Cole Swindell. Photo: Robby Klein
In just 12 weeks, Cole Swindell has brought his nostalgic hit, “She Had Me At Heads Carolina,” to the top of the charts. It’s the Warner Music Nashville star’s 12th career No. 1 hit.
Produced by Zach Crowell, the track samples Jo Dee Messina‘s 1996 hit “Heads Carolina, Tails California,” written by Mark D. Sanders and Tim Nichols. The 2022 song finds Swindell in a bar on karaoke night, charmed by a woman singing Messina’s enduring classic up on stage.
Swindell co-wrote the hit song with Ashley Gorley, Jesse Frasure, and Thomas Rhett, with Sanders and Nichols also credited as writers. The artist-writer says that writing “She Had Me At Heads Carolina” was the most unique songwriting process he’s ever been through.
“It’s crazy how it all happened,” Swindell tells MusicRow. “I was talking to Rusty [Gaston] and Anna [Weisband] over at Sony about how inspired I’ve been by them since I’ve been working with them. We were talking about songs and what I was looking for for my next album.
“We got to talking about what if we took a ’90s song that I loved and put a different spin on it. That was how the idea came together,” Swindell says.
Gaston adds that, with Swindell’s genuine love for Messina and ’90s country, it was the perfect storm for a re-imagined hit.
“I was thinking about how we could find ways to create new value for Sony’s catalog—more than just getting a hot new artist to re-record a Merle Haggard song. I believe ‘Heads Carolina, Tails California’ is the number one most popular female country karaoke song in the world. Thinking of that and knowing that that song was in this catalog, I talked to Cole,” Gaston says.
“Additionally, normally whatever we see happen in popular music will make its way to country music five to 10 years later. Popular music today is hip-hop. In hip-hop, it’s very common to have features and it’s very common to have interpolations,” Gaston adds. “I brought this up to Cole and said, ‘These interpolations are coming. This is the perfect song to do it.’ Cole immediately got it, loved the idea, and pulled the writers together.”
Gaston adds, “Cole loves ’90s country music. He should be the face of the resurgence of ’90s country music.”
Before Swindell could put his spin on the iconic hit, he had to get the blessing of Sanders and Nichols.
“We knew that before anything, we had to reach out to the original songwriters,” Swindell points out. “They could have easily said ‘No’ and the thing would have never happened, but they were cool enough to want to do it.”
While out on the road, Swindell and co-writer Thomas Rhett came up with a concept and brought it back to Gorley and Frasure in Nashville to write. Swindell believes the next step was adding the line, “Maybe she’ll fall for a boy from south Georgia,” a line that would come naturally for both him and Rhett, two Georgia natives.
“It was a pressure situation. You don’t want to mess up one of your favorite songs of all time,” he adds.
Once the song was written, Swindell’s manager Kerri Edwards and Warner Music Nashville’s Cris Lacy knew they had a hit on their hands. They added “She Had Me At Heads Carolina” to Swindell’s Stereotype album—which was already done.
“When they sent the work tape, I was immediately freaking out about it,” Edwards says. “We were like, ‘We have to cut this now.'”
Lacy first heard “She Had Me At Heads Carolina” after a day full of meetings for the WMN executive staff.
“We had just finished an all day offsite, preparing for the next six months and talking about records that were coming. Cole texted me [the work tape] right at the end of that. It had been a long day and everybody was getting ready to go. I listened to it and I was like, ‘You guys have to stay. I’m going to end this on an amazing note. We’re talking about what the future is going to look like? Let me play this.’
“Everybody in the room was like, ‘Oh my God, that is so fun! That is such a hit,'” Lacy shares.
Once released, just 12 weeks ago, the tune immediately began its swift ascent to the top of the charts. It was his fastest-rising single at country radio to date.
The tune also became an instant crowd-favorite at Swindell’s shows.
“Cole will put a couple of new songs in his set during a live show, but artists don’t typically put a lot of new ones in because the crowd hasn’t had time to get familiar,” Edwards says. “But I’m not joking, people will sing it as if they’ve heard it a thousand times when he plays that song. It just kept doing that [at live shows] over and over again to the point where me, Cris and Cole were like, ‘I don’t think we have a choice on making this single three from Stereotype. Everyone’s screaming what they want next.’”
Now a certified country radio No. 1 hit, the tune has brought a resurgence of popularity for Messina’s rich catalog of music—as well as a friendship between the two artists. She even appears in the video for the track.
“I was so excited when I got the chance to talk to Jo Dee and let her know that I’ve been a fan of hers for a long time. Now I to get to call her a friend,” Swindell says. “We wouldn’t have this song without her.”
The Story Behind Cole Swindell’s New No. 1 Hit, ‘She Had Me At Heads Carolina’ [Interview]
/by LB CantrellCole Swindell. Photo: Robby Klein
In just 12 weeks, Cole Swindell has brought his nostalgic hit, “She Had Me At Heads Carolina,” to the top of the charts. It’s the Warner Music Nashville star’s 12th career No. 1 hit.
Produced by Zach Crowell, the track samples Jo Dee Messina‘s 1996 hit “Heads Carolina, Tails California,” written by Mark D. Sanders and Tim Nichols. The 2022 song finds Swindell in a bar on karaoke night, charmed by a woman singing Messina’s enduring classic up on stage.
Swindell co-wrote the hit song with Ashley Gorley, Jesse Frasure, and Thomas Rhett, with Sanders and Nichols also credited as writers. The artist-writer says that writing “She Had Me At Heads Carolina” was the most unique songwriting process he’s ever been through.
“It’s crazy how it all happened,” Swindell tells MusicRow. “I was talking to Rusty [Gaston] and Anna [Weisband] over at Sony about how inspired I’ve been by them since I’ve been working with them. We were talking about songs and what I was looking for for my next album.
“We got to talking about what if we took a ’90s song that I loved and put a different spin on it. That was how the idea came together,” Swindell says.
Gaston adds that, with Swindell’s genuine love for Messina and ’90s country, it was the perfect storm for a re-imagined hit.
“I was thinking about how we could find ways to create new value for Sony’s catalog—more than just getting a hot new artist to re-record a Merle Haggard song. I believe ‘Heads Carolina, Tails California’ is the number one most popular female country karaoke song in the world. Thinking of that and knowing that that song was in this catalog, I talked to Cole,” Gaston says.
“Additionally, normally whatever we see happen in popular music will make its way to country music five to 10 years later. Popular music today is hip-hop. In hip-hop, it’s very common to have features and it’s very common to have interpolations,” Gaston adds. “I brought this up to Cole and said, ‘These interpolations are coming. This is the perfect song to do it.’ Cole immediately got it, loved the idea, and pulled the writers together.”
Gaston adds, “Cole loves ’90s country music. He should be the face of the resurgence of ’90s country music.”
Before Swindell could put his spin on the iconic hit, he had to get the blessing of Sanders and Nichols.
“We knew that before anything, we had to reach out to the original songwriters,” Swindell points out. “They could have easily said ‘No’ and the thing would have never happened, but they were cool enough to want to do it.”
While out on the road, Swindell and co-writer Thomas Rhett came up with a concept and brought it back to Gorley and Frasure in Nashville to write. Swindell believes the next step was adding the line, “Maybe she’ll fall for a boy from south Georgia,” a line that would come naturally for both him and Rhett, two Georgia natives.
“It was a pressure situation. You don’t want to mess up one of your favorite songs of all time,” he adds.
Once the song was written, Swindell’s manager Kerri Edwards and Warner Music Nashville’s Cris Lacy knew they had a hit on their hands. They added “She Had Me At Heads Carolina” to Swindell’s Stereotype album—which was already done.
“When they sent the work tape, I was immediately freaking out about it,” Edwards says. “We were like, ‘We have to cut this now.'”
Lacy first heard “She Had Me At Heads Carolina” after a day full of meetings for the WMN executive staff.
“We had just finished an all day offsite, preparing for the next six months and talking about records that were coming. Cole texted me [the work tape] right at the end of that. It had been a long day and everybody was getting ready to go. I listened to it and I was like, ‘You guys have to stay. I’m going to end this on an amazing note. We’re talking about what the future is going to look like? Let me play this.’
“Everybody in the room was like, ‘Oh my God, that is so fun! That is such a hit,'” Lacy shares.
Once released, just 12 weeks ago, the tune immediately began its swift ascent to the top of the charts. It was his fastest-rising single at country radio to date.
The tune also became an instant crowd-favorite at Swindell’s shows.
“Cole will put a couple of new songs in his set during a live show, but artists don’t typically put a lot of new ones in because the crowd hasn’t had time to get familiar,” Edwards says. “But I’m not joking, people will sing it as if they’ve heard it a thousand times when he plays that song. It just kept doing that [at live shows] over and over again to the point where me, Cris and Cole were like, ‘I don’t think we have a choice on making this single three from Stereotype. Everyone’s screaming what they want next.’”
Now a certified country radio No. 1 hit, the tune has brought a resurgence of popularity for Messina’s rich catalog of music—as well as a friendship between the two artists. She even appears in the video for the track.
“I was so excited when I got the chance to talk to Jo Dee and let her know that I’ve been a fan of hers for a long time. Now I to get to call her a friend,” Swindell says. “We wouldn’t have this song without her.”
‘Monarch’ Makes A Splash With Fox Network Premiere, Pulls Over 5 Million Combined Viewers
/by Lydia FarthingSusan Sarandon and Trace Adkins in the series premiere of Monarch. Photo: FOX © 2022 FOX Media LLC.
Monarch, Fox’s new country music drama, made its television debut on Sunday night (Sept. 11) following the weekend’s NFL doubleheader. The Susan Sarandon and Trace Adkins-led program landed the network its most watched fall, scripted premiere since 2019’s Prodigal Son, according to Variety.
Airing in tandem with the NBC broadcast of the Dallas Cowboys vs. Tampa Bay Buccaneers Sunday Night Football game, Monarch, which also featured an encore airing, debuted to a combined 1.0 rating (0.8 for the original airing and 0.2 for the encore) among adults in the 18-49 age demographic, according to initial Nielsen data.
The broadcast racked in a combined viewership of 5.3 million (3.8 million for the original airing and 1.5 million for the encore).
Throughout the show, the Roman family is headed by the “Queen of Country Music,” Dottie Cantrell Roman (Sarandon), and her beloved husband Albie Roman (Adkins). The pair have created a country music dynasty, but the foundation of their success is a lie. When their reign as country royalty is put in jeopardy, heir to the thrown Nicolette “Nicky” Roman, played by Anna Friel, will stop at nothing to protect her family’s legacy and ensure her own quest for stardom.
The second episode of Monarch will make its time period premiere on Tuesday, Sept. 20 at 9 p.m. following The Resident. This will be the show’s time slot for the remainder of its inaugural season.
Records Nashville Adds David ‘Bubba’ Berry, And Elevates Jamice Jennings
/by Lydia FarthingDavid “Bubba” Berry
David “Bubba” Berry has joined Records Nashville as Senior Director of National Promotion.
Berry brings thirty years of experience in the music industry, including a wealth of knowledge from his previous roles at Sony Music Nashville, Giant/Reprise, Atlantic Records and more. In this role, his primary focus will be building and fostering relationships with Records Nashville radio partners across the country.
“I am ecstatic to be joining Records Nashville and to work alongside the legendary Barry Weiss and his team,” Berry shares. “My goal is to help bring the music of our artists to the audience that I have worked alongside for over thirty years and to make sure country radio has a direct line to the amazing music coming out of Records Nashville.”
Additionally, Jamice Jennings will be elevated to Senior Director of National Promotion & Commercial Strategy. Her responsibilities will now include assisting all of Records Nashville’s commercial strategy on a national level.
“I love our Records Nashville team, thus I am extremely excited to assist Records Nashville’s overall commercial strategy as well as continue to expand our reach across the nation at country radio. The future of this label is exciting.” Jennings notes.
“I’m beyond thrilled to reunite with Bubba and add him to our team, and to formally include commercial strategy to Jamice’s role,” notes Josh Easler, EVP of Promotion & Commercial Strategy. “Both of them bring tremendous skill sets to help navigate the ever-changing world that is music promotion.”
Both Berry and Jennings will report to Easler.
Georgia Webster Unveils ‘Chapter 1’ Of New Music
/by Lydia FarthingGeorgia Webster. Photo: Miranda McDonald
Sony Music Nashville/River House Artists’ Georgia Webster will release her new EP, Chapter 1: Things We’re Not Saying, on Sept. 23.
The EP will feature previously released tracks “I Hate Phone Calls (Long Distance Sucks)” and “Risk” ft. Jonathon Hutcherson as well as four additional tracks.
Webster will be joining Kelsea Ballerini as direct support on the 10-night-only “Heartfirst Tour.” The jaunt launches on Saturday, Sept. 24 and plans to make stops at Radio City Music Hall in New York and The Greek Theater in Los Angeles. For a full list of dates, click here.
“I’m beyond excited to finally be putting out the music I’ve been working on this first year in Nashville,” says Webster. “These were some of my first co-writes ever and I’m honored to have gotten to work with Josh [Kerr] and everyone else on the project! I also can’t believe that I get to tour with one of my favorite artists in country music. To be able to tour with and learn from Kelsea is a dream come true.”
Last month, Webster launched her 4-part web-series that highlights who she is, how she got her start in music and where she is today. To watch the first episode, click here.
I Hate Phone Calls (Long Distance Sucks)
Risk feat. Jonathan Hutcherson
X’s
John Mayer Songs
Not Sayin’
Tattoos
NOW OPEN: Applications For MusicRow’s 2023 N.B.T. Music Industry Directory
/by LB CantrellApplications are now open for the N.B.T. (Next Big Thing) Music Industry Directory, which will be featured in MusicRow‘s Touring/N.B.T. print issue, which releases on Nov. 29.
MusicRow‘s N.B.T. Music Industry Directory is the first and only list of its kind, showcasing Nashville music business professionals who are rising through the ranks. This class of industry members occupy mid-level roles at their respective companies, and are on a trajectory of excellence to become future leaders in the Nashville music industry. Applicants should ideally have a minimum of 5 or more years experience in the music industry.
This Touring/Next Big Thing print edition also includes the annual Next Big Thing artists listing, with editorial features focused on the touring segment of our industry.
To apply for inclusion in this year’s edition of the N.B.T. Music Industry Directory, please click here to access the application form. (Please note that not all submissions are guaranteed to be listed in the directory.)
Note: If you are submitting multiple candidates, you will need to click on SUBMIT at the bottom of the form before entering another candidate. Head shots can be sent to art@musicrow.com.
New submissions for the directory close on Friday, September 23, 2022. For questions, email lbcantrell@musicrow.com.
HarbourView Acquires Big Loud Mountain’s Publisher Share Of Select Florida Georgia Line Songs
/by LB CantrellFlorida Georgia Line. Photo: John Shearer
HarbourView Equity Partners has announced its acquisition of Big Loud Mountain Music’s publisher share of select songs from Florida Georgia Line‘s catalog.
Big Loud was a key player in the launch and early success of Florida Georgia Line. The duo made their mark on the genre with hit songs such as “Meant To Be,” “This Is How We Roll,” “H.O.L.Y.,” “May We All,” “Dirt” and “Cruise.” Together the duo’s Tyler Hubbard and Brian Kelley tallied 19 career No. 1 singles and more than 13 billion global streams. They sold more than 40 million tracks and 4.8 million albums worldwide.
FGL recently ended their chapter as a duo, and have since been working on solo careers.
Since launching just nine months ago, HarbourView has acquired nearly 40 catalogs to date. The firm’s diverse portfolio features thousands of titles spanning numerous genres and decades. Most recently the company acquired catalogs from Brad Paisley and Lady A, as well as Hollywood Undead, Dre & Vidal, and Luis Fonsi.
Big Loud Mountain Music was represented by Derek Crownover, Megan Pekar and John Rolfe of Loeb & Loeb LLP. Alter, Kendrick & Baron, LLP served as legal counsel to HarbourView.
The terms of the transaction, nor the titles of the acquired tracks, were not disclosed.
Ian Munsick To Launch ‘Westwood Fall Tour’
/by Lorie HollabaughIan Munsick. Photo: Chris Douglas
Ian Munsick will wrap 2022 with his own headlining “Westwood Fall Tour” this fall. Joining him on the run is fellow Wyoming native Ryan Charles.
The trek will hit major cities, including Charlotte, Chicago, Denver, Tampa, Louisville and more, kicking off Sept. 29 and running through Nov. 19.
“We’ve hit the road HARD the last two years and it’s all been leading up to this,” reflects Munsick. “We’ve played venues of all shapes and sizes from clubs to arenas. Sharing the stage with my heroes has taught me so much about performing, but now it’s time to take those lessons to my fans. It doesn’t matter if we’re playing on the east coast, or in mountain time… you don’t wanna miss these two Wyoming cowpokes punchin’ their way across the country on the ‘Westwood Fall Tour.’”
Since signing with Warner Music Nashville in 2020, Munsick has accumulated nearly 250 million global streams. He released “Long Live Cowgirls” with Cody Johnson at the top of the year, and it has since earned more than 45 million streams and topped SiriusXM The Highway’s Hot 30 Countdown.
The breakout singer-songwriter most recently released the faith-driven story song “More Than Me” from his forthcoming sophomore album.
Kix Brooks To Host CMA Foundation’s Music Teachers Of Excellence Awards Ceremony
/by Lorie HollabaughThe CMA Foundation will host its sixth Music Teachers of Excellence Awards ceremony, honoring 30 teachers from across the US, on Oct. 19 at Nashville’s Marathon Music Works.
Hosted by Country Music Hall of Fame member and longtime music education advocate Kix Brooks, this year’s event will award each Music Teacher of Excellence recipient $5,000, with $2,500 designated for each teacher’s music program and $2,500 designated to support professional development and personal expenses.
For the first time, as part of the CMA Foundation’s “Sponsor A Teacher” campaign, individuals and organizations have the opportunity to directly support one of this year’s honorees allowing sponsors to impact Music Teachers of Excellence in Metro Nashville Public Schools, as well as in districts throughout Tennessee and across the country. To learn more about sponsoring a teacher, click here.
“As we enter our CMA Awards season, we are thrilled to not only honor excellence within country music, but also excellence within the music education field,” says Tiffany Kerns, CMA Foundation Executive Director. “These 30 teachers are absolute rockstars, and we are so proud of their unwavering commitment to their students and communities. We recognize that teacher retention is an issue facing schools across the country, which makes it crucial that we continue to celebrate these teachers who not only lead the next generation, but also cultivate a positive environment to experience the arts. I cannot think of a better host than Kix, who has been instrumental in the CMA Foundation’s success the past 11 years.”
Brooks helped establish the CMA Foundation in 2011, guiding CMA to focus its philanthropic efforts towards music education. With early funds granted to Metro Nashville Public Schools, the CMA Foundation has expanded to provide students across the country with equitable access to music education through intentional investments and partnerships.
“When we established the CMA Foundation a decade ago, our goal was to get instruments and supplies into music classrooms,” Brooks explains. “Now, to see how far we’ve come and to see the ways the CMA Foundation is continuing to elevate and celebrate music teachers is incredible. Every student deserves the opportunity to experience the power of music and that wouldn’t be possible without the work of these teachers. The future of our business starts with music teachers, and these are some of the best of the best. Congratulations to this year’s Music Teachers of Excellence!”
To date, the CMA Foundation has invested $850,000 towards its Music Teachers of Excellence recipients to ensure teachers have the support and funding needed to create thriving programs within their schools.
Madeline Merlo ‘Slides’ Into A New Chapter With Upcoming EP
/by Lorie HollabaughMadeline Merlo. Photo: The Dwyers
NBC’s Songland winner Madeline Merlo is set to release her four-track EP Slide next Friday (Sept. 23) via BBR.
Produced by Zach Crowell and entirely co-written by Merlo, the project delves into powerful female stories, from budding romances to growing up and the lessons learned in between. The title track, penned by Merlo, Sam Hunt, Crowell and Jerry Flowers, was originally a song Hunt was writing for himself, before he realized it was better suited for a female artist.
On the Shania Twain-inspired “Young-ish,” Merlo explores the misconception that everyone’s path should be the same. “Girl Where He Grew Up” is about the girl who teaches the guy lessons on how to love his next girlfriend, while “I Need A Drink,” written with Crowell, Ashley Gorley and Hillary Lindsey, captures the connection of wanting to be wherever your significant other is.
“Releasing this music is such an exciting next step in my career,” Merlo shares. “I am so proud of these songs and the creative growth in my artistry. Zach Crowell has been the key to finding my sound, and I’m so grateful for my label for giving us the trust and time to pursue that. I hope people can feel all the blood, sweat, and joy that went into this project.”
Merlo won the Canadian Country Music Association’s Rising Star Award and Songwriter of the Year Award, before winning season 2 of the NBC songwriting series Songland. The Canadian songstress’ catchy track “Champagne Night,” recorded and released by Lady A, went on to become a three-week No. 1 on country radio and earned Merlo and her co-writers the 2021 CCMA Award for Songwriter of the Year.
Weekly Register: Jon Pardi Breaks Into The Top Five Country Albums
/by Lydia FarthingJon Pardi racks up a top five debut this week on the top country albums chart as his newest project, Mr. Saturday Night, claims the fifth spot. Pardi’s third studio album saw 16K in total first-week consumption (5.4K album only/14 million song streams) and landed at No. 33 overall, according to Luminate data.
Elsewhere on the album’s chart, Morgan Wallen notches another week at the top with Dangerous: The Double Album adding 48K in total consumption (2.9K album only/56 million song streams). Zach Bryan‘s American Heartbreak maintains the No. 2 spot with 23K, and Luke Combs‘ Growin’ Up keeps its place at No. 3 with 18K. Rounding out the top five albums is Elvis Presley‘s 30 # 1 Hits compilation record at No. 4, with 17K in total consumption.
On the songs front, everything stays the same from last week. Wallen’s “You Proof” notches a stellar seventh consecutive week atop the country streaming songs chart, tacking on another 13 million streams. He also keeps the No. 5 position with “Wasted On You” nabbing 7.5 million streams. “The Kind Of Love We Make” (Luke Combs) stays in the second spot with 10 million, “Something In The Orange” (Zach Bryan) stays in third at 9.9 million, and “Rock And A Hard Place” (Bailey Zimmerman) takes fourth with 8.5 million streams.