Mike Sistad
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.
Minnesota native and music industry executive Mike Sistad has worked on both the creative and business sides of the music business. As a musician, he has performed across most of North America, including stops at the Houston Rodeo and Calgary Stampede, as well as radio and TV performances including Garrison Keillor’s A Prairie Home Companion and the Grand Ole Opry.
A Belmont University graduate, Sistad has worked with legendary Muscle Shoals producer/musician Barry Beckett; as an A&R executive for Tim DuBois and Mike Dungan with Arista Records Nashville; and as a band member for 2-time ASCAP Country Songwriter/Artist of the Year Phil Vassar.
In 2001, the late, legendary Connie Bradley enlisted Sistad to join the ASCAP Membership team. In his current role as VP of Nashville Membership, Sistad continues to work with all aspects of the music industry as it pertains to songwriters, artists and publishing companies. He has contributed to the success of Chris Stapleton, Kelsea Ballerini, Old Dominion, Brothers Osborne, Carly Pearce and many others. Sistad previously served as both a Board Governor and Chapter Advisor for the Nashville Chapter of the Recording Academy in addition to being an AIMP Nashville board member, CMA, ACM member and Leadership Music alumni.
Pictured: Mike Sistad and fellow band members of The Barn Boys stand in front of their bus in 1983. (L-R): Sistad, Tom Bernstein, Randy Larson, Gene Lunsetter, Terry Ruud, Randy McMillin, Mike Semanko
MusicRow: I didn’t realize you were a musician before you got into the business. Tell me about your musical upbringing.
I have been doing music since as long as I can remember. My mom is the church organist and pianist at our little Lutheran church back home in Minnesota. She’s 87 years old and she’s still the church organist. So music has always been a part of my life, right from the beginning with performing and playing.
In high school, I ended up playing in a band on weekends with a bunch of buddies. My senior year, [the band competed in] The Country Showdown contest. It was in ’82, and our band ended up winning in Minnesota and representing Minnesota at the national contest here in Nashville. I was just about ready to graduate from high school and instead of just having fun playing—which it was—all the band guys thought if we took this a little more seriously, maybe we can actually do something with this.
The original band name was Bean Ball Barnett & The Back Behind The Barn Boys. Eventually we figured out that nobody wanted to be Bean Ball Barnett so we shortened the name to The Back Behind The Barn Boys. Of course it started out as a joke to us, but we soon had a following and didn’t think we should change the name! The Barn Boys became the abbreviated version. We were booked by the Good Music Agency (GMA) out of Minneapolis, Minnesota—which was a training ground for many of the booking agents that found their way to Nashville over the years.
How did you get to Belmont University?
I started college for a semester and quit to go be a full-time musician, every parent’s dream for their children. I [traveled with the band] full time for about six years. I started a family in the middle of that and decided I didn’t want to be traveling and gone all the time anymore. So I started to look at going back to school and Belmont was on the radar for me.
Pictured: Arista Records Nashville team at Fan Fair in 2000.
What was your first stop after graduation?
I interned with Barry Beckett, a very famous Muscle Shoals musician and producer here in town, for about a year. In my next internship, I went from Barry Beckett to Arista Records. It was very early on and really small at that point.
I went there as an intern. I thought, “I’ll go check out this record label and be disillusioned by the record industry.” As a musician, you think they’re the big, bad guys. But I ended up loving it. I didn’t know Tim [DuBois], but I knew he was a songwriter and he was running the office. It was a big deal to me that there was a musical person running the office. I ended up working my way into A&R, which was really the only thing I cared to do.
What happened to you when Arista closed?
We kind of knew what was coming before it happened. Phil Vassar was one of the artists I worked with and he was brave enough to invite me to go back out on the road as a musician again, so I did that. Connie Bradley had actually reached out to me too while I was still at Arista. She said, “I don’t have a job to offer you right now, but I’d love for you to consider it when the time comes. I’d like to call you if you’re interested.” I said, “Absolutely, I’d love to do that.”
Phil was just getting started. I was excited to go on the road and start playing with some of the band guys and remember all the reasons I started. [I toured with Phil] for about a year.
Then Connie reached out to talk to me and she actually called Phil to talk to him about it, too. She came to the CRS New Faces show when Phil played. I played with him on that show. That’s where she officially asked me to join.
Pictured (L-R): Mike Sistad, John Osborne, TJ Osborne, ASCAP’s Evyn Mustoe Johnston at the 2019 ASCAP Country Awards.
Now, more than 20 years later, you are VP of Nashville Membership at ASCAP. What are some things that you’ve enjoyed about transitioning into the business side?
I love being on the business side, but I’m still working with the people who are writing the songs, the people that are singing the songs and the people playing the songs. That’s where my heart is: the creative community, the people making the music. It’s fun to work at a place where we’re owned by our membership. ASCAP is a little different that way than the other PROs in that we’re actually owned by the writers and the publishers. So it’s nice to work someplace where I feel there’s a bigger purpose behind it, other than a job. You’re their advocate, you’re cheerleading for them, you’re trying to hopefully help them move forward and have success. I’m fortunate to get to see a lot of those folks early on before that happens for them and it’s pretty fun to have those kinds of relationships with a lot of people.
When you look back on the last 20 years at ASCAP, when have you felt most fulfilled?
One of the most rewarding parts of what I get to do is trying to be helpful for people when they’re in the beginning stages, especially. A lot of them don’t have a publisher, a manager, or a label deal yet. It’s exciting when you see somebody you believe is going to be great and it might happen a year from now, it might be five years from now, or it might not ever happen.
When I met Carly Pearce, she might have been 18. She was pretty new to Nashville. I love the fact that she just kept going. She had her ups and downs, two steps forward and one step back through all those years, but it’s that five-year or 10-year overnight success thing when things finally start falling into place. She was doing all the right work to get there.
I met Kelsea Ballerini when she was 15. Matt Ramsey from Old Dominion was around town working, trying to make it for a lot of years before things started happening. That’s true for most people. For me, it’s great when I see people that I know have been working for it and haven’t given up when it doesn’t happen easily.
Pictured (L-R): MusicRow‘s Sherod Robertson, Carly Pearce, Mike Sistad at the unveiling of MusicRow‘s 2018 Artist Roster issue.
Who have been some of your mentors over the years?
Connie Bradley was big mentor, obviously, with my role where I’m at now. My current boss, John Titta has been great. Ralph Murphy really took me under his wing when I came to ASCAP. Phil Vassar—he didn’t have to ask me to come out on the road and play with him when that happened.
The Arista days were really special. It was great to work with Tim DuBois and Mike Dungan. Those two people have been friends through the whole process. As much I missed seeing that time period go away and the Arista family split, what’s really been rewarding is to see the success of all the people that were working there.
If someone was describing you, what would you want them to say?
Respectfully honest. It is business and sometimes you don’t always have the chance to give the answer that someone’s looking for, but if you try to be honest with them and do it respectfully, I think that’s important for everybody.
Pictured (L-R): Chris Stapleton, Morgane Stapleton, Julie Meirick, Mike Sistad at the Grammy Awards.
What are some of your favorite career moments?
Before it became CMA Fest, we used to have Fan Fare down at the old Tennessee state fairgrounds. It was basically the last event or show that we did as Arista Nashville before the merger happened.We have a group picture with a bunch of our artists and most of our staff. It’s got the grandstand full of people in the background off the stage, which is pretty cool. It was a bittersweet day, but at the same time, I think it’s easier to look back on it now as a wonderful time and a wonderful bunch of people to share that with.
Another time was when Chris Stapleton was going have his first year going to the Grammy’s as an artist. I took my wife, Julie, for the first time. We got to sit by Chris and Morgane and he got up to get his first and second Grammy award. [When I was a kid], to think about even going to the Grammy Awards, let alone being a part of it or seeing somebody’s career go like Chris’ has, would have blown my mind.
Those are things you don’t think about when you’re in the middle of it, but it’s pretty fun when those Kodak moments happen in life here and there. It’s fun to hopefully be a small part of these people’s worlds. I’m glad to see all the good things happen for them that they deserve.
Nashville Helping Nashville To Return Over Memorial Day Weekend
/by Lorie HollabaughThe “Nashville Helping Nashville” festival will return to East Nashville this spring on Saturday, May 28. The rain or shine, family-friendly event will be held at East Park at 700 Woodland Street.
While last year’s festival was in direct response to the historic Exit/In coming under threat of
redevelopment, this year’s festival organizers–Heavy Pedal Productions and Rhizome Productions–have united local venues, radio stations and record stores to help protect and celebrate the irreplaceable parts of the live music history and future.
This year’s event will bring together musicians The Joey Fletcher Band, Creature Comfort, DeeOhGee and more to be announced, along with a star-studded headlining tribute to Neil Young featuring a special guest lineup to be announced April 1.
“When Heavy Pedal Productions created ‘Nashville Helping Nashville’ last year, its goal was to unite our city’s independent live music infrastructure and rally it to Exit/In’s defense while also helping support our struggling venues,’ explains Alex Morgan of Heavy Pedal Productions. “With the help of Rhizome Productions, that’s exactly what NHN did.”
“For the first time in Nashville’s history, an event brought fifteen independent live music venues, our local independent radio stations, and artists and fans together for one cause–last year’s wildly successful Memorial Day weekend concert–‘Nashville helping Nashville’,” adds Matthew Leff of Rhizome Productions. “By adding the support of our local independent record stores, we’re excited to continue to expand the circle of support for the foundation of our live music community.”
The event will again host Nashville’s local independent radio stations as part of “Radio Row,” which gives local radio personalities an opportunity to meet their listeners and one another. This year’s festivities will also include a “Record Store Row” to provide space for some of Nashville’s indie record stores, such as Grimey’s, Third Man Records and more, to connect with the city’s music community.
An important goal of the event is to raise public awareness of a potential Metro study proposed by Council member Jeff Syracuse which, if funded, will provide the city a blueprint to ensure Nashville’s independent venues thrive. That need is underscored by Mercy Lounge and Exit/In losing their leases this year.
“This study is desperately needed and the only obstacle preventing it from moving forward is funding. Metro’s Financial Oversight Committee is considering an allocation of American Rescue Plan Funds after generous commitments from both The Nashville Chamber of Commerce and the Nashville Convention Visitors & Corp. This public/private partnership underscores the critical importance of independent venues to our creative economy,” shares Chris Cobb, President of Music Venue Alliance Nashville. “We hope everyone realizes the importance of funding this study and invite all corporations who call Music City home to consider contributing funds.”
Early bird tickets and VIP tickets are on sale now until April 1. General admission tickets will go on sale Friday, April 1.
New Women In The Mix Study Illuminates Experiences Of 1,600 Respondents
/by Lydia FarthingThe Recording Academy, Arizona State University and Berklee College of Music Institute for Creative Entrepreneurship unveiled the results of the inaugural Women In The Mix Study.
Designed to examine and better understand the experiences and socio-economic landscape of women and gender-expansive people in the American music industry, the study explores demographic characteristics, employment experiences, career challenges, job satisfaction, family decisions, and pathways into the music industry. More than 1,600 respondents from across the U.S., representing all ages, races and ethnicities, were included in the study from those behind the scenes to front and center, and at all levels, from entry to executive.
“We have a responsibility to ensure that we are amplifying women’s voices and our lived experiences,” says Valeisha Butterfield Jones, Co-President of the Recording Academy. “The Women In The Mix study is a groundbreaking account of the realities and decisions that we as women working in music are publicly and privately making each day. By centering this study around active listening, learning and building solutions, we’ve armed the industry with valuable data about the barriers affecting women in music and how we can together take a stand. We’re thankful to the more than 1,600 respondents that participated, whose voices are helping us shape the approach to achieving equity in the industry.”
“Listening to these individuals and hearing their stories is an important part of making them and their experiences visible,” adds Erin Barra, Women In The Mix Study author and director of popular music at Arizona State University. “When trying to create meaningful change you have to speak directly to the people who will be most affected by that change and let them be a part of the conversation.”
Among the most compelling data points, 84% of respondents reported that they had faced discrimination equally across all racial identities, 77% felt they had been treated differently in the music industry because of their gender, and over 56% believed their gender had affected their employment in the industry, with music creators and performers expressing this the most at 65%.
The study has shown that they are overworked and underpaid, with 57% of respondents have two or more jobs, 24% working between 40-51 hours per week, and an additional 28% working over 50. Furthermore, 36% of respondents are making less than $40,000 per year and almost half of them feel like they should be further along in their careers.
Similarly, of the respondents that identified as music creators and performers, 48.6% said they made less than $40,000 per year, indicating that they are making less money than their peers in other professions on average. Approximately 57% of music creators felt they should be further along in their career, compared to those working in music education (48.5%), event/tour production and management/promotion (41.7%), music business (37.4%), and music media and technology (32.9%).
Overall, career satisfaction and passion for the music industry remains high, showing 78% of respondents feeling satisfied, with over 80% in career categories that seem to face the most obstacles, such as freelancers, music creators and performers.
Additionally, advocacy organizations showed that they do provide value with 40% of respondents reporting that they are members of advocacy organizations, and roughly 20% mentioned advocacy in their recommendations to help improve the climate for women and gender-expansive people.
The full report, including all findings and methodology, can be found here.
Through the study, over 1,000 respondents also provided recommendations for combatting disadvantages, accelerating progress and making the music industry more inclusive. Some of the recommendations include recruitment pledges, creating paid internship opportunities, grants, mentorship initiatives, soft skills development, additional paid days off, and supporting advocacy groups and initiatives.
Based on the study’s findings, the Academy has committed to a donation totaling $50,000 to five organizations that support the growth of women and girls in music, including Beats By Girlz, Femme It Forward, Girls Make Beats, She Is The Music, and Women’s Audio Mission. Each advocacy group will receive a $10,000 grant to further their mission.
My Music Row Story: ASCAP’s Mike Sistad
/by LB CantrellMike Sistad
Minnesota native and music industry executive Mike Sistad has worked on both the creative and business sides of the music business. As a musician, he has performed across most of North America, including stops at the Houston Rodeo and Calgary Stampede, as well as radio and TV performances including Garrison Keillor’s A Prairie Home Companion and the Grand Ole Opry.
A Belmont University graduate, Sistad has worked with legendary Muscle Shoals producer/musician Barry Beckett; as an A&R executive for Tim DuBois and Mike Dungan with Arista Records Nashville; and as a band member for 2-time ASCAP Country Songwriter/Artist of the Year Phil Vassar.
In 2001, the late, legendary Connie Bradley enlisted Sistad to join the ASCAP Membership team. In his current role as VP of Nashville Membership, Sistad continues to work with all aspects of the music industry as it pertains to songwriters, artists and publishing companies. He has contributed to the success of Chris Stapleton, Kelsea Ballerini, Old Dominion, Brothers Osborne, Carly Pearce and many others. Sistad previously served as both a Board Governor and Chapter Advisor for the Nashville Chapter of the Recording Academy in addition to being an AIMP Nashville board member, CMA, ACM member and Leadership Music alumni.
Pictured: Mike Sistad and fellow band members of The Barn Boys stand in front of their bus in 1983. (L-R): Sistad, Tom Bernstein, Randy Larson, Gene Lunsetter, Terry Ruud, Randy McMillin, Mike Semanko
MusicRow: I didn’t realize you were a musician before you got into the business. Tell me about your musical upbringing.
I have been doing music since as long as I can remember. My mom is the church organist and pianist at our little Lutheran church back home in Minnesota. She’s 87 years old and she’s still the church organist. So music has always been a part of my life, right from the beginning with performing and playing.
In high school, I ended up playing in a band on weekends with a bunch of buddies. My senior year, [the band competed in] The Country Showdown contest. It was in ’82, and our band ended up winning in Minnesota and representing Minnesota at the national contest here in Nashville. I was just about ready to graduate from high school and instead of just having fun playing—which it was—all the band guys thought if we took this a little more seriously, maybe we can actually do something with this.
The original band name was Bean Ball Barnett & The Back Behind The Barn Boys. Eventually we figured out that nobody wanted to be Bean Ball Barnett so we shortened the name to The Back Behind The Barn Boys. Of course it started out as a joke to us, but we soon had a following and didn’t think we should change the name! The Barn Boys became the abbreviated version. We were booked by the Good Music Agency (GMA) out of Minneapolis, Minnesota—which was a training ground for many of the booking agents that found their way to Nashville over the years.
How did you get to Belmont University?
I started college for a semester and quit to go be a full-time musician, every parent’s dream for their children. I [traveled with the band] full time for about six years. I started a family in the middle of that and decided I didn’t want to be traveling and gone all the time anymore. So I started to look at going back to school and Belmont was on the radar for me.
Pictured: Arista Records Nashville team at Fan Fair in 2000.
What was your first stop after graduation?
I interned with Barry Beckett, a very famous Muscle Shoals musician and producer here in town, for about a year. In my next internship, I went from Barry Beckett to Arista Records. It was very early on and really small at that point.
I went there as an intern. I thought, “I’ll go check out this record label and be disillusioned by the record industry.” As a musician, you think they’re the big, bad guys. But I ended up loving it. I didn’t know Tim [DuBois], but I knew he was a songwriter and he was running the office. It was a big deal to me that there was a musical person running the office. I ended up working my way into A&R, which was really the only thing I cared to do.
What happened to you when Arista closed?
We kind of knew what was coming before it happened. Phil Vassar was one of the artists I worked with and he was brave enough to invite me to go back out on the road as a musician again, so I did that. Connie Bradley had actually reached out to me too while I was still at Arista. She said, “I don’t have a job to offer you right now, but I’d love for you to consider it when the time comes. I’d like to call you if you’re interested.” I said, “Absolutely, I’d love to do that.”
Phil was just getting started. I was excited to go on the road and start playing with some of the band guys and remember all the reasons I started. [I toured with Phil] for about a year.
Then Connie reached out to talk to me and she actually called Phil to talk to him about it, too. She came to the CRS New Faces show when Phil played. I played with him on that show. That’s where she officially asked me to join.
Pictured (L-R): Mike Sistad, John Osborne, TJ Osborne, ASCAP’s Evyn Mustoe Johnston at the 2019 ASCAP Country Awards.
Now, more than 20 years later, you are VP of Nashville Membership at ASCAP. What are some things that you’ve enjoyed about transitioning into the business side?
I love being on the business side, but I’m still working with the people who are writing the songs, the people that are singing the songs and the people playing the songs. That’s where my heart is: the creative community, the people making the music. It’s fun to work at a place where we’re owned by our membership. ASCAP is a little different that way than the other PROs in that we’re actually owned by the writers and the publishers. So it’s nice to work someplace where I feel there’s a bigger purpose behind it, other than a job. You’re their advocate, you’re cheerleading for them, you’re trying to hopefully help them move forward and have success. I’m fortunate to get to see a lot of those folks early on before that happens for them and it’s pretty fun to have those kinds of relationships with a lot of people.
When you look back on the last 20 years at ASCAP, when have you felt most fulfilled?
One of the most rewarding parts of what I get to do is trying to be helpful for people when they’re in the beginning stages, especially. A lot of them don’t have a publisher, a manager, or a label deal yet. It’s exciting when you see somebody you believe is going to be great and it might happen a year from now, it might be five years from now, or it might not ever happen.
When I met Carly Pearce, she might have been 18. She was pretty new to Nashville. I love the fact that she just kept going. She had her ups and downs, two steps forward and one step back through all those years, but it’s that five-year or 10-year overnight success thing when things finally start falling into place. She was doing all the right work to get there.
I met Kelsea Ballerini when she was 15. Matt Ramsey from Old Dominion was around town working, trying to make it for a lot of years before things started happening. That’s true for most people. For me, it’s great when I see people that I know have been working for it and haven’t given up when it doesn’t happen easily.
Pictured (L-R): MusicRow‘s Sherod Robertson, Carly Pearce, Mike Sistad at the unveiling of MusicRow‘s 2018 Artist Roster issue.
Who have been some of your mentors over the years?
Connie Bradley was big mentor, obviously, with my role where I’m at now. My current boss, John Titta has been great. Ralph Murphy really took me under his wing when I came to ASCAP. Phil Vassar—he didn’t have to ask me to come out on the road and play with him when that happened.
The Arista days were really special. It was great to work with Tim DuBois and Mike Dungan. Those two people have been friends through the whole process. As much I missed seeing that time period go away and the Arista family split, what’s really been rewarding is to see the success of all the people that were working there.
If someone was describing you, what would you want them to say?
Respectfully honest. It is business and sometimes you don’t always have the chance to give the answer that someone’s looking for, but if you try to be honest with them and do it respectfully, I think that’s important for everybody.
Pictured (L-R): Chris Stapleton, Morgane Stapleton, Julie Meirick, Mike Sistad at the Grammy Awards.
What are some of your favorite career moments?
Before it became CMA Fest, we used to have Fan Fare down at the old Tennessee state fairgrounds. It was basically the last event or show that we did as Arista Nashville before the merger happened.We have a group picture with a bunch of our artists and most of our staff. It’s got the grandstand full of people in the background off the stage, which is pretty cool. It was a bittersweet day, but at the same time, I think it’s easier to look back on it now as a wonderful time and a wonderful bunch of people to share that with.
Another time was when Chris Stapleton was going have his first year going to the Grammy’s as an artist. I took my wife, Julie, for the first time. We got to sit by Chris and Morgane and he got up to get his first and second Grammy award. [When I was a kid], to think about even going to the Grammy Awards, let alone being a part of it or seeing somebody’s career go like Chris’ has, would have blown my mind.
Those are things you don’t think about when you’re in the middle of it, but it’s pretty fun when those Kodak moments happen in life here and there. It’s fun to hopefully be a small part of these people’s worlds. I’m glad to see all the good things happen for them that they deserve.
Vince Gill & Amy Grant Set Dates For Annual ‘Christmas At The Ryman’ Residency
/by Lorie HollabaughVince Gill & Amy Grant. Photo: Robby Klein
Amy Grant and Vince Gill’s “Christmas at the Ryman” residency will make its return from Dec. 12-21 at Nashville’s Ryman Auditorium.
The annual show is a beloved Music City tradition, and tickets for the 12-concert run are set to go on sale this Friday, March 11. Openers for all “Christmas at the Ryman” shows will be announced at a later date.
Traditionally the husband-and-wife duo fill the show with Christmas favorites like “Let It Snow,” “Have Yourself a Merry Little Christmas,” “Tennessee Christmas,” “O Holy Night” and “O Come All Ye Faithful,” and close it out with a rendition of “‘Til the Season Comes ‘Round Again.”
“We’re so excited to be returning to the Ryman for one of our favorite holiday traditions,” shares Grant. “These shows have become a staple for us to celebrate a special time of year, and we can’t wait to share that experience with you all again.”
“Christmas at the Ryman” 2022 Dates:
Dec. 12 at 7:30pm
Dec. 13 at 7:30pm
Dec. 14 at 7:30pm
Dec. 15 at 7:30pm
Dec. 17 at 3:00pm & 7:30pm
Dec. 18 at 3:00pm & 7:30pm
Dec. 20 at 3:00pm & 7:30pm
Dec. 21 at 3:00pm & 7:30pm
In Pictures: Music Industry Celebrates The ACM’s Return To Las Vegas
/by Lydia FarthingArtists, industry professionals, and fans came together last night (March 7) to celebrate the 57th Academy of Country Music Awards.
Streaming live exclusively on Amazon Prime from Allegiant Stadium in Las Vegas, the show was full of memorable performances and prestigious awards. For a full recap of the show’s festivities, click here.
Pictured (L-R): Co-hosts Gabby Barrett, Dolly Parton, and Jimmie Allen. Photo: Courtesy of Dolly Parton
Pictured (L-R): President of MRC Live & Alternative, Adam Stotsky; Dolly Parton; and the CEO of Academy of Country Music, Damon Whiteside attend the 57th Academy of Country Music Awards. Photo: Kevin Mazur/Getty Images for ACM
Pictured (L-R): Morgan Evans and Thomas Rhett attend the 57th Academy of Country Music Awards. Photo: Rich Fury/Getty Images for ACM
Pictured (L-R): BBR’s Lee Adams, Jason Aldean, and Lainey Wilson celebrate after the ACM Awards. Photo: Courtesy of BBR
Pictured: 2022 ACM Songwriter of the Year Hardy. Photo: Denise Truscello for Getty Images
Pictured (L-R): Ian Munsick and Elvie Shane attend the 57th Academy of Country Music Awards. Photo: Rich Fury/Getty Images for ACM
Pictured: Brothers Osborne with their Duo of the Year trophy. Photo: Denise Truscello/Getty Images for ACM
Pictured: Ashley Cooke presents new music at a listening session on Saturday before ACM Awards. (L-R, front row): Big Loud’s Ali Matkosky and Patch Culbertson, KUPL/Portland’s Danny Dwyer, the label’s Stacy Blythe and Country Aircheck’s Monta Vaden; (L-R, back row) Big Loud’s Drew Magid, KNUC/Seattle’s Bryan “B-Dub” Washington, KDRK/Spokane’s Jamie Patrick, Cooke, KNIX/Phoenix’s Lois “Double L” Lewis, Patrick’s wife Jonna, KWNR/Las Vegas’ MoJoe Roberts, iHeartMedia/Denver’s JoJo Turnbeaugh and WBWL/Boston’s Lance Houston.
Songwriting University Announces Winners Of 2021 Song Contest
/by Lorie HollabaughPictured (L-R): Billy Sprague, Joe Beck, Corey Mirrane, Gary Glover, Michael Blanton
Songwriting University (SU) has revealed the winners of its annual song contest.
Corey Miranne was presented the $10,000 Grand Prize on as first place winner of the pop category. SU’s sponsor, Gibson Guitars, also presented him a brand new Les Paul guitar as part of the Grand Prize.
SU’s other 2021 first place winners include Audrey Bussanich from Jamaica Plain, Massachusetts for Americana; Pierre Alexander from Nashville for country; Dave Lemieux from Castle Pines, Colorado for gospel/inspo; and Claas Jambor from Kansas City, Missouri for rock. To see the list of all the finalists and winners, click here.
Joe Beck and the Grand Prize Winner, Corey Mirrane
“It’s remarkable how much talent there is out there,” says Songwriting University Co-Founder Billy Sprague. “Our mission is to support and honor songs and songwriters. We love putting wind in their sails because someone did the same for us along the way.”
Songwriting University offers a unique writing experience by providing writers of every skill level access to collaborate with hit songwriters. SU’s subscription online songwriting course and resources are designed to inspire, instruct, and encourage writers to grow their craft. A portion of every contest entry fee from the annual contest goes to Scott Hamilton’s cancer foundation, ScottCares.
Based in Nashville, the online platform allows participants to book a two-hour session, on-screen or in-person, with seasoned songwriters. The endeavor is headed up by former A&R executive producer Michael Blanton and entrepreneur Gary Glover, along with songwriters and co-founders Billy Sprague and Joe Beck.
Studio Bank Adds To Music Arts & Entertainment Team
/by LB CantrellPictured (clockwise): Kari Barnhart, Ron Cox, Darryl Williams, Eunice Hernandez
Studio Bank has announced the expansion of its Music Arts & Entertainment Team, adding veteran industry bankers to a team with a significant national and international client base.
Kari Barnhart joins Studio Bank’s entertainment team as a Senior Vice President. Barnhart has an extensive background in music business banking, most recently at Regions Bank. She has held multiple leadership positions in industry trade organizations and is currently involved in SOURCE, Copyright Society of the South, and the Troubadour Society.
Additionally, Eunice Hernandez joins Studio Bank as a Relationship Manager. She was previously part of Regions Bank’s music industry team, as well.
Barnhart and Hernandez join Darryl Williams to round out the Music Arts & Entertainment team led by Ron Cox, who says Studio Bank’s Music Arts & Entertainment vertical contributes 20% of the bank’s overall business and serves creators not only in Nashville but in other entertainment industry hubs including New York, Los Angeles, and London.
“Studio’s commitment to serving creators is not only an important component of our business model, but it is also a key cornerstone of our brand and why we exist,” Cox says. “The attraction to Studio’s creative and boutique style of banking has been tremendous, and having Kari and Eunice join our team will contribute greatly to the significant growth and momentum that we are experiencing.”
Charley Crockett Slates New Album ‘Jukebox Charley’ For April
/by Lorie HollabaughCharley Crockett. Photo: Bobby Cochran
Charley Crockett is set to release his new album Lil’ G.L. Presents: Jukebox Charley on April 22 via Son of Davy/Thirty Tigers. The album’s lead single, out now, is Crockett’s take on “I Feel For You,” a standout from Jerry Reed’s 1966 debut album The Unbelievable Guitar & Voice of Jerry Reed.
“Mark Neill turned me on to this one,” explains Crockett about the single. “It was a guiding light for both Welcome to Hard Times and Music City USA. It really spoke to me, hit me as a timeless song. Once we started the sessions for Jukebox Charley, it became clear this would be a single.” Crockett and his band the Blue Drifters performed the song this past weekend as part of their debut CBS Saturday Mornings “Saturday Sessions” appearance.
The fourth edition of his Lil’ G.L. tribute series, Jukebox Charley weaves old school blues, R&B, soul, cajun, western swing and other classic touchstones with country. The project features songs penned by country legends like Willie Nelson, Tom T. Hall and George Jones, along with cuts by regional acts like Louisiana’s Larry Brasso.
“I’ve done a few Lil’ G.L. records now,” says Crockett. “This Jukebox Charley LP makes four. I wanted to really stretch out on this one and take some chances. Do something different. We took some risks and laid down a lot of lesser known, more adventurous classics. Hope folks pick up what I’m puttin’ down.”
Crockett will kick off his coast-to-coast “Jukebox Charley” headlining spring tour later this month, culminating in his return to the Stagecoach Festival in Indio, California at the end of April. He’ll also perform at Luck Reunion at Willie Nelson’s ranch outside Austin during SXSW, and will open a pair of amphitheater shows for Nelson in May as well.
Jukebox Charley Track List:
Make Way For A Better Man (written by Cy Coben)
I Feel For You (written by Jerry Reed Hubbard)
Lonely In Person (written by Tom T. Hall)
Diamond Joe (Traditional)
Where Have All The Honest People Gone (written by Dennis Linde)
Home Motel (written by Willie Nelson)
Jukebox Charley (written by Johnny Paycheck & Aubrey Mayhew)
I Hope It Rains At My Funeral (written by Tom T. Hall)
Heartbreak Affair (written by Kay Adams)
Battle With The Bottle (written by Joe Avants Jr & John Koonse)
Out Of Control (written by George Jones, Darrell Edwards & Herby Treece)
Six Foot Under (written by Clint Lewis & James Hutchins)
Same Old Situation (written by Wayne Kemp & Bill McDonald)
Between My House And Town (written by Sanger D. Shafer)
Hank Williams Jr. Announces 2022 Tour Dates
/by Lorie HollabaughHank Williams Jr. Photo: David McClister
Hank Williams Jr. has announced a limited number of 2022 tour dates. The country legend will visit Huntsville, Jackson, Des Moines, Sioux Falls, and more on the 16-date run, which kicks off April 1 at the Landers Center in Southaven, Mississippi.
“It’s about that time, and you better believe I’m ready brothers and sisters,” Williams Jr. shares. “We’re bringing some blues, some rock and some country back to country.”
With six RIAA-certified Platinum albums, 20 RIAA Gold-certified albums and over 70 million sold, Williams Jr. has released 37 studio albums in his five-decade career.
Hank Williams Jr. Tour Dates:
April 1 Landers Center
May 27 First Interstate Arena at MetraPark^ Billings, MT
May 29 Alerus Center^
June 17 Wells Fargo Arena^
June 18 Denny Sanford Premier Center^ Sioux Falls, SD
July 8 Golden Nugget+
July 9 Orion Amphitheater~
July 21 Great Jones County Fair
July 22 Nutter Center^
July 29 Salem Civic Center^
July 30 Delaware State Fair
Aug. 5 Simmons Bank Arena#
Aug. 6 Choctaw Grand Theatre
Aug. 9 Jackson County Fair
Aug. 12 Beaver Dam Amphitheater+
Aug. 13 Neon Lights Festival*
*On Sale March 9
^On Sale March 11
~On Sale March 18
#On Sale April 1
+SOLD OUT
The ACM Awards Return To Las Vegas For A Fun-Filled Night
/by LB CantrellPictured: (L-R) Co-hosts Gabby Barrett, Dolly Parton, and Jimmie Allen speak onstage during the 57th Academy of Country Music Awards. Photo: Kevin Winter/Getty Images for ACM
The Academy of Country Music made its grand return to Las Vegas Monday night (March 7) when country music stars, industry members, and fans gathered at Allegiant Stadium for the 57th Annual ACM Awards. Performances and award presentations streamed live on Prime Video, without commercial interruptions, for the first time in history.
For the first time ever, Miranda Lambert won the night’s top honor, Entertainer of the Year. Chris Stapleton, Carly Pearce, Old Dominion, Brothers Osborne, Lainey Wilson, Jason Aldean and Carrie Underwood, and Morgan Wallen were also among the televised winners.
The incomparable Dolly Parton was the host for the evening. She first appeared on screen with a shimmery outfit that looked to be made from a broken disco ball. “We’re making history tonight,” she said of the Prime Video stream. “What happens in Vegas does not stay in Vegas.”
Parton’s co-hosts Jimmie Allen and Gabby Barrett kicked the music off with a performance of “Viva Las Vegas” and “Let’s Go To Vegas” from another stage. That’s when the camera panned around the enormous Allegiant Stadium, which held three stages. Barrett later performed a cover of Lee Ann Womack‘s “I Hope You Dance,” and Allen performed his new single, “Down Home.”
Perhaps because the show wasn’t limited by a huge television network, the energy and flow of the ACM Awards was fun and less polished. Nominees and fans danced in the aisles, and presenters let loose when announcing performers or giving out awards.
Pictured: Ashley McBryde and Eric Church perform onstage during the ACM Awards. Photo: Kevin Winter/Getty Images for ACM
Entertainer of the Year nominee Eric Church performed a medley of his many hits early in the night. His sampling included “How ‘Bout You,” “Guys Like Me,” “Smoke A Little Smoke,” “Springsteen,” “Give Me Back My Hometown,” “Round Here Buzz,” “Record Year,” “Hell of A View,” and more. His nine album covers flashed on the screens as Church powered through his performance. Ashley McBryde appeared on stage to sing on “Heart On Fire.”
Walker Hayes performed his new single “AA” before getting the crowd on their feet for his massive hit “Fancy Like.”
When it came time to present the first televised award, Duo and Group of the Year were revealed back-to-back. Brothers Osborne were crowned as the ACM Duo of the Year. The grateful brothers thanked their fans, family and team. “About a week ago, they pulled our single from country radio,” TJ Osborne said candidly of “I’m Not For Everyone,” adding, “I needed a little bit of wind in our sails.”
Old Dominion took home their fifth consecutive Group of the Year Award, the longest winning streak in the category since 2008. “We don’t take that for granted,” frontman Matt Ramsey said, before recognizing the fighting going on in Ukraine. “We’re in this beautiful bubble here when there’s people out there fighting for their lives,” he said.
The next slate of performances included Maren Morris playing one of her new songs, “Circles Around This Town,” and Parmalee, Blanco Brown and Brooke Eden coming together for “Just The Way.” Jason Aldean—who was performing when a gunman opened fire at the Route 91 Festival in Las Vegas in 2017—introduced Chris Stapleton’s performance of “Watch You Burn,” which was written in response to the tragedy.
Yellowstone actors Luke Grimes and Kelsey Asbille, who elicited a big cheer from the country fans, were on hand to present Song and Single of the Year.
Pictured: Lainey Wilson accepts the Song of the Year award for “Things a Man Oughta Know” onstage during the ACM Awards. Photo: Kevin Winter/Getty Images for ACM
Darling Lainey Wilson won her second and third ACM Awards—she was named Best New Female Artist last week in some early award announcements—and took home trophies as the artist and co-writer for Song of the Year with “Things A Man Oughta Know.” Wilson knocked her acceptance speech out of the park. “Country music is my life,” she said, before thanking her family, her co-writers and producer Jay Joyce, and her fervent team. “Country music fans have wrapped their loving arms around me, which is a prayer answered,” she continued, before letting the huge stadium and fans at home know that “Things A Man Oughta Know” is about the golden rule: treating others the way you want to be treated.
Immediately thereafter, Aldean and Underwood won Single of the Year for their anthemic “If I Didn’t Love You.” The pair recognized the songwriters and their teams, and later performed the massive hit. After two of his artists accepted their trophies—Wilson and Aldean—the camera panned to BBR Label Group head Jon Loba who beamed up at the stage.
More performances ensued. Pearce and McBryde performed their Music Event Of The Year award-winner “Never Wanted To Be That Girl.” Thomas Rhett played “Slow Down Summer,” starting at the piano. Brothers Osborne performed their rocking “Skeletons.”
James Patterson appeared to promote his new novel with Parton and introduce his co-writer to perform a tune from the novel’s accompanying album, “Big Dreams and Faded Jeans,” with Kelsea Ballerini.
Pictured: Morgan Wallen accepts the Album of the Year ACM award for Dangerous: The Double Album. Photo: Kevin Winter/Getty Images for ACM
When it came time to announce the winner for Album of the Year, fans and attendees were shocked to hear Morgan Wallen’s name called for his blockbuster album Dangerous: The Double Album. This marks the first time the controversial figure has won a major voted award for his massively successful sophomore album due to his now infamous use of a racial slur in early 2021. Wallen thanked his family, his team, and his army of fans. “Thank you to everyone who has shown me grace along the way,” he said.
For the next section of performances, Parker McCollum played his breakout hit “Pretty Heart.” Breland played “Praise The Lord,” with a gospel choir and Thomas Rhett lending their vocals to the fun song. Kane Brown sounded fabulous on a swanky new one, “Leave You Alone.” Last year’s Entertainer of the Year Luke Bryan performed “Up” before playing “Buy Dirt” with Jordan Davis. Lady A played “What A Song Can Do.”
Male Artist of the Year went to Stapleton for the third time. “This is a rowdy bunch,” he said before recognizing his supporters. Pearce won the ACM Female Artist of the Year, marking her first win in the category and her second win for Music Event of the Year, bringing her total ACM Awards count to four. “This is all I’ve ever wanted to do in the whole world,” she said.
Chris Young played “At The End Of The Bar” with Mitchell Tenpenny before playing his 2019 hit “Raised On Country.” Kelly Clarkson honored host Parton with a beautiful, tender version of “I Will Always Love You.”
Pictured: A screengrab of Miranda Lambert accepting her Entertainer of the Year award. Photo: Arturo Holmes/ACMA2022/Getty Images for ACM
Parton was tasked with announcing the winner of the night’s top honor. For the first time ever, Lambert won the ACM Entertainer of the Year. But also for the first time in 17 years, the singer-songwriter was not in attendance, as she was overseas gearing up for her C2C performance.
Via video, an elated Lambert said, “I’ve been waiting for this for a really long time. I actually never thought it would happen.”
With her hands clenched in a fist, Lambert added, “This one goes out to all the singer-songwriter girls out there that are putting their blood, sweat and tears into their guitar strings. We did it! This is for us.”
Closing out the fun show on an appropriate note, Brothers Osborne and Brittney Spencer collaborated on a special performance of “These Boots are Made for Walkin’.”