RJ Curtis
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.
RJ Curtis is a 44-year radio veteran and music industry professional who started working in radio as a teenager, eventually logging 30 years in major market radio (Los Angeles, Phoenix, San Antonio) in program director, operations manager, music director, and on-air talent roles.
In 2007, Curtis segued to broadcast and music industry trade journalism, reporting on and providing analysis for all aspects of the radio and record label industries. His 13-year tenure in this sector included oversight of trade journal brands Country Editor, Radio & Records Magazine, and contributor to sister publication, Billboard Magazine. He also served as VP, Radio of All Access Music Group and VP, Radio of Country Aircheck.
Curtis currently acts as Executive Director for Country Radio Broadcasters, Inc. (CRB), an industry service organization responsible for staging the annual Country Radio Seminar (CRS), a three-day educational event which gathers key business leaders in various radio and music industry fields, featuring presentations on best business practices, emerging technology, personal career development, and new music showcases. In February of 2021, CRS successfully pivoted to a virtual event due to the pandemic. CRS 2022 will return to a fully live, in-person event Feb. 23-25.
Curtis, a recent Country Radio Hall of Fame inductee, recently spoke to MusicRow about his journey and some of his favorite career moments.
MusicRow: Where did you grow up? How did you become interested in radio?
We moved a lot when I was a little kid, but we got to Southern California when I was 10. So that’s my growing up experience. I grew up in the San Fernando Valley, which meant Los Angeles radio.
I was always a radio listener. I grew up listening to some legendary signals, like KHJ. As I got older, I segued to the FM part of the dial, like KMET, KLOS, KFI, KABC…all of these big signals in Los Angeles with great personalities. So I really loved radio, but when I got into seventh grade, I met a friend named Rick Minyard. His dad, Ken, did mornings at KABC. I got to know Ken and I thought, ‘That’s a cool job.’ So it really started in seventh grade.
I’m very fortunate because I knew early on that that’s all I wanted to do. I didn’t have any distractions about that. I was narrowly focused on radio.
RJ Curtis with Eric Church at CRS 2020.
How did you start your career in radio?
I started my radio career in Los Angeles. It was my first semester at Valley College, working at the campus radio station KVCR. For a project, I had to go visit radio stations, so I would leave my name and number [at the stations].
KBIG in Los Angeles is now an AC station, but at the time it was a beautiful music station—beautiful music was a big format in the ’70s. A lot of people would call it elevator music because it’s all instrumentals. I got a job there when I was 18 years old working what was called the music line. There was no back-selling and jocking as it were in radio, there were announcers. They didn’t pre or back sell any music, so they hired college-aged kids to come sit by the phone and answer listeners who asked, ‘Hey, what was that song?’ That’s when I learned all about the core artists for beautiful music.
So that was my first job, and I got to know all the announcers. I made some great connections there. Then after that, I got a job outside of Los Angeles in San Bernardino on the air.
What brought you to Nashville?
I was in radio from 1977 until 2006, so for 30 years. In 2006, I was programming KZLA in Los Angeles. It was owned by Emmis and they flipped the format to a rhythmic AC format called Movin’. It was supposed to overtake radio, but it didn’t. [In the meantime], I had been thinking, ‘Am I going to keep doing this? What’s next?’ I had a really great contract and I was compensated for the next six months, so I had time to really think about it.
Radio & Records [Magazine] had undergone a sale. Billboard bought them in the summer of 2006. Lon Helton left R&R after 25 years and they didn’t have a country editor. So I was contacted by Erica Farber, who was running R&R then. We got together and within a few months I was working at R&R as a country editor. I did that for three years. What brought me to Nashville was when R&R shut down, Skip Bishop and Butch Waugh from Arista reached out. Butch said, ‘Have you ever thought about record promotion?’ They moved me out here in 2009. I did promotion for about 18 months and didn’t like it. I kind of knew I wouldn’t, but I’m glad I did it.
It seems like your time at R&R opened the door for you to become VP, Country at Country Aircheck and then the Nashville Editor for the All Access Music Group.
When I was at Arista, I didn’t love record promotion and I didn’t miss radio, but I missed writing about it. I had really taken to it. When I left to KZLA and then ended up at R&R, I didn’t know what to expect from writing about it but not being in radio. But it was such a seamless, smooth, good transition. I enjoyed being exposed to [the whole industry]. When you’re at a radio station, you’re dialed in on that thing. You’re looking at your own station, your own market, and your own team, and you can miss a lot of things that are happening out in the world.
I went to Aircheck in the early part of 2011 and did that until Joel Denver called and asked if I wanted to run the Nashville office for All Access. I had a great time working with Lon and Chuck [Aly], but it was an opportunity to be the editor.
RJ Curtis with Carrie Underwood at CRS 2020.
In 2018 it was announced that you would be succeeding Bill Mayne as the Executive Director of Country Radio Broadcasters/Country Radio Seminar. How did that come to be?
It’s interesting because that journey really started when I first started going to CRS in 1985, although I didn’t know it. I went there as a radio person in 1985. Bill Mayne, who was my program director at KZLA, took me. I went the next year too and started getting involved in helping out with sessions, doing room counts and all those kinds of things. I did that for a long time and then I got on the agenda committee for two years in the late ’90s.
I was elected to the board in 1999. I was 20-year board member, so I became super involved in the format. I became a member of the executive committee, and when you’re on the executive committee, you’re privy to everything. Within three years of being on the board, I was elected president of CRB. So I was a three-year president, a vice president, and then I chaired the Hall of Fame committee. Unbeknownst to me, it prepared me for this role. So in 2018, when Bill Mayne decided to retire, I said ‘I’m stepping up for this. I’ve taken all the steps necessary to be qualified for this.’ The transition from a board member to the executive director has been very seamless.
Next week is the 2022 Country Radio Seminar. How would you describe the work that goes into planning that conference?
I don’t know if it’s the greatest analogy in the world, but I remember growing up in Southern California and watching the Tournament of Roses Parade. Bob Eubanks and Stephanie Edwards would host the parade and they’d say, ‘Right after the parade ends, starting tomorrow, they start planning for next year.’ I thought that was ridiculous, it was a year away! But [what we do is] similar to that in that CRS ends, the staff takes a few days off, we come back in the middle of the following week and [review]. We break down this seminar into certain segments such as registration, sessions, and other things like that. We spend a few weeks deconstructing each of those components and then we start working on how to improve it the next year. So it really is a year long process—except we don’t have a parade at CRS—maybe we should?
When do you feel most fulfilled in your new role?
It’s not the only day [I feel this way], but there is a moment when New Faces ends and I’m with my team. I make it a point to say, ‘Hey everybody, after New Faces and after we do the pictures with the artists and all that stuff, we’re meeting in the bar and I’m buying everyone a cocktail. We’re gonna raise a glass.’ It is very satisfying.
Also the following morning, we typically have a board meeting and we spend three hours deconstructing on the immediate takeaways of the seminar. That’s always fun. Hearing feedback and talking about the event is very fulfilling because it’s a lot of work to get to that point. When it’s done and we know some things have gone exceptionally well, that is a great feeling.
RJ Curtis at the Country Radio Hall of Fame induction dinner.
Who have been some of your biggest mentors?
Bill Mayne is a huge influence on my life. I met him when I was in my 20s, he was my program director for a while at KZLA and he recognized something in me as a programmer and a leader.
He handed me off to Larry Daniels at KNIX. I left KZLA to go work for Larry in Phoenix. He was an amazing example and mentor, he was terrific. He referred to me for my six years at KNIX as ‘his project.’ He was great: an amazing programmer, a fantastic manager, and a great person. In the same organization, Michael Owens was our general manager. He was an amazing broadcaster and incredible business man.
What’s some of the best advice you’ve ever gotten?
It’s not so much advice as it is examples of how to handle or approach certain things. Bill Mayne gave me some great advice.
Larry and Michael taught me this overall style and approach to radio of being prepared, taking care of every detail, and more. And in terms of the artists, it was treating every artist that came through the radio station with respect. No matter if [they had a label deal or not], any artist that came into the radio station was treated with a lot of respect.
What has been one of your proudest moments in your career?
It was in October, being inducted into the Country Radio Hall of Fame. I’ve been involved with that event for a long time. I’ve been on the selection committee and I’ve produced the dinner since 2007. To then be on the other side of it as an inductee was really wild. It blew my mind to be nominated and then to be selected… I’m really proud of that because when you look at the criteria of it, it’s about making a significant contribution and furthering the country music industry. To be considered one of those people, it’s still hard to think about because of the people that I know in the Hall of Fame—it’s hard for me to put myself in that category. It was a very wonderful night and really a proud moment.
My Music Row Story: CRS’ RJ Curtis
/by LB CantrellRJ Curtis
RJ Curtis is a 44-year radio veteran and music industry professional who started working in radio as a teenager, eventually logging 30 years in major market radio (Los Angeles, Phoenix, San Antonio) in program director, operations manager, music director, and on-air talent roles.
In 2007, Curtis segued to broadcast and music industry trade journalism, reporting on and providing analysis for all aspects of the radio and record label industries. His 13-year tenure in this sector included oversight of trade journal brands Country Editor, Radio & Records Magazine, and contributor to sister publication, Billboard Magazine. He also served as VP, Radio of All Access Music Group and VP, Radio of Country Aircheck.
Curtis currently acts as Executive Director for Country Radio Broadcasters, Inc. (CRB), an industry service organization responsible for staging the annual Country Radio Seminar (CRS), a three-day educational event which gathers key business leaders in various radio and music industry fields, featuring presentations on best business practices, emerging technology, personal career development, and new music showcases. In February of 2021, CRS successfully pivoted to a virtual event due to the pandemic. CRS 2022 will return to a fully live, in-person event Feb. 23-25.
Curtis, a recent Country Radio Hall of Fame inductee, recently spoke to MusicRow about his journey and some of his favorite career moments.
MusicRow: Where did you grow up? How did you become interested in radio?
We moved a lot when I was a little kid, but we got to Southern California when I was 10. So that’s my growing up experience. I grew up in the San Fernando Valley, which meant Los Angeles radio.
I was always a radio listener. I grew up listening to some legendary signals, like KHJ. As I got older, I segued to the FM part of the dial, like KMET, KLOS, KFI, KABC…all of these big signals in Los Angeles with great personalities. So I really loved radio, but when I got into seventh grade, I met a friend named Rick Minyard. His dad, Ken, did mornings at KABC. I got to know Ken and I thought, ‘That’s a cool job.’ So it really started in seventh grade.
I’m very fortunate because I knew early on that that’s all I wanted to do. I didn’t have any distractions about that. I was narrowly focused on radio.
RJ Curtis with Eric Church at CRS 2020.
How did you start your career in radio?
I started my radio career in Los Angeles. It was my first semester at Valley College, working at the campus radio station KVCR. For a project, I had to go visit radio stations, so I would leave my name and number [at the stations].
KBIG in Los Angeles is now an AC station, but at the time it was a beautiful music station—beautiful music was a big format in the ’70s. A lot of people would call it elevator music because it’s all instrumentals. I got a job there when I was 18 years old working what was called the music line. There was no back-selling and jocking as it were in radio, there were announcers. They didn’t pre or back sell any music, so they hired college-aged kids to come sit by the phone and answer listeners who asked, ‘Hey, what was that song?’ That’s when I learned all about the core artists for beautiful music.
So that was my first job, and I got to know all the announcers. I made some great connections there. Then after that, I got a job outside of Los Angeles in San Bernardino on the air.
What brought you to Nashville?
I was in radio from 1977 until 2006, so for 30 years. In 2006, I was programming KZLA in Los Angeles. It was owned by Emmis and they flipped the format to a rhythmic AC format called Movin’. It was supposed to overtake radio, but it didn’t. [In the meantime], I had been thinking, ‘Am I going to keep doing this? What’s next?’ I had a really great contract and I was compensated for the next six months, so I had time to really think about it.
Radio & Records [Magazine] had undergone a sale. Billboard bought them in the summer of 2006. Lon Helton left R&R after 25 years and they didn’t have a country editor. So I was contacted by Erica Farber, who was running R&R then. We got together and within a few months I was working at R&R as a country editor. I did that for three years. What brought me to Nashville was when R&R shut down, Skip Bishop and Butch Waugh from Arista reached out. Butch said, ‘Have you ever thought about record promotion?’ They moved me out here in 2009. I did promotion for about 18 months and didn’t like it. I kind of knew I wouldn’t, but I’m glad I did it.
It seems like your time at R&R opened the door for you to become VP, Country at Country Aircheck and then the Nashville Editor for the All Access Music Group.
When I was at Arista, I didn’t love record promotion and I didn’t miss radio, but I missed writing about it. I had really taken to it. When I left to KZLA and then ended up at R&R, I didn’t know what to expect from writing about it but not being in radio. But it was such a seamless, smooth, good transition. I enjoyed being exposed to [the whole industry]. When you’re at a radio station, you’re dialed in on that thing. You’re looking at your own station, your own market, and your own team, and you can miss a lot of things that are happening out in the world.
I went to Aircheck in the early part of 2011 and did that until Joel Denver called and asked if I wanted to run the Nashville office for All Access. I had a great time working with Lon and Chuck [Aly], but it was an opportunity to be the editor.
RJ Curtis with Carrie Underwood at CRS 2020.
In 2018 it was announced that you would be succeeding Bill Mayne as the Executive Director of Country Radio Broadcasters/Country Radio Seminar. How did that come to be?
It’s interesting because that journey really started when I first started going to CRS in 1985, although I didn’t know it. I went there as a radio person in 1985. Bill Mayne, who was my program director at KZLA, took me. I went the next year too and started getting involved in helping out with sessions, doing room counts and all those kinds of things. I did that for a long time and then I got on the agenda committee for two years in the late ’90s.
I was elected to the board in 1999. I was 20-year board member, so I became super involved in the format. I became a member of the executive committee, and when you’re on the executive committee, you’re privy to everything. Within three years of being on the board, I was elected president of CRB. So I was a three-year president, a vice president, and then I chaired the Hall of Fame committee. Unbeknownst to me, it prepared me for this role. So in 2018, when Bill Mayne decided to retire, I said ‘I’m stepping up for this. I’ve taken all the steps necessary to be qualified for this.’ The transition from a board member to the executive director has been very seamless.
Next week is the 2022 Country Radio Seminar. How would you describe the work that goes into planning that conference?
I don’t know if it’s the greatest analogy in the world, but I remember growing up in Southern California and watching the Tournament of Roses Parade. Bob Eubanks and Stephanie Edwards would host the parade and they’d say, ‘Right after the parade ends, starting tomorrow, they start planning for next year.’ I thought that was ridiculous, it was a year away! But [what we do is] similar to that in that CRS ends, the staff takes a few days off, we come back in the middle of the following week and [review]. We break down this seminar into certain segments such as registration, sessions, and other things like that. We spend a few weeks deconstructing each of those components and then we start working on how to improve it the next year. So it really is a year long process—except we don’t have a parade at CRS—maybe we should?
When do you feel most fulfilled in your new role?
It’s not the only day [I feel this way], but there is a moment when New Faces ends and I’m with my team. I make it a point to say, ‘Hey everybody, after New Faces and after we do the pictures with the artists and all that stuff, we’re meeting in the bar and I’m buying everyone a cocktail. We’re gonna raise a glass.’ It is very satisfying.
Also the following morning, we typically have a board meeting and we spend three hours deconstructing on the immediate takeaways of the seminar. That’s always fun. Hearing feedback and talking about the event is very fulfilling because it’s a lot of work to get to that point. When it’s done and we know some things have gone exceptionally well, that is a great feeling.
RJ Curtis at the Country Radio Hall of Fame induction dinner.
Who have been some of your biggest mentors?
Bill Mayne is a huge influence on my life. I met him when I was in my 20s, he was my program director for a while at KZLA and he recognized something in me as a programmer and a leader.
He handed me off to Larry Daniels at KNIX. I left KZLA to go work for Larry in Phoenix. He was an amazing example and mentor, he was terrific. He referred to me for my six years at KNIX as ‘his project.’ He was great: an amazing programmer, a fantastic manager, and a great person. In the same organization, Michael Owens was our general manager. He was an amazing broadcaster and incredible business man.
What’s some of the best advice you’ve ever gotten?
It’s not so much advice as it is examples of how to handle or approach certain things. Bill Mayne gave me some great advice.
Larry and Michael taught me this overall style and approach to radio of being prepared, taking care of every detail, and more. And in terms of the artists, it was treating every artist that came through the radio station with respect. No matter if [they had a label deal or not], any artist that came into the radio station was treated with a lot of respect.
What has been one of your proudest moments in your career?
It was in October, being inducted into the Country Radio Hall of Fame. I’ve been involved with that event for a long time. I’ve been on the selection committee and I’ve produced the dinner since 2007. To then be on the other side of it as an inductee was really wild. It blew my mind to be nominated and then to be selected… I’m really proud of that because when you look at the criteria of it, it’s about making a significant contribution and furthering the country music industry. To be considered one of those people, it’s still hard to think about because of the people that I know in the Hall of Fame—it’s hard for me to put myself in that category. It was a very wonderful night and really a proud moment.
Creative Nation Announces Staff Addition, Promotion
/by Lorie HollabaughBrandon Gill, Anna Blake Pearson. Photo: Spencer Combs
Creative Nation has hired Anna Blake Pearson as Manager, Management and Records and promoted Brandon Gill to Senior Vice President, Management and Records.
Pearson graduated in 2018 from the University of Alabama with a degree in Public Relations. Following graduation she worked for the Country Music Association in Community Outreach until shifting gears to become a Production Assistant on the road for Old Dominion. As a Manager on the Management and Records team, Pearson will oversee day-to-day responsibilities for the Creative Nation artist clients.
Pearson will report to Gill, who will continue to lead the Management and Records division in overseeing the artists’ careers and securing outside opportunities.
“Anna Blake brings a passion for artists and creatives that’s infectious. Her collaborative spirit and past experience will be a vital asset to our Management and Records team as we continue to serve our artists. We are excited to welcome her to the Creative Nation team,” Gill says.
“I have really enjoyed working alongside Brandon Gill these past five years and look forward to expanding our artist development, management and records partnership. His experience and leadership has made such a positive impact on our team and the service we provide our CN songwriters and artists,” adds Co-Founder and CEO, Beth Laird.
Creative Nation, which celebrated its tenth anniversary this year, has celebrated 20 No. 1 songs, over 60 radio singles, and songs recorded by Jason Aldean, Luke Bryan, Kenny Chesney, Eric Church, John Legend, Maren Morris, Tim McGraw, Ingrid Michaelson, Blake Shelton, Harry Styles, Carrie Underwood and many others. Creative Nation’s roster includes Barry Dean, Casey Brown, Derek Bahr, Jonathan Hutcherson, Kassi Ashton, Lori McKenna, Luke Laird, Steve Moakler, and Travis Wood.
Big Loud Records Forms In-House Publicity Department
/by Lydia FarthingNashville-based independent label Big Loud Records has formed its own in-house publicity department.
The label is currently assembling a team and seeking applicants with experience at every level, including a Vice President of Media Relations. All interested candidates can send resumes here.
Since first launching in 2015, the company has amassed more than 14 billion global streams; 11 No. 1 U.S. airplay and 15 No. 1 Canadian airplay hits; and an array of Gold, Platinum, and multi-Platinum certifications.
The Big Loud Records roster includes Morgan Wallen, Jake Owen, Chris Lane, Hardy, Hailey Whitters, Mason Ramsey, MacKenzie Porter, Ernest, Ben Burgess, Ashland Craft, Larry Fleet, Sean Stemaly, Shawn Austin, Blame My Youth, and Lily Rose. The label also partnered with ACM award-winning songwriter Nicolle Galyon to create the female-driven label Songs & Daughters, which signed newcomer Tiera Kennedy to its publishing arm in partnership with Big Loud Publishing and Warner Chappell Music.
Tanya Tucker Slates Spring Ryman Show To Celebrate 50th Anniversary of ‘Delta Dawn’
/by Lorie HollabaughTanya Tucker will return to the Ryman Auditorium on April 10 for a special show to commemorate the 50th anniversary of her iconic classic, “Delta Dawn,” along with a few surprise guests.
“There’s no room in the world like Ryman Auditorium. Every time I walk on that stage I feel the energy of all the legends who’ve graced the The Mother Church of Country Music before me. I can’t wait to return in April and bring a few friends with me!” Tanya shares.
Tickets for the Nashville Ryman date are on sale Friday, Feb. 18 at 12 p.m. CT.
Also on the burner for the country legend is a new documentary, The Return of Tanya Tucker, which will debut at South by Southwest Film Festival in Austin this March. The documentary profiles Tucker’s recording process with Brandi Carlile for her 2019 album, While I’m Livin’, which received two Grammy Awards for Best Country Album and Best Country Song for “Bring My Flowers Now.”
Tucker also recently announced her 2022 “Hard Luck Tour” dates, with several shows on sale now.
Studio2Bee Entertainment Promotes Two, Adds One [Exclusive]
/by Lydia FarthingPictured (L-R): Kylee Laynee Higgins, Jenn Littleton, Chris Waters
Nashville-based artist development conglomerate Studio2Bee Entertainment has expanded its team with two new hires and a promotion to their Executive Staff.
Jenn Littleton has been added as Sr. VP, Artist Development and Marketing; Chris Waters assumes the role of Sr. Director, National Promotion; and Kylee Laynee Higgins has been promoted to Sr. Director, National Modern Media and Creative. They will all be working with newly-appointed Executive Vice President/General Manager Glenn Noblit.
A seasoned Marketing and A&R executive, Littleton joins the team after stops as Sr. Marketing Director/A&R at Geffen Records, as well as GM for labels including Ironworks (Kiefer Sutherland), RH Music (Restoration Hardware), and jk livin (Matthew McConaughey). Littleton will continue to run her own marketing, management and consulting company, Red 4 Music. She can be reached at Jenn@Studio2bee.com.
“Jenn’s major label, top level management experience with exposing artists from multiple genres brings acute creative fire-power to our developing roster,” says Studio2Bee CEO Skip Bishop.
A radio promo veteran, Waters comes from Pearl Records where he was Director, Regional Promotion. He has also had posts at Show Dog Nashville, Warner Music Group, Sony Music Entertainment, and Cumulus Media. Waters can be reached at Chris@Studio2Bee.com.
“Chris is one of the most creative and gifted promotion minds in the industry,” adds Bishop. “His dynamic motivational drive makes him the crystal-clear choice to lead the new expanded promotional team.”
Noblit offers: “I’m thrilled to be working with my Pearl brother again. Chris is one of the best, most tenacious and respected promotion leaders in our format.”
Additionally, Higgins, who joined Studio2Bee in 2019, has been promoted from Operations and Head of Modern Media to Sr. Director, National Modern Media and Creative. She can be reached at Kylee@studio2bee.com.
“Kylee came to us as a talented singer-songwriter and over the years has become a fresh perspective contributor to our executive strategy team,” Bishop offers.
Warner Music Nashville Restructures Radio Team
/by LB CantrellWarner Music Nashville has reimagined its radio team to reflect the ever-changing landscape of country radio.
Sr. VP Radio Kristen Williams leads the restructuring effort that will create a dynamic and future-facing two-pronged structure within her radio department. The model will supplement the traditional geographic method to securing airplay with a freshly designed account-focused approach.
“Our new model is simultaneously conducive to curated relationships with individual radio stations and high-level, detailed collaboration with radio chains,” Williams says. “With an added emphasis on a national approach, the radio department will be able to super-serve radio on all levels while being focused, creative and nimble with the music and new artists we bring to the marketplace.’
Anna Cage, currently National Director for the WMN radio team, will be promoted to VP Radio. Cage will oversee the WEA, WAR and WMN teams, each of which will have three regional managers and designated coordinators. Stephanie Hagerty will be promoted from Regional Manager to National Director, Radio for the WEA team; and Michael Chase will continue to lead the WAR team as National Director. Williams and Cage are seeking qualified applicants for the role of National Director, Radio for the WMN team.
Tom Martens, currently VP Radio, will transition to the newly created VP, Radio Accounts role. He will manage three directors, each of whom will oversee relationships with radio chains. The accounts team will work on both securing airplay and curating marketing opportunities. Lou Ramirez will be promoted from Regional Manager to Director, Radio Accounts; James Marsh will transition from National Director to Director, Radio Accounts; and Shari Roth will transition from National Director to Director, Radio Accounts.
In addition to these moves, the department will add a radio-specific analyst to gather and interpret key data in order to provide even more rich and digestible data to support radio promotion efforts across the roster.
Exec. VP / GM, Ben Kline, says: “At Warner Music Nashville, we’re a collective group of music lovers who thrive on artistry but recognize the importance supporting our releases with research. Adding this critical resource to the radio department further emphasizes our commitment to radio by delivering them transparent and effective data.”
“It takes a bold move to impact change, and Warner Music Nashville has always been willing to do things differently,” adds WMN Chairman & CEO, John Esposito. “We pride ourselves on being early to identify where the industry is going and taking the steps to meet it there. When we saw that country music was expanding globally, for example, we created touring and international departments. We are now faced with an increasingly centralized radio landscape. Thanks to the expertise, leadership and passion of Kristen Williams, we have designed a targeted approach to meeting the needs of artists and partners at every level.”
Concord Announces Multiple Executive Promotions
/by LB CantrellConcord has announced ten staff promotions, including three in Nashville.
Among the promotions is Brian Buchanan, who has been upped to VP, Income Tracking in Concord’s Nashville office. Buchanan joined the company in October 2018 as Revenue Analyst after spending two years at Big Deal Music Group. Leading the Income Tracking Department, his main responsibilities will include taking large sets of data and extracting from them valuable information about the company’s revenue that management can use to make business decisions. Previously, Buchanan spent time at Sussman & Associates, BMI and CMT/MTV Networks.
Additionally, Mark Copeland rises to VP, Rights Optimization in the Nashville office. Copeland started with The Bicycle Music Company in 2013, which merged with Concord in 2015. Launching Concord’s first ever Rights Optimization department in 2018, Copeland and his team have developed a vibrant business model managing Concord’s video rights and revenue that continues to grow with the meteoric rise of short form creative at YouTube, Facebook and TikTok. Previously, Copeland led the catalog division for the legendary Priority Records and was also the GM of an indie label which landed first ever Grammy nominations for George Lopez and Robby Krieger.
Finally, Nashville’s Brandon Schott has been promoted to VP, Licensing. Schott joined Concord in the summer of 2020 with 20+ years experience in the entertainment industry, both as an independent songwriter and as a music licensing expert at ole / Anthem and Warner Chappell. Working alongside Sr. VP Kelly Baden, Schott was instrumental in building out and managing Concord’s new Nashville-based clearance department, assembling an incredible team of licensing talent and ushering in a new era in Concord’s synchronization story. In addition, working collaboratively with Concord’s publishing and recorded music creative teams, he secured major advertising opportunities for its celebrated songwriters and artists.
Pictured (L-R): Brian Buchanan, Mark Copeland, Brandon Schott
In addition to the promotions affecting Nashville, Concord elevated Kay Anderson to VP, Marketing, Craft Recordings, and Yimage Yousuf to Vice President, Repertoire Management in the Los Angeles Office.
In Concord’s New York office, Caroline Barnard was upped to Sr. VP, Business & Legal Affairs; Rob Dekker to VP Marketing, KIDZ BOP; Jackie Turner to VP, KIDZ BOP Partnerships; and Robin Walton to VP, Business & Legal Affairs, Theatrical. Fred Gillham was promoted to Managing Director, Recorded Music, Europe & UK, in the London office.
“2021 was yet another transformational year,” says Concord CEO, Scott Pascucci. “Concord’s staff worked relentlessly for all of our artists across the globe.”
Concord President, Bob Valentine, adds: “The employees who earned these promotions exemplify why Concord continues to grow rapidly—a persistent focus on our core values of championing artists, elevating voices, and impacting culture. Congratulations and thank you for everything that you did to earn your promotions.”
CMHOF Names 2022 Troubadour Advisory Council & Leadership Team
/by Lorie HollabaughThe Country Music Hall of Fame and Museum’s Troubadour Advisory Council has appointed its 2022 members, as well as its leadership team.
Troubadour members enjoy quarterly networking events at the Country Music Hall of Fame and Museum. They connect with other industry professionals, ages 21-45, and play a part in supporting the museum’s educational mission. Membership directly supports the museum’s Community Counts program, which provides free museum admission to youth from Davidson County and bordering counties.
The leadership team includes Patrick Thomas, Chair (President, Silverfish Media); Zach Farnum, Vice-Chair (Owner, 117 Entertainment); Katie Cline Moore, Vice-Chair (Owner, Cline Co Business & Financial Management); and Mary Lauren Teague, Vice-Chair (Owner, Dotted i Entertainment).
This newly appointed leadership team will work closely with the Troubadour Advisory Council’s 2022 members.
The 2022 Troubadour Advisory Council members include:
Scott Adkins (President/CEO, Adkins Publicity)
Chris Beverly (Attorney, King & Ballow Law Offices)
Lyndsay Church (Director, Regional Promotion, Columbia Nashville, Sony Music Nashville)
Kasey Cleckler (Owner, Executive + Performance Coach, Cape + Anchor)
Nina Jenkins (Creative Director, Jody Williams Songs)
Elizabeth Lombardi (Attorney, Milom Horsnell Crow Kelley Beckett Shehan PLC)
Brenden Oliver (Sr. Manager of Awards & Strategic Initiatives, Country Music Association)
Will Overton (A&R Director, Warner/Chappell Music)
Carter Robinson (SVP Portfolio Manager, Music Entertainment & Sports Group, Pinnacle Bank)
Molly Shehan (Partner, Milom Horsnell Crow Kelley Beckett Shehan PLC)
Casey Thomas (Director, Publicity and Creative, Monument Records)
Josh Tomlinson (Director – Creative, BMI)
Torianne Valdez (Sr. Program Manager, Musicians on Call)
Craig Shelburne Joins AmericanaFest Team As Festival Producer
/by Lorie HollabaughCraig Shelburne
Craig Shelburne has been named the Festival Producer for AmericanaFest, set for Sept. 13-17 in Nashville. Reporting to Executive Director Jed Hilly, Shelburne will be responsible for producing the nighttime showcases during the event.
Shelburne has been writing about roots music for more than 25 years and, in addition to his new role, also currently serves as Managing Editor at the Bluegrass Situation. Other career stops include a VP role at Richlynn Group and a general manager position at MusicRow Magazine. He also spent 13 years in an editorial role at CMT.com, where he launched a roots music blog called CMT Edge and co-produced the online series Concrete Country.
The Nashville-based journalist has written the script for the International Bluegrass Music Association Awards five times, and co-produced the 2021 show in Raleigh, North Carolina. In addition, he has written for the Academy of Country Music, the Country Music Hall of Fame and Museum, the Grand Ole Opry, and the Nashville Scene. He is also the author of an upcoming biography of country legend Don Gibson.
Official showcase applications for AmericanaFest 2022 are open now.
IBMA Foundation Launches J.D. Crowe Banjo Scholarship
/by Lydia FarthingJ.D. Crowe. Photo: Courtesy of IBMA Foundation
The IBMA Foundation has launched the J.D. Crowe Banjo Scholarship. Kentucky bluegrass musician Arthur Hancock III made the initial $20,000 donation to create the fund and endow the scholarship for banjo players for generations to come.
The scholarship’s namesake, Bluegrass Hall of Fame member J.D. Crowe, passed away in December of 2021. Originally from Lexington, Kentucky, and inspired by the playing of Earl Scruggs, Crowe began performing as a teenager with Esco Hankins, Benny Williams, Curly Parker and Pee Wee Lambert before joining Jimmy Martin’s Sunny Mountain Boys in 1954. After a 1955 stint with Mac Wiseman, he re-joined Martin’s band in 1956. In 1961, Crowe formed the Kentucky Mountain Boys, changing the band name to J.D. Crowe & the New South in 1971.
He received a Grammy award in 1983 and an honorary doctorate from the University of Kentucky in 2012. He was also a member of the landmark Bluegrass Album Band alongside Doyle Lawson, Tony Rice, Jerry Douglas, Bobby Hicks, Todd Phillips, and later, Vassar Clements and Mark Schatz.
“J.D. is a legend in bluegrass music, and I followed him all those years since the ’60s, watching him inspire and put together bands with so many important and influential musicians,” Hancock shares. “Outside of Nashville, Lexington became the mecca for bluegrass music, and it was all spearheaded and organized by J.D. Crowe. I am proud to have called him my friend and take great pleasure and pride in having seen this original art form flourish and become world famous, in no small part due to the lifelong dedication and expertise of J.D.”
IBMA Foundation board chair Fred Bartenstein offers: “We are so pleased about the establishment of a scholarship specifically for bluegrass banjo players in memory of the great J.D. Crowe. He taught and mentored so many banjo players during his lifetime; it is appropriate that a scholarship named for him will continue to educate and influence bluegrass banjo players for generations to come. We thank the Hancock family for their generous donation to found the J.D. Crowe Banjo Scholarship, and it is our hope that other bluegrass colleagues, friends and fans of J.D. Crowe will also support this scholarship.”
The J.D. Crowe Banjo Scholarships will be awarded to individuals planning to study the banjo on the college level or play the banjo in a college-level bluegrass ensemble. Applicants must demonstrate a high level of performance skills on the five-string banjo and plan to become involved in the bluegrass music industry on a professional level.
The first scholarship will be awarded in August 2022 for the fall semester of study. Applications will open on March 1 and the deadline will be June 1.