moving in the right direction?
I do. Even for us, we had to look at ourselves first and foremost. That’s why we started Equal Play. We had to ask ourselves, “What more can we do?” Knowing that we program our own music channels and we have three video channels, we could do even better. So we started Equal Play to have 50-50 parody: male, female. Then we looked at ourselves again and said, “We can’t wait for people to come to us, whether it’s a label or a publisher or artist reaching out. We actually need to do the research to find these artists that make our format move forward.” I’m really proud of what the team has done there with our Equal Play, Next Women of Country, and Listen Up programs, and being a voice for these artists.
What is something people might not know about what you do?
Speaking for myself, because I love to do it, I do a lot of mentoring and make myself available because people did that for me when I was getting into the industry. I always feel like I have that responsibility to give back, but I honestly enjoy doing it. I think a little encouragement goes a long way for someone and if you’re being a good listener and you’re encouraging someone, it’s incredible to see what happens next.
Who have been some of your mentors?
Early on when I was in radio, there was a guy named Eric Tracy. When I was a little baby DJ, he would listen to my airchecks. He was a big DJ in New Orleans and he would actually get back to me and would critique my airchecks. I speak a lot about Brian Philips because, throughout my career from radio to television, he’s always given me solid advice. When I made the move to come [to Nashville], he was the one that said, “You should look outside of radio. You should think about other opportunities.” He’s been a huge mentor to me throughout my career and still is.
Pictured: Mickey Guyton & Leslie Fram
What are some of the best qualities about our industry?
The support. When I moved here, I couldn’t believe how people got back to you. They were willing to meet, they were willing to give advice. It’s just an open arms policy. I don’t think you find that in other cities. We all want to support the next generation of industry leaders.
If you had to name something that helped make you a successful person, what would it be?
Number one is just respect. You treat everyone the same. If I’m going to walk into a room, I’m going to talk to everybody. I know that there’s a hierarchy with some people, but for me, it’s just about treating everyone with respect and kindness.
What moment have you had that your little kid self would think is so cool?
When I was 19, I was working at this little radio station and we were covering this Eagles concert in Pensacola, Florida. I was going to drive back late at night and Irving Azoff said, “Why don’t you just jump on the plane with us and we’ll take you back?” I said, “Okay.” I didn’t know who was going be on the plane, I thought maybe the label [staff would be]. I get on the plane and it’s me Irving Azoff and the Eagles. I didn’t say one word the entire time, because I was sitting there going, “What do I say? What do I do?” I’ve got Don Henley to the left of me. (Laughs) Looking at it now, I’m like, “What would I do today if I was on a plane with the Eagles?” I probably wouldn’t say anything again!
What are you most proud of in your career?
I’m proud of the team that we have at CMT because we are a big family in how we all support each other. That doesn’t always happen, but I think everyone has each other’s back and everyone supports each other. For me, personally in my career, it’s just the friendships that I’ve made along the way. It’s not about getting an award. It’s not about recognition. To me, it’s just the friendships along the way that are invaluable.
My Music Row Story: CMT’s Leslie Fram
/by LB CantrellThis edition of “My Music Row Story” is sponsored by Worldwide Stages.
As Sr. VP Music and Talent at CMT, Leslie Fram oversees music on all of its platforms and negotiates talent for major tentpoles specials and music specials. A champion of female artists, in 2013 she created CMT’s Next Women Of Country franchise which has grown to include a tour, and also oversees CMT’s Equal Play platform. Before joining CMT in 2011, Fram had a long and impressive career in radio. She is one of the Co-Founders of Change The Conversation and Nashville Music Equality. Fram has been honored by the T.J. Martell Foundation, Billboard Women In Music and more.
MusicRow: Where did you grow up?
I grew up in a little town called Fairhope, Alabama. I’m the only southerner in my family. My family is from Massachusetts and moved to the south before I was born.
Were you musical as a child?
Yes. I didn’t play an instrument, but was turned on to music by my older brother who turned me on to a lot of classic rock, from Led Zeppelin to Heart. Then I started discovering my own artists that I liked. It went from one extreme to the other—I loved rock and folk. Country was not in my sphere at all, I have to admit. I would listen to radio stations late at night and really liked a lot of underground music. I was very shy, so I listened to music as a form of entertainment. I would call DJs to request songs.
Pictured: Sting and Leslie Fram
Is that why you started your career in radio?
At first, I wanted to be a journalist, but I got a job at this radio station and I was hooked. Radio was IT for me. It was definitely my first love.
In college I was working an album-oriented rock and top 40 radio station. So I was doing midnight to 6:00 a.m. and going to college from 8:00 a.m. to noon—and falling asleep in my 12 o’clock class.
When I graduated, I ended up getting a job in Atlanta at a radio station called Power 99 that turned into 99X in 1992, which was the beginning of the evolution of alternative music and the explosion of Nirvana and all of those bands. So I was really lucky to be at the height of alternative in the ’90s.
What was next?
I left Atlanta and went to a radio station in New York for three years called WRXP. It was a rock-alternative hybrid. I went to be the program director in 2008, but when I got there, they said, “Hey, how would you like to do a morning show with Matt Pinfield?” He came from MTV and had a radio background. I was like, “Well, how can I turn this down?” [I didn’t realize] that my day would be getting up at 4:00 a.m. and working until 6:00 or 7:00 at night and then going out. (Laughs) But I did it for three years, living and doing radio in New York and going to all these historic venues to see shows. I was like a kid in a candy store. It was incredible. So I was the program director and on-air with him, but the company sold the station in 2011 and the new owners turned it into a news talk station.
Pictured: Leslie Fram and 99X colleagues with Johnny Cash
My radio mentor was Brian Philips when I worked at 99X. Brian was president of CMT, so he invited me to come to Nashville to meet everyone and see CMT. I came in for a very long weekend and at the end of the weekend, he offered me the job to come and oversee music. I said “Yes” without even thinking about it because I loved it in Nashville and obviously loved Brian.
How did you get your feet wet in country music?
For the first year, I really put my head down and people in the building were so helpful. I would go to shows just so I could learn the format and how it worked. I discovered all the artists and met a whole new set of people from managers, labels, publishers and publicists. I obviously fell in love with, first and foremost, Nashville. The community of people here are incredible.
[Before I got to Nashville,] when I was in New York and at this rock station, Skip Bishop was working for Sony. Skip and I knew each other from my rock years, and he would send me music all the time. He sent me music from this up-and-coming female artist they had signed named Miranda Lambert, and he invited me to go to her show. So I go to this show in New York, not realizing it was a CMT Tour, and I see a lot of the rock [staffers from the] management company Q-Prime. I said, “Why are you guys here?” They said, “We have the opening act, Eric Church.” So I fell in love with Miranda and Eric Church. I just couldn’t believe how much of a rockstar she was on stage.
Pictured: Matt Pinfield, Brad Paisely & Leslie Fram
Skip also brought Brad Paisley into our studio. We had him on the air for an hour. I went to see him in Madison Square Garden. Keith Urban played Madison Square Garden and I went to see him, so I started opening up my eyes to some of these [country] shows then.
You joined CMT in 2011, and your impact since then has been enormous with new initiatives like Next Women of Country and many more. What was your vision for CMT when you started moving up the ranks?
When I got there, I was blown away by the music team. They’re all experts in their own field; they are music junkies. They go see all types of music. I was like, “Wow, I have this team that I can empower that are so incredibly talented. They are music fans first and foremost.”
The lay of the land was that women were not being well represented on contemporary country radio, and I didn’t understand why. So after doing a deep dive there, and knowing that Viacom was behind us wanting to start a female franchise, my first passion point was launching Next Women of Country in 2013. [We wanted] CMT to be a vehicle to support these artists on all of our platforms and then continue to grow it with a tour, because if you remember, you couldn’t get on a tour unless you had a song on the radio. Half of these artists had no tours and no chance to play on stage anywhere, so we started the tour. It just kept developing, so we knew that we could have an impact on new artists and artist discovery.
Pictured: Tracy Gershon, Leslie Fram, Beverley Keel & Dr. Jada Watson
Not only are you helping to lift up female artists at CMT with Next Women of Country, but you also co-founded the initiatives Change the Conversation and Nashville Music Equality, and are a very big advocate for equality in country music when it comes to gender and race. Do you feel we are moving in the right direction?
I do. Even for us, we had to look at ourselves first and foremost. That’s why we started Equal Play. We had to ask ourselves, “What more can we do?” Knowing that we program our own music channels and we have three video channels, we could do even better. So we started Equal Play to have 50-50 parody: male, female. Then we looked at ourselves again and said, “We can’t wait for people to come to us, whether it’s a label or a publisher or artist reaching out. We actually need to do the research to find these artists that make our format move forward.” I’m really proud of what the team has done there with our Equal Play, Next Women of Country, and Listen Up programs, and being a voice for these artists.
What is something people might not know about what you do?
Speaking for myself, because I love to do it, I do a lot of mentoring and make myself available because people did that for me when I was getting into the industry. I always feel like I have that responsibility to give back, but I honestly enjoy doing it. I think a little encouragement goes a long way for someone and if you’re being a good listener and you’re encouraging someone, it’s incredible to see what happens next.
Who have been some of your mentors?
Early on when I was in radio, there was a guy named Eric Tracy. When I was a little baby DJ, he would listen to my airchecks. He was a big DJ in New Orleans and he would actually get back to me and would critique my airchecks. I speak a lot about Brian Philips because, throughout my career from radio to television, he’s always given me solid advice. When I made the move to come [to Nashville], he was the one that said, “You should look outside of radio. You should think about other opportunities.” He’s been a huge mentor to me throughout my career and still is.
Pictured: Mickey Guyton & Leslie Fram
What are some of the best qualities about our industry?
The support. When I moved here, I couldn’t believe how people got back to you. They were willing to meet, they were willing to give advice. It’s just an open arms policy. I don’t think you find that in other cities. We all want to support the next generation of industry leaders.
If you had to name something that helped make you a successful person, what would it be?
Number one is just respect. You treat everyone the same. If I’m going to walk into a room, I’m going to talk to everybody. I know that there’s a hierarchy with some people, but for me, it’s just about treating everyone with respect and kindness.
What moment have you had that your little kid self would think is so cool?
When I was 19, I was working at this little radio station and we were covering this Eagles concert in Pensacola, Florida. I was going to drive back late at night and Irving Azoff said, “Why don’t you just jump on the plane with us and we’ll take you back?” I said, “Okay.” I didn’t know who was going be on the plane, I thought maybe the label [staff would be]. I get on the plane and it’s me Irving Azoff and the Eagles. I didn’t say one word the entire time, because I was sitting there going, “What do I say? What do I do?” I’ve got Don Henley to the left of me. (Laughs) Looking at it now, I’m like, “What would I do today if I was on a plane with the Eagles?” I probably wouldn’t say anything again!
What are you most proud of in your career?
I’m proud of the team that we have at CMT because we are a big family in how we all support each other. That doesn’t always happen, but I think everyone has each other’s back and everyone supports each other. For me, personally in my career, it’s just the friendships that I’ve made along the way. It’s not about getting an award. It’s not about recognition. To me, it’s just the friendships along the way that are invaluable.
Chris Stapleton, Brandi Carlile, More Set For 2022 Bourbon & Beyond Festival
/by Lorie HollabaughBourbon & Beyond 2019. Photo: Steve Thrasher
Chris Stapleton, Brandi Carlile, Pearl Jam, Jack White, Kings Of Leon, The Doobie Brothers, Greta Van Fleet, and Alanis Morissette are set to headline the upcoming Bourbon and Beyond Festival in Louisville from Sept. 15-18.
This year, the festival has added a full fourth day at the Highland Festival Grounds at the Kentucky Exposition Center in Louisville. Additional sets across the event will include Father John Misty, Jason Isbell and the 400 Unit, St. Vincent, Needtobreathe, The Revivalists, Crowded House, Caamp, Japanese Breakfast, Lukas Nelson & Potr, Courtney Barnett, Cold War Kids, Marcus King, and more.
“Bourbon and Beyond is definitely one we are looking forward to,” says Caleb Followill of Kings of Leon. “It has amazing food and obviously the best stuff to drink, I love both of those things. And sharing the stage over the four days with friends like Pearl Jam and Chris Stapleton makes us even more excited about it. We can’t wait!”
In 2019, Bourbon & Beyond, which is produced by Danny Wimmer Presents, welcomed 91,000 fans in 2019, combining nonstop music with the best food and spirits Kentucky has to offer.
“We really captured lightning in a [bourbon] bottle with this lineup. Honestly, it’s one of the best billed festivals in 2022,” Wimmer adds. “Between Bourbon & Beyond and Louder Than Life on back-to-back weekends, there is no better place to be this fall than Kentucky. See you there.”
Passes and special festival packages are on sale now at BourbonAndBeyond.com.
Industry Ink: Thomas Rhett, The MLC, David Frizzell, Round Hill Records
/by Lydia FarthingThomas Rhett Rings In New Album Release With Special Amazon Music Livestream
Pictured (L-R): G Major’s Harry Lyons and Samantha Thornton, The Valory Music Co.’s Ashley Sidoti, Big Machine Label Group’s Allison Jones, Sandi Spika Borchetta and Scott Borchetta, Thomas Rhett, The Valory Music Co.’s George Briner, Amazon Music’s Michelle Tigard Kammerer and Emily Cohen, Big Machine Label Group’s Dave Kelly, G Major’s Virginia Bunetta. Photo: Sam Frawley
Thomas Rhett celebrated the release of his sixth studio album, Where We Started, last Friday (April 1) with a special Amazon Music livestream.
Inspired by his return to the road following the pandemic, Where We Started features 15 tracks packed full of his infusion of traditional country and dynamic, romantic energy. Produced by Dann Huff, Jesse Frasure and Matt Dragstrem, the project enlists superstar Katy Perry for the dramatic root-pop title track, along with collaborations with Riley Green, Tyler Hubbard and Russell Dickerson. Rhett co-wrote 14 of the 15 tracks on the album, and other co-writers on the project include Lori McKenna, Ashley Gorley, Josh Thompson, Rhett Akins, and more.
“Thomas Rhett: The Live Experience” featured some of the multi-Platinum recording artist’s biggest hits and fan-favorites, as well as tracks from the new project. To watch the the livestream, click here.
The MLC Appoints Two To Its Advisory Committees
The Mechanical Licensing Collective (The MLC) announced that music industry veteran Melanie Santa Rosa and renowned drummer and composer Nate Smith have been appointed to two of its advisory committees.
Santa Rosa, who serves as Senior Vice President, Global Administration at Spirit Music Group, has been appointed to The MLC’s Operations Advisory Committee. She has more than twenty years of experience in performing rights, copyright, business affairs, cue sheets, licensing, royalty collections, catalog onboarding and global societies, and has helped build Spirit into a leading independent music publisher. She is also a board member of the NY chapter of the Association of Independent Music Publishers.
Smith has been appointed to The MLC’s Unclaimed Royalties Oversight Committee. Over the course of nearly two decades, he has emerged as an influential and extremely popular drummer. His debut album, Kinfolk: Postcards from Everywhere, garnered two Grammy nominations. He also earned a pair of Grammy nominations for his composition “Home Free (for Peter Joe).”
The MLC’s Operations Advisory Committee makes recommendations to the board concerning the operations of the collective, including the investment in and deployment of information technology and data resources. Meanwhile, the Unclaimed Royalties Oversight Committee recommends policies and procedures to The MLC’s board related to the distribution of unclaimed accrued royalties.
David Frizzell To Be Inducted Into The Texas Country Music Hall Of Fame This Fall
David Frizzell and Moe Bandy on The Country Music Cruise. Photo: Jo Frizzell
This coming August, CMA and ACM award-winning entertainer David Frizzell will be inducted into the Texas Country Music Hall of Fame. He recently received the news from Carrie and Debbie Moore (Moore & Moore/Third Coast Talent), along with country artist and fellow Texan and Hall of Famer Moe Bandy, while performing on the 2022 Country Music Cruise.
“It was a wonderful feeling to be surprised with the announcement that I will be inducted into the Texas Country Music Hall of Fame this August,” shares Frizzell. “This is a wonderful honor and I am thankful to have been chosen this year!”
Frizzell is the brother of country artist Lefty Frizzell, who he began touring with at the age of 12 throughout the 1950s and ’60s. After serving in the Air Force, Frizzell signed with Columbia Records in 1970 and charted his first Billboard single with “L.A. International Airport” and then a top 40 with “I Just Can’t Help Believing.”
Frizzell recently celebrated the 40th anniversary of his chart-topping tune, “You’re The Reason God Made Oklahoma,” a duet with Shelly West. The song won the CMA Song of the Year and Vocal Duet of the Year awards in 1981, was nominated for a Grammy Award for Best Country Performance by a Duo or Group with Vocal, and was featured in Clint Eastwood‘s film Any Which Way You Can. Frizzell and West also won the ACM Vocal Duo of the Year award in 1981 and 1982.
Round Hill Records Adds Sonya McKinley As Director, Production & Metadata
Sonya McKinley
Round Hill Records has added Sonya McKinley as Director, Production & Metadata for the label. She will be based in the company’s Nashville headquarters and will report to Michael Volk, Head of Operations & Business Development for the label.
In this position, McKinley will oversee all aspects of product operations and metadata management within Round Hill’s portfolio of labels across both the catalog and frontline releases. She will also oversee productions for some upcoming releases from The Offspring, The Cult, Bush, Judah & the Lion, and Rebelution.
Volk comments: “Sonya is a driven professional with a wealth of industry experience and knowledge. As Round Hill enters this next phase of growth her insights will help shape the best in class service we offer our artists.”
“I am excited to join the Round Hill Records team as their passion for artist development and sound music practices continues to set them apart on a daily basis,” McKinley adds. “I am also thrilled to be working alongside their team of talented music business professionals and artists and look forward to serving the growing number of established and emerging artists along with the company at large.”
McKinley joins Round Hill with previous stops at WEA/Warner Music Group as Manager of Recorded Production and Sony BMG Music Entertainment, working in purchasing and strategic planning. She resides in Nashville and holds a BA in Music Business from Anderson University in Indiana.
BBR Music Group Ups Quinn Kaemmer To Senior Director Of Publicity
/by LB CantrellQuinn Kaemmer. Photo: Jessica Crans
BBR Music Group has announced the promotion of Quinn Kaemmer to Senior Director of Publicity.
Kaemmer, a North Carolina native and Elon University alum, has garnered more than a decade of public relations experience. In her four years at BBR, she has played a key role in the publicity efforts for the label group’s diverse roster of talent, including brand new artists such as Elvie Shane, Frank Ray and Chayce Beckham, to more established acts like Locash, Lindsay Ell, and Tyler Farr, as well as innovative acts such as Jelly Roll and Blanco Brown. She was part of MusicRow‘s N.B.T. Industry Directory Class of 2022 as a music industry leader on the rise.
In her new role, Kaemmer serves as the point person for a portion of BBR Music Group artists’ publicity, handling media relations, asset creation and strategy development and execution. She reports to Jay Jones, Sr. VP of Publicity.
“Quinn is a powerhouse publicist whose passion for her artists shows every day,” Jones shares. “We look forward to her continued success at BBR Music Group.”
Prior to her time at BBR, Kaemmer spent time at NPG PR, Marlo Marketing and Reed PR. She can be reached at quinn@bbrmusicgroup.com.
Alana Springsteen, Tyler Braden, More Added To TidalWave’s Next From Nashville Stage
/by Lydia FarthingThe inaugural TidalWave Music Festival will take over the Atlantic City Beach, New Jersey from Friday, Aug. 12 through Sunday, Aug. 14.
The lineup for the festival’s second stage, dubbed Next from Nashville, has been unveiled, including performances from Tyler Braden, Jackson Dean, Dillon Carmichael, Shy Carter, Ashley Cooke, Ashland Craft, Filmore, Ray Fulcher, Tiera Kennedy, Erin Kinsey, Robyn Ottolini, Landon Parker, Restless Road, Seaforth, and Alana Springsteen.
The main stage will feature headliners Dierks Bentley, Luke Bryan, and Morgan Wallen, as well as Lauren Alaina, Blanco Brown, Breland, Travis Denning, Riley Green, Lindsay Ell, Hardy, Jon Langston, Tracy Lawrence, Chase Rice, Runaway June, Elvie Shane, DeeJay Silver, Mitchell Tenpenny, and Lainey Wilson.
Three-day passes are on sale now at tidalwavefest.com.
TidalWave Music Festival is the latest addition of country festivals spread across the country, including Watershed in George, Washington; Tortuga Music Festival in Ft. Lauderdale, and Seven Peaks Music Festival in Colorado.
Alexandria Corn (ACORN) Inks With Growhouse Publishing
/by Lorie HollabaughPictured (L-R, front row): Stephanie Greene (President, Deluge), Alexandria Corn (ACORN), Sam Grow (President, GrowHouse Publishing); (L-R, back row): David Robkin (Managing Partner, Deluge), Brad Austin (Forward Music Management) Photo: Courtesy of GrowHouse Publishing
Former American Idol contestant and singer-songwriter Alexandria Corn, who goes by ACORN, has signed an exclusive publishing deal with Growhouse Publishing.
ACORN’s career launched after her stint on Idol, which prompted a move to LA. Since then, she’s released several successful singles and performed at some of country’s most prestigious events and festivals, including Stagecoach, Coastal Country Jam, and Country Fest. She has also opened for Jake Owen, Blake Shelton, Thomas Rhett, Dan + Shay and more.
ACORN moved to Nashville in 2021 and released her latest single, and collaboration with Sam Grow, “Same Tattoo” which has already racked up over 100,000 streams on Spotify alone.
“I’m so excited to be adding Alexandria Corn to the GrowHouse roster,” says Grow. “When it comes to versatility as a writer, she has it. Whether you need a country song with a strong hook or a pop melody, she can deliver it, and her passion for writing is unmatched. We are so blessed to have her be a part of our team.”
“I couldn’t be more excited to sign with Deluge/Growhouse Publishing,” adds ACORN. “I feel like I’ve not only found the best team, but a team that I can call family. I’m so thankful to Sam, Brad [Austin], Stephanie [Greene], and David [Robkin] for believing in me. I can’t wait to see what the future holds–go team!”
Growhouse Publishing was launched as a joint venture by Average Joes Entertainment artist Sam Grow and Deluge Music Managing Member David Robkin last month. It is currently home to ACORN and writer Danny Orton (“19 You and Me” for Dan + Shay; ”Stand” for Rascal Flatts).
Bobby Karl Works The Room: Country’s Black Artists Join Hands In Documentary
/by Bobby KarlPictured (L-R): Howard Gentry, Brittney Spencer, Siyyad Love, guest, Frankie Staton, Mike Floss, Marcus Dowling, BRELAND, Reyna Roberts, Willie Jones, Blanco Brown, Joshua Kissi, Shy Carter, Amythyst Kiah, Amazon Music’s Raymond Roker
Bobby Karl Works The Room
Chapter 653
Plenty of historic events take place at the Country Music Hall of Fame, but the For Love & Country party there on Monday (April 4) emerged as a true landmark.
As any country fan can tell you, the second decade of the 21st century has witnessed an unprecedented influx of Black artists into the genre. For Love & Country is a documentary film that celebrates this phenomenon, and Monday’s event was the movie’s premiere.
It was also an unprecedented summit meting of today’s Black country talent. Gathered in one spot for the first time were Blanco Brown, Shy Carter, Breland, Reyna Roberts, Brittney Spencer, Amythyst Kiah, Willie Jones and Frankie Staton. Also in the film, but unable to attend were Mickey Guyton, Jimmie Allen, Allison Russell, Rhiannon Giddens and Valerie June.
The Black country population is now so large that Rissi Palmer, Kane Brown, Chapel Hart, Wendy Moten, Tiera Kennedy, Tony Jackson, Charley Crockett, Darius Rucker, Aaron Vance, Paula Boggs, Sacha, Spensha Baker, Karen McCormick, Dalton Dover and many more didn’t find themselves either at the party or in the movie.
Pictured (L-R): Moderator Marcus Dowling, Willie Jones, Breland, Amythyst Kiah, Blanco Brown, Mike Floss, Shy Carter, Frankie Staton, Joshua Kissi, Reyna Roberts, Brittney Spencer. Photo: Jason Kempin/Getty Images for Amazon Music
“I think we are all better for having so much more representation,” said Spencer. “I’m proud to be country and proud to be Black.”
“Music has no color,” added Brown. “I don’t chase radio; I chase purpose. It’s a privilege to be here.”
“We’re a part of healing the world,” said Jones. “ My dream was to see other Black people show their love of country music. Just being a part of this story is a blessing.”
“I’m glad to see everybody up here who is pushing the mission forward,” commented Carter. “It is a mission. It’s important.”
“Up here,” was a panel discussion prior to the screening that was moderated by Marcus K. Dowling, the first Black country-music reporter at The Tennessean. “There is an actual change happening, and it’s represented on this stage tonight,” he said. “History is written by victors: These are the victors….We’re having songs that are changing the conversation.”
Others from Nashville’s African-American community who celebrated this historic gathering included Howard Gentry, Eric Holt, Shannon Sanders, Sharon Gentry and Mike Floss. The premiere was also attended by Missi Gallimore, Kelly Sutton, Jensen Sussman, Julianne Cassidy, Charlotte Burke Bass, Clay Bradley and a large group of young hipsters.
“This is a MOMENT,” observed Bradley, about the Black-country gathering.
The cocktail reception featured roving photographers, open bars and a wait staff circulating with crab cakes, tuna-on-cucumber, hot-chicken skewers, fried green tomatoes, mini BLTs, beef cubes and other taste ticklers. Afterward, guests sampled sweets from a dessert buffet. The Ford Theater was completely festooned with spring flowers, framing the venue’s entry, cascading down its aisles and bedecking the front of the stage. Massed pillar candles flickered where flavored popcorn beckoned.
For Love & Country is an Amazon Music production. It will be released on April 7 on the Amazon Music app and Prime Video. Acclaimed New York filmmaker/photographer Joshua Kissi directed. “I felt like I was a conduit, to be a modern-day storyteller,” said Kissi. “I came in as a spectator. Now I feel like I am at home.”
Back in 1996, Frankie Staton cofounded a Black Country Music Association. “I knew this was possible,” she reflected. “I never dreamed I would see it.”
From Door Duty To Top Dog: Meet Charly Salvatore [Interview]
/by Lydia FarthingCharly Salvatore. Photo: Jason Myers
At the top of 2022, music industry veteran Charly Salvatore launched his very own Underscore Works, an entertainment company that aims to redefine the path for new artists to gain digital success through artist management, development, and marketing.
With experience in many facets of the music industry, including radio, PROs, publishing, label, merchandise, tour management, and artist management, Salvatore’s Nashville career began in BMI’s Copyright Works department in 2004. He also worked the doors at the historic Bluebird Cafe, which Salvatore refers to as his first music career highlight.
“I really knew nothing about the town but I was working the door at the Bluebird. I was starting to get this master’s degree in songwriting and falling in love with songwriting,” he explains to MusicRow. “I started looking at who was playing and Googling everybody so that I knew what publishers were walking through the door. Through that job, I got to know the town, who was who, and who the players were.”
While at the Bluebird, Salvatore teamed up with a waitress to dive into the world of independent song plugging, eventually quitting his job at BMI. Through this new endeavor, he discovered Logan Mize, who would become the first addition to his personal management roster in 2009. Along the way, he was also picking up internships at companies such as AEG.
“I was doing all these side things at the same time and my stint with the song plugging was coming to an end. Someone had asked me if I wanted to go out on the road to sell merchandise for Little Big Town. I didn’t even know that side of the world existed at the time, so I found my way over to the road,” Salvatore recalls. “It was there where it hit me that artist management seemed like the key. They have the ‘jack of all trades and master of none’ kind of mentality, and I really felt like that fit my skill set.”
Pictured (L-R): John Dennis, Charly Salvatore, Carla Wallace, Logan Mize, Gary Overton, Jim Catino, Kelly Donley, Kerry O’Neil. Photo: Alan Poizner
Salvatore continued to sell merchandise on the road with acts such as Eric Church, and eventually nabbed a spot tour managing for LeAnn Rimes, all the while managing Mize. He soon left the touring lifestyle, though, knowing that Mize was on the brink of signing at Sony Music Nashville.
“I’d gone around and met with a couple different companies and I ended up at Dennis Entertainment. I worked there for a little bit with Russell Dickerson and Billy Currington.” He sums, “From there, I just decided to start my own company. That was really my only daily management experience at another company.”
With a roster that already boasts a handful of rising country heavy-hitters, such as Priscilla Block, Warren Zeiders, Dalton Dover and Mize, Salvatore currently serves as the Founder and CEO of Underscore Works. Through his work with the new company, his main goal is to bridge the gap between the growing list of artists gaining attention and success in the digital space and bring it into the mainstream.
“There’s this gap right now where some people are looking at artists as ‘TikTok artists,’ and it almost has a negative connotation. It’s just another form of stereotyping and it’s just so misinformed. They’re trying to put them in a box when they’re just using a tool to the best of their ability,” he shares. “What I really wanted to focus on with this company is helping these digital artists that leverage the platform not be put in that box and help them grow out of that box to become ‘real artists.’ It’s really that intersection where I hope to stand out.”
Alongside his four signings and with only a little time under his belt, Salvatore and Underscore Works have already celebrated much success.
Among his most impressive success stories is that of Zeiders’ 2021 release “Ride The Lightning,” which achieved Gold status within six months of its release. The product of a co-write set up by Salvatore with Eric Paslay and Rob Crosby, the track marks the first song Zeiders’ had ever written with other people, and only his second song ever.
“He had come to Nashville for the first time and it was supposed to be an in-person co-write with Eric Paslay and Rob Crosby, but it was during COVID and someone had to quarantine so he wrote that song in my guest bedroom over Zoom,” Salvatore shares. “He was back on another trip a couple months later and we had recorded it. He produced it with just his guitar and recorded it. We were just going to do these really lo-fi recordings because we wanted this era to feel like a mixtape.”
The 22-year-old singer-songwriter, who signed with Warner Records earlier this year, now boasts over 72 million streams and released his debut EP, 717 Tapes, last fall.
Similarly, Block, who released her debut album Welcome to the Block Party in February 2022, has already seen a nomination for New Female Artist of the Year at the 2022 ACM Awards, as well as a nod for Breakthrough Video of the Year at the upcoming CMT Music Awards for her debut, Gold-certified single “Just About Over You.” She was also named MusicRow‘s Breakthrough Artist of the Year at the 2022 CountryBreakout Awards.
With much of his success revolving around TikTok, it’s clear that Salvatore has found a special niche as he helps artists learn how to utilize the newest component of the modern day artist’s toolkit.
“It’s not a social media platform, it’s an entertainment platform and it’s fast consumption. I can’t find anything else right now that can move the needle as fast as TikTok. You have to have a strategy,” Salvatore explains. “Someone asked me a couple of months ago if I thought an artist like Nirvana would be able to survive in today’s climate—someone that seems really unwilling to do ‘self promotion.’ I told them that I want to find artists that don’t want to fully self promote and help them really craft the content to use.”
He expands, “TikTok is just like a living, in your hand version of MTV when it first came onto the scene. It’s a place to put music but with a creative aspect to it. Plus, it’s curated to the users’ experiences and likes, so it’s always going to deliver. MTV had a limited amount of slots, but there’s an infinite amount of slots on TikTok. It is a global audience and it’s consumed very quickly. You’re not going to tell your artist’s story on TikTok, but you can significantly expose their music. You just need to have a plan.”
As far as future plans go for Underscore Works, Salvatore looks ahead to eventually growing into a diverse company with a variety of avenues, including a label component, publishing and content creation, among others.
“I don’t want to be known as the company that can help break artists but can’t see it the whole way through. I want to go all the way. It’s about the long [game] for my artists that are on my roster right now,” he puts simply. “I want to be a robust boutique company that stays independent, God-willing, as long as it can.”
Tanya Tucker, Old Crow Medicine Show, Jon Batiste Among Roots N Blues Festival Headliners
/by Lorie HollabaughTanya Tucker, Old Crow Medicine Show, Jon Batiste, Wilco, Chaka Khan and Bleachers are set to headline this year’s Roots N Blues Festival from Oct. 7-9 at Stephens Lake Park in Columbia, Missouri.
The three-day festival will also feature performances on two stages from a wide range of established and up-and-coming Americana, roots, blues, R&B, country, bluegrass, soul, folk, and rock acts, including Brittney Spencer, Kassi Ashton, Steeldrivers, Hippo Campus, Larkin Poe, Tank and the Bangas, Houndmouth, Cautious Clay, Jackie Venson, Jaime Wyatt, The Dip, Liz Cooper, The Heavy Heavy, as well as five Missouri-based artists.
The Roots N Blues Festival made headlines last year for its historic, diverse, all women-led lineup during its first incarnation under new co-owners Tracy Lane and Shay Jasper. This year they have curated a lineup that is balanced with regard to gender and generation.
“We’re continuing to expand on what we started in 2021 by exploring all corners of American Roots Music–moving away from a narrow definition and adopting a broader view of what roots music is,” Jasper shares. “This is the most exciting, eclectic lineup yet. There will be something for everyone at Roots N Blues!”
“The central focus of our vision for the future of this festival is equity–both on and off the stage,” Lane adds. “We strive to remove the barriers around live music–gender, age, race, ability, and income–for our artists, staff, and audience.”
Roots N Blues attendees will have the option to make a $200 donation to Friends of the Festival in addition to purchasing their 3-day festival pass for access to lounges and up-front viewing at both stages. Friends of the Festival was formed during the pandemic as a nonprofit committed to sustaining the Roots N Blues Festival.
13th Annual ‘Darius And Friends’ Benefit Set For June 6 At Ryman
/by Lorie HollabaughDarius Rucker‘s13th Annual “Darius and Friends” concert benefitting St. Jude Children’s Research Hospital will return to the Ryman Auditorium on Monday, June 6.
The event, which unofficially kicks off the week of CMA Fest in downtown Nashville and has raised more than $2.5 million to date, will feature an all-star roster of friends to be announced in the coming weeks.
“I can’t wait to be back at the Ryman with all of our friends from St. Jude,” shares Rucker. “This show is always a highlight of the year for me, because it not only raises funds for a very important cause, but it also allows me to bring together some of my best friends in Nashville for a fun night of incredible music.”
Tickets to the 13th Annual “Darius and Friends” benefit concert start at $50 with VIP options available via AXS.com. Pre-sale access begins April 6, with tickets on sale to the general public this Friday, April 8 at 10 a.m. CT.
Rucker made a commitment to support St. Jude Children’s Research Hospital nearly 15 years ago after taking an inspiring tour of the hospital. As a lifelong philanthropist, Rucker has raised millions of dollars for St. Jude through his annual benefit concert and golf tournament.