Shane Stevens
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.
Shane Stevens is a Grammy and ACM nominated singer-songwriter who has written for a variety of country and pop acts, including Walker Hayes, Carrie Underwood, Lady A, Sara Evans, Kellie Pickler, Ronnie Milsap, Jo Dee Messina, Jordin Sparks, Fifth Harmony, Little Mix, Selena Gomez, Ariana Grande and Meghan Trainor.
The South Carolina native achieved his first No. 1 on the Billboard Hot Country Songs chart in 2010 with “American Honey,” performed by Lady A and co-written with Hillary Lindsey and Cary Barlowe. After achieving much success in writing country music, Stevens wanted to broaden his songwriting horizon and moved to Los Angeles in 2014 to pursue a new direction as a writer, vocal producer, and artist developer in the pop and R&B world.
While in Los Angeles, Stevens contributed songs to several pop artists, such as “Super Bad” and “Goodie Bag” by Jesse McCartney, “Everlasting Love” by Fifth Harmony, “Paper Doll” by Bea Miller, “Step On Up” by Ariana Grande, “Love Me or Leave Me” by Little Mix, “Woman Up” by Meghan Trainor, “Nobody” by Selena Gomez, and “I’ll Chase The Sky,” “No Better Feelin’” and “Neighsayer” on the 2017 My Little Pony soundtrack.
Stevens’ most recent accolades includes selling a country music musical movie to Paramount Pictures for which he wrote all original compositions alongside childhood friend Karyn Rochelle. He also co-wrote Walker Hayes‘ blockbuster hit “Fancy Like.”
MusicRow: Where did you grow up? What led you into music?
I was born in Myrtle Beach, South Carolina. I was raised in a little town called Calabash, North Carolina, right on the state line. My dad was a shrimper and my family worked in the restaurant business. My parents led praise and worship in church, so that’s how I fell in love with music. But I hated country music—because my parents loved country music!
My sister and I were obsessed with Michael Jackson. My fourth grade school teacher was the first person to ever play me George Michael, which became a massive influence for me. She said, “One day you’re going to be just like him. You’re gonna write songs!” She was talking to this little gay kid who was being cast out and bullied by everybody else, reassuring me that I was going to be okay.
When did you learn to love country music?
Around 1994, I was in high school. My best friend Tina got her driver’s license first, so I would ride with her in her Subaru to school. We had a deal that if she would listen to Mariah Carey, George Michael, Paula Abdul, and Whitney Houston on the way there, I would listen to her crappy country music on the way back. (laughs)
She turned me onto Wynonna Judd. She played me “Is There Life Out There?” by Reba, and some Dolly stuff. It’s Tina’s fault, because she made it cool for me. And then I became obsessed with the storytelling.
Shane Stevens, Karyn Rochelle
How did you get to Nashville?
I had started doing karaoke contests and stuff like that. I would sing Clint Black‘s “Put Yourself In My Shoes” and Alan Jackson‘s “Here In The Real World.” I just got really into it. I went to Opryland auditions in Myrtle Beach and I met who would become my best friend, Karyn Rochelle.
When I was done with school, she asked me if I wanted to go to Nashville with her. So I was 17 when I came to Nashville.
What happened when you got here?
[Karyn and I] were writing and I [decided to go] to hair school, for my “just in case career,” and ended up working for Earl Cox and their team at Trumps [Salon] doing hair extensions. We did Sara Evans, Tammy Wynette, everybody. All these women that I wanted to write songs for, I ended up being their hairdresser.
At the same time, Karyn had been at Crutchfield [Music Publishing] for three or four years, and then she got signed with Pat Finch over at Famous Music. By then I had several songs that I really was proud of and an artist project going. She took my music to Pat and I got a phone call from Pat. He said, “Come over, I want to meet you.” And then he signed me [to my first publishing deal].
After some time in Nashville, you moved to New York, before moving back to Nashville in 2006. What brought you back?
[While in New York], I ended up sending [a song I wrote] to my friend Beka Tischker, who worked at Major Bob. She gave it to Bob Doyle and then he wanted to hear more songs. So I sent some other songs that I had, he loved it, and then I got a phone call. I was sitting at the Good Enough to Eat [restaurant] on the upper west side, across from the bar that I worked in called The Raccoon Lodge. Mike Doyle called and said, “Hey Shane, this is Mike Doyle. I want to offer you a publishing deal.” That was in 2006, and that was the last time I did hair—other than for fun.
I was free as a bird in New York City. I got so much energy from it and I loved creating there, but I would come back to Nashville and stay for a few weeks at a time. Jesse Frasure was my day to day publisher, and they just put me with the right people.
Shane Stevens, Hillary Lindsey
You had your first country hit with Lady A’s “American Honey” in 2019. What was that like?
Blew my freaking mind. Hillary, Cary and I went to Gatlinburg together for the first time and we started writing that song there. We didn’t finish it, we just had a bunch of different ideas. We brought them all home and Jesse Frasure was like, “Y’all have got to finish that song. That’s the one.” That opened the floodgates and then everything really started to happen.
You co-wrote one of the biggest hits of 2021, “Fancy Like” by Walker Hayes. How fun has that ride been?
I knew [it was going to be a hit]. I knew it in my soul, and I knew it in my spirit. I told everybody in the room that day.
Walker says we wrote [“Fancy Like”] for people that go to strip malls; and we really did. We also wrote it for people like us, just normal country people [who feel like] going to an Applebee’s is an upgrade.
When you’re the songwriter, you’re not on the stage usually, so you’re not seeing the reaction of a crowd. But because of Instagram and TikTok, when a lot of that stuff can be so bad and hurtful, watching the joy from people and getting to experience it that way has been the coolest thing that has ever happened to me.
Selena Gomez & Shane Stevens in the studio.
In addition to your success in country music with songs recorded by Sara Evans, Carrie Underwood, Ronnie Milsap, and more, you’ve had a lot of success in the pop space as well, writing songs with and for Selena Gomez, Ariana Grande, Little Mix, and Jesse McCartney. Who have been some of your biggest champions?
Jesse Frasure, Mike Doyle, and Bob Doyle. Leslie Roberts gave me my first cut over at RCA, and then she went to BMI and she’s still been my champion. Whitney Daane really loves me and I really love her. Stephanie Wright and Allison Jones [are some more]. I have really great relationships with people. I’m not fair-weathered, I’m in it with ’em when it’s low, I’m in it with ’em when it’s high.
Pictured (top row, L-R): Bob Doyle (Owner, Purplebeat), Eric Daigle (Co-Head of Creative, Purplebeat), Mike Doyle (GM Purplebeat); (bottom row, L-R): Graham Kothman (Artist Relations Coordinator, Purplebeat ), Shane Stevens and Andy Friday (Co-Head of Creative, Purplebeat)
Now you’re back with Bob Doyle at Purplebeat.
Now I’m back with Bob. He hired my husband, Eric Daigle, to help run Purplebeat. It feels like I’m back with family and having this ride with “Fancy Like”—which came out the week that I signed my deal at Purplebeat. So we’re all winning together. It feels good to be on that team.
What is one of the proudest moments of your career?
There’s just too many. Most people would say their first No. 1 party or something, but I sang at Carnegie Hall a long time ago. I sang a solo on the stage of Carnegie Hall and Elaine Stritch introduced me. There was a snowstorm and what’s so crazy is I had holes in both bottoms of my shoes because I couldn’t afford to get new dress shoes. They were super cute, you would never know, but my socks were soaked. And I was singing this beautiful song on the Carnegie stage. That probably sounds silly to most people, because I had nowhere near made it, but being on a stage of that size was the biggest dream come true.
Industry Toasts To Lainey Wilson’s Success At Her First No. 1 Party
/by LB CantrellPictured (L-R): Jonathan Singleton, Lainey Wilson with her MusicRow No. 1 Challenge Coin, Jason Nix. Photo: CeCe Dawson
Industry members and artists gathered for an emotional No. 1 party earlier this week when Broken Bow Records star Lainey Wilson celebrated her first chart-topper, “Things A Man Oughta Know.”
The crowd filled the Melrose Billiards hall, and a slew of Wilson’s artist friends—including Ian Munsick, Ashland Craft, Meghan Patrick, Mitchell Tenpenny, and more—were there to support the young artist.
The party, hosted by BMI’s MaryAnn Keen, honored the song’s co-writers Wilson, Jason Nix and Jonathan Singleton. “Things A Man Oughta Know” is Wilson and Nix’s first No. 1 hit, and Singleton’s fourteenth. “I feel very lucky and honored to talk about all three of these writers,” Keen said.
Keen started what was an array of high praise for Wilson throughout the event. “You’re such a force to be reckoned with,” she said. “You deserve all the good things that come your way, and I know there’s going to be a lot of them.”
Keen also recognized Pinnacle bank for their support of No. 1 parties. Pinnacle’s David DeVaul hopped on the mic to congratulate everyone.
Representatives from Spirit Music Group, Big Machine Music, and Sony Music Publishing were on hand to gush about their songwriters.
Pictured (L-R): Big Machine Music’s Mike Molinar, Spirit Music Group’s Frank Rogers, Jonathan Singleton, Lainey Wilson, Jason Nix, Sony Music Publishing’s Rusty Gaston, BMI’s MaryAnn Keen, BBR’s Jon Loba. Photo: CeCe Dawson
Spirit’s Frank Rogers spoke about hit writer Singleton. “It’s a joy to work with you. You’re one of the hardest working writers in town,” he said. Rogers also mentioned Wilson’s importance to the country music genre, saying, “As a fan, we need Lainey Wilson. As a publisher, we need Lainey Wilson. As a music community, we need Lainey Wilson.”
Big Machine’s Mike Molinar, Singleton’s former publisher, spoke about the song and Wilson’s impact. He made sure to mention the song’s ACM nomination for Song of the Year. “I think you know what to do,” he said. “All five songs are great, all of those writers are great, but a song like this is going to keep connecting with people so much longer than we’re even going to know what an Applebee’s is.”
Rusty Gaston from Sony Music Publishing seconded Molinar on ACM voting. He also highlighted co-writer Nix’s work ethic, pointing out that he commutes two hours to write in Nashville. “That is somebody that is determined to make his dreams come true,” he said.
Gaston piled on the praise for Wilson. “What’s unique about Lainey is she isn’t someone who just has a dream. She has a vision to make that dream happen,” Gaston said. “You’re going to be using Lainey Wilson’s name in the future when we have conversations about artists that have defined a decade, that defined our genre…Lainey, everyone in this building loves you to death. You are the future of country music.”
Pictured (L-R): BBR/BMG’s Chris Poole and Sara Knabe; Jonathan Singleton; BBR/BMG’s Shelley Hargis Gaines; Lainey Wilson; BBR/BMG’s Lee Adams; Jason Nix; BBR/BMG’s Dawn Ferris, Layna Bunt, JoJamie Hahr, Jon Loba, Renee Leymon, and Jay Jones. Photo: CeCe Dawson
With the crowd fired up after Gaston’s speech, BBR head Jon Loba got up to speak. He first recognized the BBR promotion staff, marketing and digital team, and A&R staff. “They will always carry a torch for Lainey,” he said.
“We were at the Ryman opening for Ashley McBryde. 50% of the audience knew her at the beginning, the entire audience was on their feet at the end,” Loba recalled. “I mean this from the bottom of my heart, I sat there watching Lainey on that hallowed stage and said, ‘We’re not going to see you on that stage for the next two, five, or ten years. We’re going to see you on that stage for decades.’ And I believe it.”
When it came time to hear from the songwriters, Nix started things off. “I know your mom and daddy are here,” Nix said to Wilson. “I want to thank y’all for raising someone who knows what she wants to say and how she wants to say it. I’m thankful to work with you and to know you.”
Singleton added, “I’m super excited about this song. I’m most excited that it’s Lainey and Jason’s first No. 1.”
Wilson held herself together as she began to speak. “I’m looking around the room right now and see my best friends,” she said. “I’m going to try not to cry.
“This is a moment I’ve been dreaming about since I was knee-high,” she added. “This is all I know how to do. Country music is my life.”
Wilson talked about her drive to become a country music artist, her family’s support, and her journey trying to make it in Nashville. “I knew absolutely nobody, but I knew this was what I was going to do. I have been bound and determined to do this thing. There’s been no plan B for me.”
She closed with some words on the song. “This song is not about whether or not you can change a tire, you can YouTube all that stuff. This song is about having good character, treating people right, and having the courage and discernment to do the right thing,” she said. “I’m so thankful that this song was my first No. 1 because, to my core, it tells who I am and what I stand for.”
Caitlyn Smith Soars On Upcoming, Self-Produced Project ‘High’
/by Lydia FarthingCaitlyn Smith. Photo: Courtesy of Monument Records
On a rainy Tuesday night in Nashville, Caitlyn Smith brought a small group of Nashville’s music industry professionals together to give a special preview of her upcoming album, High.
Taking over the Blue Room at Third Man Records, the room dimmed to display a stunning black and white, one-take video of Smith singing a vulnerable track from the record entitled “Maybe In Another Life.” Eventually fading to color, the video displayed intense emotions, signaling some of what is to be expected from her third album, all behind Smith’s signature shining vocals.
“In this process I gave myself the space to be messy, to not know what I was doing, to make the mistakes, to be unsure, and just feel my way through it. Through this process, I’ve grown,” she explained. “It felt like I was jumping off a mountain and I didn’t know if I was going to crash and burn, pull a parachute, or if I was going to grow wings and actually fly. I made a record that I’m really, really proud of. This record is all mine. I took the jump and I’m flying… High.”
Taking the stage with Tiffany Kearns, Executive Director, CMA Foundation and CMA Vice President, Community Outreach, the pair caught up on the last year, Smith’s her first jab at self-producing, her journey thus far as an artist, and more.
“I got this little earworm that said, ‘What if you tried to produce a record?’ I started writing songs [when I was a kid] and have been in the studio since I was 15 so I’m not a stranger to it, but I was so scared of it. It wouldn’t leave my brain and I started telling people and they said I should try it, so I did. I was like, ‘This is disgustingly terrifying, I love it!’ It was a beautiful process,” Smith gushed.
Tiffany Kearns & Caitlyn Smith. Photo: Courtesy of Monument Records
Smith originally came to Nashville as a songwriter, finding a pocket of success with cuts by Kenny Rogers and Dolly Parton (“You Can’t Make Old Friends”), Garth Brooks (“Tacoma”), Meghan Trainor and John Legend (“Like I’m Gonna Lose You”), and more. When it came to becoming an artist, Smith says that her first record, Starfire, was very discovery-oriented as she tried to figure out what to say and sing. With the release of her sophomore album, Supernova, she leaned further into what she thought people would want to hear from her, rather than what she wanted.
“This new record is [getting back to me]. When I listen to this record, I hear all of my favorite albums smushed together into one. The songs feel like me. I don’t feel like I’m trying to do anything except put another chapter of my heart out there,” Smith shared. “On the other records I played songs for every other person in town [to see if they liked them]. I feel like there was so much of a need for other people to be involved in the process. Collaboration is fun, but on this record I wanted to know what the hell would happen if I just asked, ‘Do I like this? Do I think this sounds good?'”
The Monument Recording artist, who recently earned her first ACM nomination for New Female Artist of the Year, gave solo acoustic performances of a handful of the tracks to come on High, including the record’s awe-inspiring title track. Written alongside Jennifer Erin Decilveo and Miley Cyrus, who cut the song for her 2020 album Plastic Hearts, Smith knew from the moment she heard the song that she wanted to sing it.
Smith also shared a pitch perfect performance of her smoldering “Nothing Against You,” which dons the sexy hook: “Don’t wanna be mad at you, baby / Don’t wanna be acting all crazy / Just want your loving / Don’t wanna hold nothing against you but me.”
“My journey as an artist has been long and winding,” Smith recalled. “I remember when I first signed with Monument and I was looking at the radio charts and there were only two girls–Carrie Underwood and Miranda Lambert. I didn’t think there was a place for me in country music. Even though that’s what I wanted, I didn’t feel like there was a space.”
Pictured (L-R): Steve Pleshe (Monument Records), Luke Jensen (Monument Records), Hoss Michaels (KXKT), Katie McCartney (Monument Records), Caitlyn Smith, Paul Williams (WKDF), Marci Braun (WUSN), Katelyn Lester (Monument Records), Cameron Moore (WSOC). Photo: Courtesy of Monument Records
She continued, “I feel very grateful, now five years later, that there’s been this beautiful wave of females at country radio. Maren Morris has flung the door open for incredible artists like Ingrid Andress, Gabby Barrett, and more who are taking over the airwaves. I feel very grateful because I’ve just been over here making music, and I had the chance to finally send a song to country radio last year with my friends Old Dominion… I feel like I have a place in country music. I feel like all the work that the ladies before me have done has allowed it. It’s been a long and winding road but I finally feel like I’m at home and where I’ve always wanted to be.”
Smith capped the night with the announcement that she’ll be shipping her new single, “Downtown Baby,” to country radio on March 4. The up-beat, breezy track will lead up to High‘s release on April 8.
The 8-track project is just the beginning of new music for Smith who teased the release of a full album later this year.
Runaway June’s Naomi Cooke To Pursue Solo Career
/by Lydia FarthingPictured: Natalie Stovall, Naomi Cooke, Jennifer Wayne. Photo: CeCe Dawson
Naomi Cooke, lead singer of country trio Runaway June, has announced her exit from the group after seven years. She will pursue a solo career.
Cooke shared the news via Instagram, saying: “I am incredibly excited to officially be able to announce that I am taking a new musical journey as a solo artist, and I am beyond excited to share new stories and music with you. It has been 7 wonderful years as the lead singer of Runaway June, and I am so grateful for the memories and time well spent with my bandmates, Hannah [Mulholland], Jennifer [Wayne] and Natalie [Stovall].” She continues, “It has been extremely hard to keep quiet about what I’ve been up to, and I cannot wait to share everything with you all very soon!! I miss you guys so much, and can’t wait to see y’all out on the road. I love you guys so much I could burst.”
Cooke, alongside original members Jennifer Wayne and Hannah Mulholland, who left the group in May of 2020, formed Runaway June in 2015 and signed with BBR Music Group’s Wheelhouse Records. Their debut project, Blue Roses, included their hit single “Buy My Own Drinks,” marking them as the first all-female trio to earn a Top 5 hit at country radio in over 16 years. The trio spent much of 2019 on the road opening for Carrie Underwood’s “Cry Pretty Tour 360” and were part of CRS’ New Faces of Country Music Class of 2020.
After Mulholland’s exit in 2020, it was announced that vocalist, fiddle player and songwriter Natalie Stovall would join the group. She previously fronted Natalie Stovall and the Drive, known for the 2014 single “Baby Come On With it.” Since then, the Cooke, Stovall and Wayne released the single “We Were Rich,” a five-track Christmas EP, another three-song EP Backstory, and joined Luke Bryan on his “Proud To Be Right Here Tour.”
CRS Day One: Streaming Summit, Warner Luncheon, CRS Honors, Amazon Country Heat
/by LB CantrellCountry Radio Seminar kicked off Wednesday (Feb. 23) at the Omni Nashville Hotel. Below are some of the highlights from yesterday’s programming.
CRS Streaming Summit
Jordan Davis, Kacie Lehman, Lauren Black, Kimsey Kerr, and Allison Laughter speak at CRS. Photo: Courtesy of CRB/CRS | Kayla Schoen
The 2nd Annual CRS Streaming Summit kicked off CRS week with targeted, informative sessions, combined with star-studded afternoon and evening music events. The day started with the Streaming Summit Networking Breakfast, and included several insightful panels such as sessions called Twitch/Live Streaming for Music, Music Discovery Through Streaming: Spotify Fan Study, Talk Data To Me: 2021 In Review, and Road To The Next Big Thing: The Connected Car.
Esteemed panelists included Timothy Babbitt (General Motors), Lauren Black (Country Now), Sung Cho (ChartMetric), Emily Cohen (Amazon Music), Patch Culbertson (Big Loud), Tim Foisset (Warner Music Nashville), Margaret Hart (YouTube Music), Claire Heinichen (Spotify), Brandon Jarrett (MRC Entertainment), Haley Jones (MRC Entertainment), Alison Junker (Spotify), Soy Kim (Spotify for Artists), Allison Laughter (Red Light), Kacie Lehman (Twitch), Ali Matkosky (Big Loud), Annie Ortmeier (UMG Nashville), Ashton Pierre (AT&T), Vipin Reddy (UMG Nashville), Steve Stewart (Cox Media Group), Jonathan Tarlton (Spotify), Alina Thompson (Pandora), and Taylor Viegut (UMG Nashville).
Warner Music Nashville Luncheon
Pictured (L-R, back row): John Driskell Hopkins (Zac Brown Band), Matt Mangano (Zac Brown Band), Clay Cook (Zac Brown Band), Jimmy De Martini (Zac Brown Band), Ben Kline (WMN GM/Exec. VP); (L-R, middle row): Kristen Williams (WMN SVP, Radio), Chris Janson, Cody Johnson, Drew Parker, Randall King, Morgan Evans; (L-R, front row): Zac Brown, Ingrid Andress, John Esposito (WMN Chairman & CEO), Breland, Jessie James Decker, Michael Ray, Cris Lacy (Exec. VP, A&R). Photo: Courtesy of CRB/CRS | Kayla Schoen
A full lineup of talented artists showed out for the the 4th annual Warner Music Nashville Luncheon. Zac Brown Band headlined the event. CRS attendees were also treated to performances from Jessie James Decker, Morgan Evans, Cody Johnson, Chris Janson, Ingrid Andress, Breland, Randall King, Drew Parker, and Michael Ray.
CRS Honors
Pictured (L-R): CRS/CRB Board President Kurt Johnson; Jason Aldean; CRS Executive Director, RJ Curtis. Photo: Courtesy of CRB/CRS | Kayla Schoen
Jason Aldean was honored with the Country Radio Broadcasters (CRB) 2022 Artist Humanitarian Award at CRS Honors. The CRB Artist Humanitarian Award was created in 1990 by the organization’s board to honor those country music artists who have exhibited exceptional humanitarian efforts during their career.
Aldean also announced the Class of 2022 Country Radio Hall of Fame honorees during CRS Honors. This year’s list includes off-air honorees Becky Brenner and Barry Mardit, and on-air honorees Whitney Allen, Debbie Conner, Cathy Martindale, and Rachael & Grunwald. Read more about each inductee here.
Amazon Music Presents: Country Heat at CRS
Pictured (L-R): CRS Executive Director, RJ Curtis; Thomas Rhett; Conner Smith; Frank Ray; Morgan Wade; Amazon Music Head of Country Music, Michelle Tigard Kammerer. Photo: Courtesy of CRB/CRS | Kayla Schoen
Thomas Rhett headlined the 5th annual Amazon Music Presents: Country Heat at CRS. The evening show also featured performances from Frank Ray, Lily Rose, Conner Smith, and Morgan Wade. The evening was hosted by Kelly Sutton and Amber Anderson of Amazon Music’s original podcast, Country Heat Weekly.
CMHOF To Feature Rodney Crowell In Upcoming Installment Of Poets And Prophets
/by Lydia FarthingThe Country Music Hall of Fame and Museum will feature Rodney Crowell in its ongoing, in-depth interview series Poets and Prophets. The program is presented in support of the museum’s exhibit Outlaws & Armadillos: Country’s Roaring ’70s.
Taking place on Saturday, March 19 from 2:30-4 p.m. CT at the Museum’s Ford Theater, the program will include a performance and interview with Crowell, and will be illustrated with photos, film and recordings from the museum’s Frist Library and Archive.
Crowell started his career in Texas, playing drums in his father’s honky-tonk band at age 11. He has written more than a dozen No. 1 songs and a collection of hit songs, including “’Til I Gain Control Again” (Emmylou Harris, Crystal Gayle), “I Ain’t Living Long Like This” (Waylon Jennings), “Leaving Louisiana in the Broad Daylight” (Oak Ridge Boys), “I Don’t Know Why You Don’t Want Me” (Rosanne Cash), “Shame on the Moon” (Bob Seger), “Ashes by Now” (Lee Ann Womack), “Please Remember Me” (Tim McGraw), “Song for the Life” (Alan Jackson) and “Making Memories of Us” (Keith Urban).
As a recording artist, Crowell’s 1988 album Diamonds & Dirt yielded five No. 1 singles, including “After All This Time.” The song, which he also wrote, took home a Grammy for Best Country Song.
Admission to Poets and Prophets is included with museum admission and free to museum members. For more information, click here.
The Poets and Prophets series features a variety of songwriters who have made significant contributions to country music. Previous songwriters featured include Bill Anderson, Gary Burr, Wayne Carson, Buzz Cason, Roger Cook, Sonny Curtis, Bob DiPiero, Tom Douglas, Dallas Frazier, Shane McAnally, Lori McKenna, Roger Murrah, Paul Overstreet, Liz Rose, Mark D. Sanders, Jim Weatherly, Jimmy Webb, Craig Wiseman, and more.
Verge Records, ONErpm Team With 16camino For Radio Promotion Support
/by Lorie HollabaughVerge Records and parent company ONErpm have formed a new venture with indie artist development company 16camino. The partnership will provide country radio support exclusively for all Verge and select ONErpm artists.
The new partnership pairs Verge President/COO Mickey Jack Cones, ONErpm Founder/CEO Emmanuel Zunz and their staffs with 16camino co-founders and industry veterans John Ettinger and Ryan Barnstead.
The combined team will roll out songs from various Verge acts this year, including new music from Trace Adkins and newcomers Jay Allen and Scott Stevens.
Ettinger and Barnstead have both notched more than 30 No. 1 singles. Ettinger helped Bon Jovi secure a No. 1 on the country charts with “Who Says You Can’t Go Home,” guided three of Shania Twain’s albums to No. 1, and was instrumental in launching Sugarland, Billy Currington and Love & Theft, among others.
Barnstead has worked with numerous artists ranging from Miranda Lambert and Gretchen Wilson, where he earned the fastest-rising debut single for Wilson in chart history, to rock icons John Mellencamp and Bruce Springsteen.
“John and I have worked together for almost two decades. Having him and Ryan aboard to activate our all-in push with country radio is the perfect partnership,” shares Cones. “They work smart and effectively, always bringing the positive energy, are highly respected in the business and deliver results—all attributes we strive for at Verge and ONErpm.”
“I immediately contacted Mickey Jack when he and Emmanuel relaunched Verge,” adds Ettinger. “I saw they were after quality before anything else, quality music and quality relationships. We’re so happy and proud to join in that effort.”
Nashville Songwriter Kerry Chater Passes
/by Robert K OermannSinger-songwriter Kerry Chater has died at age 76.
Chater is best known as the co-writer of such chart-topping hits as “You Look So Good in Love” (George Strait, 1984), “I Know a Heartache When I See One” (Jennifer Warnes, 1979), “You’re the First Time I’ve Thought About Leaving” (Reba McEntire, 1983) and the Grammy nominated “I.O.U.” (Lee Greenwood, 1983).
Born in Vancouver, Canada in 1945, Kerry Michael Chater was trained as a keyboardist and arranger. In 1966 in San Diego, he became a founding member of the hit pop band Gary Puckett & The Union Gap (“Woman, Woman,” “Young Girl,” “Lady Willpower,” etc.). Chater played bass in the group, was its bandleader and co-wrote some of its album tracks.
He left the Union Gap in 1970 to pursue a solo career. Chater studied musical theater and wrote several shows that were produced in Los Angeles in the 1970s.
Signed by Warner Bros. Records, he debuted as a solo artist with the 1976 LP Part Time Love. Its title track appeared briefly on the pop charts in 1977. Love on a Shoestring was issued as his second album in 1978.
“I Know a Heartache When I See One” launched his hit-making career as a songwriter in 1979. In addition to its pop and country hit version by Jennifer Warnes, the song was recorded by Jo Dee Messina, Anne Kirkpatrick, Lisa Brokop, Charlotte Whitted, Donna Fargo, Sandy Posey and a number of others.
The big hits by Strait, McEntire and Greenwood ensued in the 1980s. The Strait hit “You Look So Good in Love” has also been sung by such artists as Blake Shelton, Craig Wayne Boyd and Jamie Foxx.
Kerry Chater also co-wrote Alabama’s 1989 No. 1 hit “If I Had You.” Other notable titles by him include Michael Martin Murphey’s “What She Wants” (1985), Charlie Rich’s “Even a Fool Would Let Go” (1980), Paul Brandt’s “I Meant to Do That” (1997) and Jessica Andrews’ “You Go First” (1999).
Among the others who have recorded his songs are Kenny Rogers, Joe Cocker, Mindy McCready, Restless Heart, Highway 101, Loretta Lynn & Conway Twitty, Anne Murray, Eddy Raven, Dolly Parton and Lorrie Morgan.
A resident of Music City since 1987, Chater married songwriter Lynn Gillespie, who became his composing collaborator. In recent years, they have been co-writing with bluegrass star Donna Ulisse.
The couple also wrote books. The Chaters have published three thrillers, Kill Point, Blood Debt and Fortune’s Web. In addition, they have collaborated on a musical and produced four Kerry Charter solo CDs.
Kerry Chater is an alumnus of Leadership Music. He passed away on Feb. 4. No cause of death has been disclosed.
He is survived by his wife Lynn Gillespie Chater, by daughter Jesse Kirchhoff, by sons Kerry Jr. and Christopher and by four granddaughters. Funeral arrangements were handled by Heritage Funeral Home in Columbia, Tennessee.
Spirit Music Group Acquires 90% Of Jason Aldean’s Recorded Music Catalog
/by LB CantrellJason Aldean
Spirit Music Group has announced the acquisition of the recorded music catalog of multi-Platinum recording artist, Jason Aldean.
The acquisition includes 90% of Aldean’s recorded music catalog and encompasses nine albums in total, including 24 No. 1 songs, 34 Top 10 songs, and six RIAA certified Platinum albums. Covering Aldean’s discography, starting from his self-titled debut Platinum album in 2005 through his ninth album, 9, the acquisition also includes neighboring rights and SoundExchange royalties. Aldean retains an income interest.
BBR Music Group still owns their portion of the catalog, as well as certain distribution rights with respect to Aldean.
After 17 years of recording, Aldean has established himself as one of music’s biggest superstars. Named ACM Artist of the Decade, the BMG/Broken Bow artist has made his own lane with his country music with rock sensibilities.
“It’s cool that a company like Spirit, that’s been around so long, has taken on my music catalog. It’s something really important to me, so I’m glad it’ll be looked after,” offers the country superstar.
“Jason Aldean has been a consistent hitmaker and trailblazer in country music for nearly two decades. His recordings have helped define the sound of modern country music. Spirit Music Group is excited to partner with Jason and we look forward to further championing these important recordings to the world,” adds Frank Rogers, CEO, Spirit Music Nashville.
“Jason Aldean is one of country music’s elite headliners and the breadth and depth of his work is undeniable,” says Jon Singer, Chairman, Spirit Music Group. “We welcome Jason’s impressive collection of works to the Spirit Music Group catalog and are committed to being an active partner in safeguarding and building upon the success of these recordings.”
Aldean was represented in the deal by Kent Marcus from Marcus & Colvin LLP. Spirit was represented by Reed Smith.
Kelly Clarkson Joins ACM Performance Lineup For Special Dolly Parton Tribute
/by Lydia FarthingOn top of an already star-studded lineup of performers and award nominees, two-time ACM award-winner Kelly Clarkson has joined the lineup for the upcoming 57th Academy of Country Music Awards.
Clarkson will perform a tribute to this year’s host and country icon Dolly Parton. The American Idol alum first shared the news on her nationally syndicated The Kelly Clarkson Show.
Clarkson, who has received five ACM Award nominations, has previously performed on the ACM stage at the 2019, 2018, 2013, and 2007 shows.
Previously announced performers include Parton with Kelsea Ballerini, co-hosts Gabby Barrett and Jimmie Allen, Jason Aldean, Breland, Kane Brown, Luke Bryan, Eric Church, Jordan Davis, Walker Hayes, Maren Morris, Brothers Osborne, Parmalee and Blanco Brown featuring Brooke Eden, Carly Pearce and Ashley McBryde, Thomas Rhett, Brittney Spencer, Chris Stapleton, Carrie Underwood, and Chris Young featuring Mitchell Tenpenny.
The 57th Academy of Country Music Awards will livestream exclusively on Prime Video, Monday, March 7 at 7 p.m. CT. The two-hour show, featuring more than 20 performances, will take place live without commercial interruption from Allegiant Stadium in Las Vegas.
My Music Row Story: Shane Stevens
/by LB CantrellShane Stevens
Shane Stevens is a Grammy and ACM nominated singer-songwriter who has written for a variety of country and pop acts, including Walker Hayes, Carrie Underwood, Lady A, Sara Evans, Kellie Pickler, Ronnie Milsap, Jo Dee Messina, Jordin Sparks, Fifth Harmony, Little Mix, Selena Gomez, Ariana Grande and Meghan Trainor.
The South Carolina native achieved his first No. 1 on the Billboard Hot Country Songs chart in 2010 with “American Honey,” performed by Lady A and co-written with Hillary Lindsey and Cary Barlowe. After achieving much success in writing country music, Stevens wanted to broaden his songwriting horizon and moved to Los Angeles in 2014 to pursue a new direction as a writer, vocal producer, and artist developer in the pop and R&B world.
While in Los Angeles, Stevens contributed songs to several pop artists, such as “Super Bad” and “Goodie Bag” by Jesse McCartney, “Everlasting Love” by Fifth Harmony, “Paper Doll” by Bea Miller, “Step On Up” by Ariana Grande, “Love Me or Leave Me” by Little Mix, “Woman Up” by Meghan Trainor, “Nobody” by Selena Gomez, and “I’ll Chase The Sky,” “No Better Feelin’” and “Neighsayer” on the 2017 My Little Pony soundtrack.
Stevens’ most recent accolades includes selling a country music musical movie to Paramount Pictures for which he wrote all original compositions alongside childhood friend Karyn Rochelle. He also co-wrote Walker Hayes‘ blockbuster hit “Fancy Like.”
MusicRow: Where did you grow up? What led you into music?
I was born in Myrtle Beach, South Carolina. I was raised in a little town called Calabash, North Carolina, right on the state line. My dad was a shrimper and my family worked in the restaurant business. My parents led praise and worship in church, so that’s how I fell in love with music. But I hated country music—because my parents loved country music!
My sister and I were obsessed with Michael Jackson. My fourth grade school teacher was the first person to ever play me George Michael, which became a massive influence for me. She said, “One day you’re going to be just like him. You’re gonna write songs!” She was talking to this little gay kid who was being cast out and bullied by everybody else, reassuring me that I was going to be okay.
When did you learn to love country music?
Around 1994, I was in high school. My best friend Tina got her driver’s license first, so I would ride with her in her Subaru to school. We had a deal that if she would listen to Mariah Carey, George Michael, Paula Abdul, and Whitney Houston on the way there, I would listen to her crappy country music on the way back. (laughs)
She turned me onto Wynonna Judd. She played me “Is There Life Out There?” by Reba, and some Dolly stuff. It’s Tina’s fault, because she made it cool for me. And then I became obsessed with the storytelling.
Shane Stevens, Karyn Rochelle
How did you get to Nashville?
I had started doing karaoke contests and stuff like that. I would sing Clint Black‘s “Put Yourself In My Shoes” and Alan Jackson‘s “Here In The Real World.” I just got really into it. I went to Opryland auditions in Myrtle Beach and I met who would become my best friend, Karyn Rochelle.
When I was done with school, she asked me if I wanted to go to Nashville with her. So I was 17 when I came to Nashville.
What happened when you got here?
[Karyn and I] were writing and I [decided to go] to hair school, for my “just in case career,” and ended up working for Earl Cox and their team at Trumps [Salon] doing hair extensions. We did Sara Evans, Tammy Wynette, everybody. All these women that I wanted to write songs for, I ended up being their hairdresser.
At the same time, Karyn had been at Crutchfield [Music Publishing] for three or four years, and then she got signed with Pat Finch over at Famous Music. By then I had several songs that I really was proud of and an artist project going. She took my music to Pat and I got a phone call from Pat. He said, “Come over, I want to meet you.” And then he signed me [to my first publishing deal].
After some time in Nashville, you moved to New York, before moving back to Nashville in 2006. What brought you back?
[While in New York], I ended up sending [a song I wrote] to my friend Beka Tischker, who worked at Major Bob. She gave it to Bob Doyle and then he wanted to hear more songs. So I sent some other songs that I had, he loved it, and then I got a phone call. I was sitting at the Good Enough to Eat [restaurant] on the upper west side, across from the bar that I worked in called The Raccoon Lodge. Mike Doyle called and said, “Hey Shane, this is Mike Doyle. I want to offer you a publishing deal.” That was in 2006, and that was the last time I did hair—other than for fun.
I was free as a bird in New York City. I got so much energy from it and I loved creating there, but I would come back to Nashville and stay for a few weeks at a time. Jesse Frasure was my day to day publisher, and they just put me with the right people.
Shane Stevens, Hillary Lindsey
You had your first country hit with Lady A’s “American Honey” in 2019. What was that like?
Blew my freaking mind. Hillary, Cary and I went to Gatlinburg together for the first time and we started writing that song there. We didn’t finish it, we just had a bunch of different ideas. We brought them all home and Jesse Frasure was like, “Y’all have got to finish that song. That’s the one.” That opened the floodgates and then everything really started to happen.
You co-wrote one of the biggest hits of 2021, “Fancy Like” by Walker Hayes. How fun has that ride been?
I knew [it was going to be a hit]. I knew it in my soul, and I knew it in my spirit. I told everybody in the room that day.
Walker says we wrote [“Fancy Like”] for people that go to strip malls; and we really did. We also wrote it for people like us, just normal country people [who feel like] going to an Applebee’s is an upgrade.
When you’re the songwriter, you’re not on the stage usually, so you’re not seeing the reaction of a crowd. But because of Instagram and TikTok, when a lot of that stuff can be so bad and hurtful, watching the joy from people and getting to experience it that way has been the coolest thing that has ever happened to me.
Selena Gomez & Shane Stevens in the studio.
In addition to your success in country music with songs recorded by Sara Evans, Carrie Underwood, Ronnie Milsap, and more, you’ve had a lot of success in the pop space as well, writing songs with and for Selena Gomez, Ariana Grande, Little Mix, and Jesse McCartney. Who have been some of your biggest champions?
Jesse Frasure, Mike Doyle, and Bob Doyle. Leslie Roberts gave me my first cut over at RCA, and then she went to BMI and she’s still been my champion. Whitney Daane really loves me and I really love her. Stephanie Wright and Allison Jones [are some more]. I have really great relationships with people. I’m not fair-weathered, I’m in it with ’em when it’s low, I’m in it with ’em when it’s high.
Pictured (top row, L-R): Bob Doyle (Owner, Purplebeat), Eric Daigle (Co-Head of Creative, Purplebeat), Mike Doyle (GM Purplebeat); (bottom row, L-R): Graham Kothman (Artist Relations Coordinator, Purplebeat ), Shane Stevens and Andy Friday (Co-Head of Creative, Purplebeat)
Now you’re back with Bob Doyle at Purplebeat.
Now I’m back with Bob. He hired my husband, Eric Daigle, to help run Purplebeat. It feels like I’m back with family and having this ride with “Fancy Like”—which came out the week that I signed my deal at Purplebeat. So we’re all winning together. It feels good to be on that team.
What is one of the proudest moments of your career?
There’s just too many. Most people would say their first No. 1 party or something, but I sang at Carnegie Hall a long time ago. I sang a solo on the stage of Carnegie Hall and Elaine Stritch introduced me. There was a snowstorm and what’s so crazy is I had holes in both bottoms of my shoes because I couldn’t afford to get new dress shoes. They were super cute, you would never know, but my socks were soaked. And I was singing this beautiful song on the Carnegie stage. That probably sounds silly to most people, because I had nowhere near made it, but being on a stage of that size was the biggest dream come true.