Bill Anderson at the opening celebration for Bill Anderson: As Far as I Can See at the Country Music Hall of Fame and Museum. Photo: Jason Kempin/Getty Images for the Country Music Hall of Fame and Museum
Thursday night the great Whispering Bill Anderson was celebrated at the opening of his new Country Music Hall of Fame and Museum Exhibit. Titled As Far As I Can See, the exhibit features memorabilia including Anderson’s stage-wear, lyric sheets, awards, and many other unique pieces. It opens to the public today (Dec. 3) and runs through March 19, 2023.
Artists and industry members came out in droves—and braved a Predators game crowd that swarmed Demonbreun—to show their love and support to the ever-so-lovable Bill Anderson. Kyle Young, CEO of the Country Music Hall of Fame and Museum, spoke about Anderson’s career and his value to the country music industry, not just because of his longevity, but because of the gift of his songs.
Pictured (L-R): Scott Adkins, Lee Willard, Jon Randall, Trisha Yearwood, Bill Anderson, Carly Pearce. Photo: Derrek Kupish
Some of Nashville’s world-class singers were on hand to tribute Anderson. Trisha Yearwood did an awesome cover of Connie Smith‘s “Once A Day,” the tune Anderson wrote that launched Smith’s career. Anderson also helped Smith—now both members of the CMHOF—land her first recording contract. Vince Gill sang “Which Bridge to Cross (Which Bridge to Burn),” a song Gill wrote with Anderson and recorded.
Jon Randall and Carly Pearce did a beautiful take on “Whiskey Lullaby.” Randall, Anderson’s co-writer on the iconic tune, was honored to perform it for his collaborator.
Anderson was emotional and well-spoken when he took the stage. He thanked what seemed like an endless group of people, careful not to leave anyone out.
“I’ve heard all my life that at some point just before a person dies, their life passes in front of their eyes,” Anderson said. “Somebody better check my pulse because a couple hours ago when I laid eyes on my exhibit for the first time, I felt like my life—or at least the very best part of it—was passing right before my eyes.
“To see 60-plus years come alive again in this incredible display truly took my breath away. The title of this exhibit As Fas As I Can See, but in all honesty, I never saw this far.”
A few weeks back, Anderson sat down with MusicRow in preparation for the exhibit opening, to talk about the last 60 years and some of his favorite memories.
MusicRow: When did you decide you wanted to be a country music singer?
I’m still trying to figure out what I want to be when I grow up. I’ve just postponed growing up. It all just kind of happened, really and truly. There were three things in my life growing up that I loved: I loved country music, I loved sports—particularly baseball—and I loved to write.
I would have been happy doing any sort of combination that involved any one of those three. But when I wrote “City Lights” and it hit, the path was defined for me.
Your recording of “City Lights” hit while you were still in college at the University of Georgia. Then it became a hit with Ray Price. How did you manage that?
I wrote the song in Commerce, Georgia on top of the little hotel where I was living. They were building a TV studio in Athens, which is now a Georgia Public Television educational station, but they didn’t have the studio finished. They had the audio in, but they didn’t have the video components. A friend of mine who was a disc jockey on a station in Athens said, “Hey, we can get in that studio. They want somebody to come in there and test the equipment.” So we went to this studio, which is still there, and recorded two songs.
The songs weren’t published or anything but I sent out the tape. A man down in Texas named Bob Tanner at a little record label called TMT Records and Publishing Company wrote me back and said, “Hey, you never know where the next hit is coming from!” The next thing I knew, he published the songs and put out my record and my record got to Nashville.
I sent [“City Lights”] to reporter Charlie Lamb to be reviewed in the Music Reporter. He liked it so much he took it to Chet Atkins over at RCA. Chet was producing an artist at that time named Dave Rich on RCA, and Chet recorded “City Lights” with him.
Ernest Tubb and Ray Price were riding to the golf course one day when Dave Rich’s record came on the radio. Ernest Tubb said, “Son, you ought to record that song,” to which Ray said, “I’ve already got my next record cut.” I heard all this later on of course, but all the way around the golf course Ernest Tubb kept telling Ray, “You need to record that ‘City Lights’ song.” I’ve often wondered if Ray recorded it because he liked it or just to shut Ernest up. But you talk about things just falling into place, it’s amazing looking back on it now and how it all happened.
Wow. How soon after that did you move to Nashville?
I graduated at 11 o’clock in the morning and I was headed to Nashville at 2. My car was packed and I was on the road.
After you arrived, the hits kept coming. You signed with Decca in 1958, and started having more hits with “That’s What It’s Like to Be Lonesome,” “The Tip of My Fingers” and “Po’ Folks.” You were invited to join the Grand Ole Opry in 1961. When did it feel like you had “made it”?
When they told me they were going to open up an exhibit at the Hall of Fame. I started suspecting it about that time.
I don’t know if I ever did really. [Maybe when] “Still” hit. “Still” was so big, it was one of those monster crossover records. I just never relaxed and said, “Okay, I’ve made it. Here’s what I was working for.” There was always the next challenge, that next hill to climb. It’s funny, I’ve talked about this with other artists in the business, you can’t enjoy having a No. 1 record because you’re worried about what you’re going to follow it up with.
I never got to the point where I relaxed, but I really didn’t want to though. I was just so enamored and caught up in it all. I just kept wanting to open door No. 2 and door No. 3, and see what was behind there. I found some interesting things behind some of those doors.
Bill Anderson at the opening celebration for Bill Anderson: As Far as I Can See at the Country Music Hall of Fame and Museum. Photo: Jason Kempin/Getty Images for the Country Music Hall of Fame and Museum
As a songwriter, you have placed songs on the country charts in seven consecutive decades, writing hits such as “Still,” “Once A Day,” “Which Bridge to Cross (Which Bridge to Burn),” “Whiskey Lullaby,” and “Give It Away.” What is the secret to longevity as a country songwriter?
Well, you have to live a long time.
Staying aware of the world around you. That’s how you stay relevant and by staying relevant, you’re able to continue and hopefully change with the times. Adapt and keep an open mind about everything. I have writer friends that say, “The music is different, it’s changed. I don’t want to try to write anymore.” I had that attitude for a short while in the ’80s when I took off and started doing game shows and soap operas and crazy things. But I never quit feeling that the next song that I was going to write was going to be the best one. I just never quit that. I never felt like the fire in my belly went out, it just kept burning.
And I surrounded myself with young people, particularly when I started co-writing in the ’90s. I was writing with Brad Paisley virtually before anybody knew who he was. I was writing with the Vince Gill‘s and the Jon Randall‘s and so many of these people that were younger than me. And I was like a sponge—I was soaking up what I could learn from them. At the same time, I think they were learning a few things from me about how it used to be done.
What business advice would you give to younger songwriters?
I know this isn’t always possible, and I know there are advantages to getting the better deal and moving around, but I’m going to tell you what, from where I am right now with my perspective on the business and on life, I am so glad that I’m not having to go all over the world trying to round up my songs. I know where my songs are. My songs are at Sony and Round Hill Music. I don’t really have but two places to go, and I’ve bought some of my songs back. I would advise people, if you’ve got a good situation with a good publisher, try to hang in there with it because there’s a lot of advantage.
You’ve won so many awards and been honored by all the major country music and songwriting institutions. You’re a member of the Songwriters Hall of Fame, the Country Music Hall of Fame, and the Grand Ole Opry. Now you have your very own Hall of Fame exhibit. What moments in your career have meant the most to you?
In [chronological] order, being asked to join the Grand Ole Opry is No. 1. Then having a big crossover record like “Still” was amazing. But the top rung on the ladder is [being inducted into] the Hall of Fame. That’s something that you don’t even dare to think about. Lord knows I didn’t.
That was just something that happened to somebody else. That kind of thing wasn’t going to happen to Bill Anderson from Commerce, Georgia. I thought they were lying when they called me and told me.
How does all of this feel, looking back?
This all feels very special to me because I’ve loved country music all my life. I grew up from a very early age listening to it and following it. To think that I’ve made a career out of it and people are going to come and look at some of the things that I did along the way… It’s pretty heavy. It’s extremely special.
Caroline Spence, David Ramirez Sign With Red 11 Music
/by Lorie HollabaughCaroline Spence & David Ramirez
Red 11 Music has announced the signing of two new artists: rising Americana artist Caroline Spence and Austin-based singer-songwriter David Ramirez. They will be represented by Nashville agents Geoff Turner and Jon Folk, respectively.
Spence has won numerous songwriting awards from industry mainstays like the Kerrville Folk Festival. Her 2015 full-length debut Somehow featured guest appearances from Anderson East, Erin Rae and Andrew Combs. She followed that up with 2017’s Spades and Roses. Spence’s 2019 Rounder Records debut, Mint Condition, earned a spot on Rolling Stone’s Best Country and Americana Albums and featured Emmylou Harris as a guest vocalist on the title track.
Ramirez has released six full-length records, most recently 2020’s My Love is a Hurricane on Thirty Tigers. Ramirez has collaborated and toured with a variety of artists, including Noah Gundersen, Nathaniel Rateliff, Dylan LeBlanc, Lera Lynn and Matt Costa.
Red 11 Music has offices in Nashville and Austin and, in just over a decade, the boutique agency’s roster has grown to include Turnpike Troubadours, Shooter Jennings, Old 97’s, Jack Ingram and American Aquarium, among others.
Lineup Revealed For CRS 2022 New Faces of Country Music Show
/by LB CantrellCountry Radio Broadcasters (CRB) has announced the lineup for the CRS 2022 New Faces of Country Music Show. The artists selected include Gabby Barrett, Walker Hayes, Parker McCollum, Jameson Rodgers, and Lainey Wilson.
These five artists will close out Country Radio Seminar (CRS) at the New Faces show on Friday, Feb. 25 at Omni Nashville Hotel. CRS will be held Wednesday, Feb. 23 through Feb. 25, 2022, and registration is open now.
Established in 1970, the annual New Faces of Country Music Show is one of the most anticipated events at CRS. Five emerging artists who have achieved significant success at Country Radio during the qualification period are selected each year to perform.
“There were no bad options in this year’s New Faces election slate, so it’s not a surprise the final lineup is stellar,” says CRB New Faces Committee Chairman, Chuck Aly. “The only thing more exciting than what these artists bring to this year’s show is that we’ll all get to experience it in person!”
EMPIRE Nashville Signs Publishing Deal With RVSHVD [Exclusive]
/by Lydia FarthingPictured (L-R): Sarah-Beth Gerlecz (Nashville Counsel), Leslie Roberts (BMI – Assistant Vice President, Creative), Eric Hurt (VP of A&R), RVSHVD, Jonnie Forster (Manager), Heather Vassar (VP of Marketing), William Dyer (Product Manager). Photo: Steve Lowry
Rising Nashville recording artist RVSHVD has signed with EMPIRE’s publishing division.
From Willacoochee, Georgia, the 23-year-old singer-songwriter started making music ten years ago. While listening to rap beats as a young teen, RVSHVD realized his talent for songwriting. Crediting Lil Bow Wow as an early influence, he dug deeper into the power of songwriting by studying the work of Lil Wayne, Eminem, and Tupac.
RVSHVD (pronounced RA-SHAD) jumped genres after hearing “Sweet Thing” by Keith Urban. With the help of a signature vocal tone, his home studio, and a viral TikTok video, RVSHVD became nationally recognized for his country version of Roddy Ricch’s “Ballin’.” The song went viral on Spotify, TikTok, Apple Music and YouTube, amassing over 20 million streams to date. RVSHVD has shared his talents through TikTok by posting country versions of some of today’s most popular hip-hop tracks. His song, “Raised Up,” teased on Tik Tok, gained nearly 6 million views and landed in the Top 10 All Genres Chart on iTunes. RVSHVD has continued to release original songs through EMPIRE.
“As EMPIRE Nashville continues to grow, we’re thrilled to add artist/writer RVSHVD to our roster,” says VP of A&R, Eric Hurt. “We believe his unique style and talent is important to the country format and we’re excited to be a part of his growing career.”
“It’s a relationship town and you’ll be hard pressed to find a more genuine and dependable crew than Eric, Heather [Vassar], William [Dyer], Sarah-Beth [Gerlecz] and the rest of the team at EMPIRE,” says RVSHVD’s manager, Jonnie Forster. “RVSHVD already feels at home.”
“I’m thankful to everybody at EMPIRE for the opportunity and my friends, family and my fans for the support of my music,” shares RVSHVD. “It’s so dope to be able to live my dreams and do what I love.”
EMPIRE’s publishing division currently represents hit writers Yung Bleu, India Got Them Beats, !llmind, Nebu Kiniza, Fuse (of 808 Mafia), Justin Love, and Kal V, among others.
Opry Star Stonewall Jackson Passes
/by Robert K OermannStonewall Jackson. Photo: Bev Le Croy
Grand Ole Opry mainstay Stonewall Jackson, famed for his 1959 pop-crossover smash “Waterloo,” died on Saturday (Dec. 4) at age 89 following a long struggle with vascular dementia.
Between 1958 and 1973, Jackson placed 44 singles on the country charts, including 18 top 20 hits. In 2007, he was honored with a star-studded tribute album that featured contributions by Garth Brooks, Tim McGraw, Alison Krauss, Tanya Tucker, Vince Gill, Charlie Daniels and dozens more.
Born in rural North Carolina, he was named for Confederate general Thomas “Stonewall” Jackson, who was his ancestor. His railroad-worker father died when Stonewall Jackson was a toddler. He joined the Armed Forces at age 16 to escape an abusive stepfather. While in the Navy on submarine duty, he polished his guitar skills and began writing songs.
Following his 1954 discharge, he worked at farming and logging in Georgia. He saved $350 to drive to Nashville in his pickup truck in 1956. He sang his songs at the Acuff-Rose publishing company, which resulted in an audition at the Opry. He made history by being signed as a Grand Ole Opry cast member without a recording contract or a hit record.
Columbia Records signed Jackson. He debuted on the label in 1958 with “Life to Go,” which he’d co-written with George Jones. A year later, Stonewall Jackson shot to the top of the charts with the thumping “Waterloo” (co-written by John D. Loudermilk & Marijohn Wilkin), which also became a massive pop hit.
Ernest Tubb took Stonewall Jackson under his wing, introducing him on the Opry, teaching him to dress, taking him on the road and signing him to his publishing company. Marty Robbins loaned him money for groceries. Jackson’s wife Juanita Wair Jackson (1937-2019) was a business-college alumnus who did his correspondence, kept the books and became his business manager.
Hits such as “Smoke Along the Track” (1959) and “Mary Don’t You Weep” (1960) led to the self-penned “Why I’m Walkin’” (1960), which was Jackson’s second major smash. It became an enduring country favorite, recorded by Tubb, Skeeter Davis, Carl Smith, Ricky Skaggs, George Hamilton IV, Loretta Lynn and Johnny Paycheck, among others.
The singer received “newcomer” awards from Billboard, Cash Box and Record World. He appeared on Dick Clark’s American Bandstand and headlined at the Hollywood Bowl. He continued to be in the country top 10 with “A Wound Time Can’t Erase,” “”Leona” and “Old Showboat” in 1962-63. In 1964, “B.J. the D.J.” rose to No. 1.
This was followed by “Don’t Be Angry” in 1964. The song was revived as a big country hit by Donna Fargo in 1977. Jackson’s next single was 1965’s “I Washed My Hands in Muddy Water,” which also proved to be perennially popular with other artists.
Stonewall Jackson was featured in the 1965 film Country Music on Broadway. Two years later, he returned to the county top 10 with “Help Stamp Out Loneliness.” His other 1967 hit was “Promises and Hearts (Were Made to Break).”
In 1971, he became the first artist to record a live album in The Ryman Auditorium, “The Mother Church of Country Music.” He was in the country top 10 that year with his version of Lobo’s pop success “Me and You and a Dog Named Boo.”
In the 1980s, Stonewall Jackson recorded for the MGM, Sunbird and MSR labels. He and Juanita invested in real estate throughout Nashville. Their son Turp (Stonewall Jackson Jr.) often joined his father at Opry appearances.
Jackson made a cameo appearance in Sweet Dreams, the 1985 film about the life of Patsy Cline. In 1991, his fan club published his autobiography, From the Bottom Up. He portrayed the disapproving “Dad” in Confederate Railroad’s 1993 video for its hit “Trashy Women.”
In 1996, Jackson’s “Jesus Is My Lifeline” spent four months at No. 1 on the Music City News Gospel Voice charts. He and gospel artist Don Richmond co-wrote the song and performed it as a duet. It earned the Opry star an award from the Country Gospel Music Association. The following year, Stonewall Jackson was honored with the Ernest Tubb Memorial Award for his lifelong contributions to the country-music industry.
In 2006, Stonewall Jackson celebrated his 50th anniversary as an Opry cast member. The commemorative, 22-track album Stonewall Jackson And Super Friends: A Tribute featured a country-music Who’s Who. Among those appearing on it were Roy Acuff, Boxcar Willie, Hal Ketchum, the Gatlins, Joe Diffie, Grandpa Jones, John Conlee, The Kentucky Headhunters, The Whites, Connie Smith, Lynn Anderson, Marty Stuart, Waylon Jennings, Mac Wiseman, Hank Snow, Jim Ed Brown, Lorrie Morgan and Porter Wagoner, in addition to the artists previously mentioned. It was issued in 2007.
That was also the year that Stonewall Jackson sued the Grand Ole Opry for $10 million, charging age discrimination. He was angry that the show didn’t feature him often enough. The Opry countered that being a cast member did not make the show his employer. Furthermore, the show regularly booked Wagoner, Jimmy Dickens, Bobby Osborne and other cast members who were Jackson’s seniors. The parties reached a settlement in 2008.
Meanwhile, Jackson’s oldies became favorites among artists in the emerging Americana format. Buddy Miller and Heather Myles both revived “Why I’m Walkin.’” Dwight Yoakam, Emmylou Harris and others brought back “Smoke Along the Track.” The Greenhorns recorded “Waterloo,” and Dale Watson sang “Don’t Be Angry.”
Saturday night’s Grand Ole Opry performance was dedicated to Stonewall Jackson. Funeral arrangements for the star have not been announced.
Chart Action: Swindell, Wilson Dominate Country Radio
/by Alex ParryCole Swindell and Lainey Wilson impact country radio this week with their latest single, “Never Say Never” released via Warner Music Nashville. The single received 29 new adds on the Billboard Country Airplay chart and debuted at No. 38 on the Hot Country Songs chart. On Mediabase, “Never Say Never” earned 28 adds and sits at No. 35. On the MusicRow CountryBreakout Radio chart, it saw 20 new station adds and was the highest debut at No. 43.
Swindell co-wrote “Never Say Never” with Jessi Alexander and Chase McGill in 2018. The Zach Crowell-produced track blends Swindell and Wilson’s signature sounds, offering a perfect mixture of country twang and relatability with rocking guitar licks and powerful concert-ready production. The hard-hitting back and forth dialog finds the duo admitting that sometimes you just can’t walk away, even when you know you should. MusicRow recently sat down with the duo to discuss the single. Click here to read the full interview.
For more chart data, view the latest edition of The MusicRow Weekly.
Carly Pearce Brings Her Magic To Nashville’s CMA Theater Stage
/by LB CantrellCarly Pearce performs at the CMA Theater in Nashville. Photo: Alexa Campbell
Carly Pearce graced the Country Music Hall of Fame and Museum’s CMA Theater stage Thursday night (Dec. 2) and reminded Nashville just why she’s the new CMA Awards Female Vocalist of the Year.
Pearce is wrapping up her first headlining tour tonight (Dec. 3) at The Castle Theatre in Bloomington, Illinois. She chose smaller theaters in more metropolitan markets like Chicago, New York City, and Washington, DC to tour her esteemed 2021 album, 29: Written in Stone. In a press release the now 31-year old said that after spending the last few summers on big tours, wondering if her songs were truly connecting to such big crowds, she decided to hone in on intimate venues for this tour. “To hear those voices coming back to me and faces with their own pain, that’s when you realize these songs matter,” she said.
But Pearce is gearing up to go really big in 2022, when she will join Kenny Chesney on his “Here And Now Stadium Tour.”
Sony Music Nashville’s Andrew Jannakos joined Pearce on select dates for the tour, including at the CMA Theater. He provided a smooth, low-key opening set for Pearce, impressing the audience with his romantic “Wine Country” and signature “Gone Too Soon,” as well as several other well-written new songs.
Carly Pearce performs at the CMA Theater in Nashville. Photo: Alexa Campbell
When it came time for Pearce’s soul-baring set, she held nothing back, guiding the captivated audience track by track through 29: Written in Stone. She played the album in order and noted how meticulous she was with its sequence.
Kicking things off on a sassy note, Pearce performed the charming “Diamondback.” Throughout the show Pearce displayed her growth from the painful divorce that inspired her album. At times, like when she’s singing about her worth on “Diamondback” or telling her ex off on “Liability,” she gives a wink to the crowd, knowing her fans have been there, done that. On other songs like “Day One” and “Messy,” she seems to evoke an advice-giving role to her fans, empowering them to get through the valley they may be in. Performance by performance Pearce shows why she’s one of the most exciting, charming and talented artists in the format.
The intimate crowd held onto every word Pearce said—and sang. They knew the harmonies, the background vocals, and even added their own commentary—which Pearce responded to throughout the night. They were thrilled to hear “Next Girl,” and showed the same love for “Messy” and “Should’ve Known Better.”
During her current single, “Never Wanted To Be That Girl,” Pearce played both roles of the wife and the other woman, a part usually sung by Ashley McBryde. “Just pretend I have dark curly hair and a big eagle tattoo,” Pearce quipped.
Pearce’s homegrown country vocals shined on “Dear Miss Loretta.” The Kentucky-native said that Loretta Lynn‘s “Blue Kentucky Girl” was the first song she learned on guitar, and that though she listened to Lynn her whole life, “some certain events in [her] life have made [Pearce] understand her songwriting a little better.”
Elsewhere in the setlist Pearce performed perhaps the most emotional song on the record: “Show Me Around,” a song inspired by the tragic death of her former producer, Busbee. Pearce revealed that the song title came from a speech given by songwriter Barry Dean at Busbee’s funeral. Dean said that he thought Busbee was looking at Heaven like he would look at Disneyland, searching for things to show his wife and daughters. During the pauses in Pearce’s performance it was so silent that you could hear sniffles arising from the seats.
At some point Pearce thanked her label president Scott Borchetta, who beamed up at her from his seat, for letting her make the transparent, vulnerable album she wanted to make.
Pearce’s show wasn’t the only event at the Country Music Hall of Fame Thursday night. The opening to Bill Anderson‘s new Hall of Fame exhibit took place earlier in the evening. Pearce even stopped by to celebrate Anderson before her show, lending her vocals to his iconic “Whiskey Lullaby.” When Anderson arose to give his remarks, he commented on Peace’s performance, saying “you don’t have to worry about the future of country music when there’s people like her.”
Inaugural TidalWave Music Festival To Launch With Luke Bryan, Morgan Wallen
/by Lorie HollabaughThe inaugural TidalWave Music Festival will debut in Atlantic City Beach, New Jersey this summer, featuring headliners Luke Bryan and Morgan Wallen with an additional headliner to be announced in the coming weeks.
The three-day beachfront “Roar On The Shore” will be held Friday, August 12 through Sunday, August 14.
Additional main stage acts announced include Lauren Alaina, Blanco Brown, BRELAND, Travis Denning, Riley Green, Lindsay Ell, HARDY, Jon Langston, Tracy Lawrence, Chase Rice, Runaway June, Elvie Shane, DeeJay Silver, Mitchell Tenpenny, and Lainey Wilson. The festival will also host a second stage, with talent to be announced in the coming weeks.
“TidalWave Music Festival is an experience we’ve been curating for a long time,” said Brian O’Connell, President of Country Touring at Live Nation. “We knew we wanted to bring our country music festival concept to the North East coast but, the location had to be just right. The perfect spot by the ocean in Atlantic City. We can’t wait until next summer to bring these world-class acts, alongside a tailor-made festival experience.”
Three-day passes go on-sale beginning Mon., Dec. 13 at 10 a.m. ET at tidalwavefest.com.
Matthew Morgan Joins UTA As Co-Head Of Nashville Office
/by Sarah SkatesMatthew Morgan
On Friday (Dec. 3) UTA announced that Matthew Morgan has joined the agency as Co-Head of its Nashville office, working alongside Co-Head Jeffrey Hasson, and simultaneously announced the addition of rock agent Buster Phillips to the agency’s Music City headquarters.
Buster Phillips
Morgan has worked with Grammy award-winning hitmakers Zac Brown Band and Lizzo, and was a key player in the latter’s career growth. He has also worked with Anderson East, Breland, Cam, Dean Lewis, GAYLE, Jessie James Decker, JP Saxe, Keane, Kidd G, Michael Franti, Nightly, Noga Erez, Phillip Phillips, Rival Sons, Robyn Ottolini, Rodrigo y Gabriela, and The Revivalists, among others. Morgan previously spent 13 years at CAA and two years at CMT.
Phillips has been an agent for the better part of twenty years. Over that time, he has represented the talents of Devon Gilfillian, Gov’t Mule, Ida Mae, Iron and Wine, Kathleen Edwards, Low Cut Connie, Nicole Atkins and The War and Treaty among many others. Prior to joining UTA, Phillips created the college and festival divisions at Creative Artists Agency and contributed to the festival business at WME.
“Matthew and Buster are well-respected agents with collective decades of experience working with artists across multiple genres. They are fierce advocates for their clients, and we are thrilled to welcome them to UTA,” said David Zedeck, Partner and Co-Head of Global Music. “Our Nashville office is rapidly expanding, and that momentum will continue under Matthew and Jeffrey’s leadership.”
“UTA Music has been on the cutting edge of client service and innovative opportunities, and I am thrilled to be joining the UTA family,” stated Morgan. “With a roster full of world-class artists and bold innovators, the next chapter in Music City will be a special one.”
Phillips added, “This is an exciting time for music in Nashville and I am thrilled to be joining forces with UTA—a company that truly focuses on culture and entrepreneurship. They have done great work for their clients, and I am looking forward to hitting the ground running. The sky’s the limit!”
Morgan and Phillips’ announcement follows UTA’s recent hiring of Nashville-based music agent Scott Clayton as Co-Head of Global Music. The company has further bolstered its music group over the last 18 months through key new hires including agents Hasson, Brett Saliba, Matt Korn, Zach Hartley, and Emily Wright, who are based in Nashville; agents Matt Meyer and Robbie Brown, based in Los Angeles; and Director of Creative Strategy Rebecca Prochnik and agents Carlos Abreu and Matt Lee, based in London. In March 2021, UTA acquired UK-based Echo Location Talent Agency (Echo), which was founded and led by Obi Asika, who now serves as Co-Head of the company’s UK office alongside Neil Warnock.
Additionally, in June 2021 UTA opened its new Nashville headquarters at the historic downtown site of the former Carnegie Library in the heart of Music City.
CMA, Musically Fed Donate Over 1,000 Meals To Nashville Area Nonprofits
/by Lorie HollabaughFlavor Catering, a consistent Musically Fed partner, worked each day of the week of the CMA Awards to identify and provide individually packaged unused meals, which were picked up by Musically Fed volunteers and delivered to Matthew 25, Room In The Inn and Green Street Church Ministries.
“We are proud to continue our partnership with Musically Fed,” says CMA Chief Executive Officer Sarah Trahern. “Just like our work with them during the pandemic, we share a dedication to addressing food insecurity in our community and are glad that we could help feed many from our additional resources at the CMA Awards. Nashville is our home and we appreciate Musically Fed helping us support our community in this way.”
“Musically Fed’s partnership with the Country Music Association is a bright and shining example of what a successful collaboration can do to help so many in need,” says Musically Fed Founder Maria Brunner. “By working together to re-purpose unused catering from rehearsals, crew set-up, the Awards show, and tear down, we were able to positively impact many communities in the Nashville area. We are so very thankful for this relationship and look forward to working with the CMA on the next major event.”
Bill Anderson Looks Back On His 7-Decade Career, Celebrates CMHoF Exhibit [Interview]
/by LB CantrellBill Anderson at the opening celebration for Bill Anderson: As Far as I Can See at the Country Music Hall of Fame and Museum. Photo: Jason Kempin/Getty Images for the Country Music Hall of Fame and Museum
Thursday night the great Whispering Bill Anderson was celebrated at the opening of his new Country Music Hall of Fame and Museum Exhibit. Titled As Far As I Can See, the exhibit features memorabilia including Anderson’s stage-wear, lyric sheets, awards, and many other unique pieces. It opens to the public today (Dec. 3) and runs through March 19, 2023.
Artists and industry members came out in droves—and braved a Predators game crowd that swarmed Demonbreun—to show their love and support to the ever-so-lovable Bill Anderson. Kyle Young, CEO of the Country Music Hall of Fame and Museum, spoke about Anderson’s career and his value to the country music industry, not just because of his longevity, but because of the gift of his songs.
Pictured (L-R): Scott Adkins, Lee Willard, Jon Randall, Trisha Yearwood, Bill Anderson, Carly Pearce. Photo: Derrek Kupish
Some of Nashville’s world-class singers were on hand to tribute Anderson. Trisha Yearwood did an awesome cover of Connie Smith‘s “Once A Day,” the tune Anderson wrote that launched Smith’s career. Anderson also helped Smith—now both members of the CMHOF—land her first recording contract. Vince Gill sang “Which Bridge to Cross (Which Bridge to Burn),” a song Gill wrote with Anderson and recorded.
Jon Randall and Carly Pearce did a beautiful take on “Whiskey Lullaby.” Randall, Anderson’s co-writer on the iconic tune, was honored to perform it for his collaborator.
Anderson was emotional and well-spoken when he took the stage. He thanked what seemed like an endless group of people, careful not to leave anyone out.
“I’ve heard all my life that at some point just before a person dies, their life passes in front of their eyes,” Anderson said. “Somebody better check my pulse because a couple hours ago when I laid eyes on my exhibit for the first time, I felt like my life—or at least the very best part of it—was passing right before my eyes.
“To see 60-plus years come alive again in this incredible display truly took my breath away. The title of this exhibit As Fas As I Can See, but in all honesty, I never saw this far.”
A few weeks back, Anderson sat down with MusicRow in preparation for the exhibit opening, to talk about the last 60 years and some of his favorite memories.
MusicRow: When did you decide you wanted to be a country music singer?
I’m still trying to figure out what I want to be when I grow up. I’ve just postponed growing up. It all just kind of happened, really and truly. There were three things in my life growing up that I loved: I loved country music, I loved sports—particularly baseball—and I loved to write.
I would have been happy doing any sort of combination that involved any one of those three. But when I wrote “City Lights” and it hit, the path was defined for me.
Your recording of “City Lights” hit while you were still in college at the University of Georgia. Then it became a hit with Ray Price. How did you manage that?
I wrote the song in Commerce, Georgia on top of the little hotel where I was living. They were building a TV studio in Athens, which is now a Georgia Public Television educational station, but they didn’t have the studio finished. They had the audio in, but they didn’t have the video components. A friend of mine who was a disc jockey on a station in Athens said, “Hey, we can get in that studio. They want somebody to come in there and test the equipment.” So we went to this studio, which is still there, and recorded two songs.
The songs weren’t published or anything but I sent out the tape. A man down in Texas named Bob Tanner at a little record label called TMT Records and Publishing Company wrote me back and said, “Hey, you never know where the next hit is coming from!” The next thing I knew, he published the songs and put out my record and my record got to Nashville.
I sent [“City Lights”] to reporter Charlie Lamb to be reviewed in the Music Reporter. He liked it so much he took it to Chet Atkins over at RCA. Chet was producing an artist at that time named Dave Rich on RCA, and Chet recorded “City Lights” with him.
Ernest Tubb and Ray Price were riding to the golf course one day when Dave Rich’s record came on the radio. Ernest Tubb said, “Son, you ought to record that song,” to which Ray said, “I’ve already got my next record cut.” I heard all this later on of course, but all the way around the golf course Ernest Tubb kept telling Ray, “You need to record that ‘City Lights’ song.” I’ve often wondered if Ray recorded it because he liked it or just to shut Ernest up. But you talk about things just falling into place, it’s amazing looking back on it now and how it all happened.
Wow. How soon after that did you move to Nashville?
I graduated at 11 o’clock in the morning and I was headed to Nashville at 2. My car was packed and I was on the road.
After you arrived, the hits kept coming. You signed with Decca in 1958, and started having more hits with “That’s What It’s Like to Be Lonesome,” “The Tip of My Fingers” and “Po’ Folks.” You were invited to join the Grand Ole Opry in 1961. When did it feel like you had “made it”?
When they told me they were going to open up an exhibit at the Hall of Fame. I started suspecting it about that time.
I don’t know if I ever did really. [Maybe when] “Still” hit. “Still” was so big, it was one of those monster crossover records. I just never relaxed and said, “Okay, I’ve made it. Here’s what I was working for.” There was always the next challenge, that next hill to climb. It’s funny, I’ve talked about this with other artists in the business, you can’t enjoy having a No. 1 record because you’re worried about what you’re going to follow it up with.
I never got to the point where I relaxed, but I really didn’t want to though. I was just so enamored and caught up in it all. I just kept wanting to open door No. 2 and door No. 3, and see what was behind there. I found some interesting things behind some of those doors.
Bill Anderson at the opening celebration for Bill Anderson: As Far as I Can See at the Country Music Hall of Fame and Museum. Photo: Jason Kempin/Getty Images for the Country Music Hall of Fame and Museum
As a songwriter, you have placed songs on the country charts in seven consecutive decades, writing hits such as “Still,” “Once A Day,” “Which Bridge to Cross (Which Bridge to Burn),” “Whiskey Lullaby,” and “Give It Away.” What is the secret to longevity as a country songwriter?
Well, you have to live a long time.
Staying aware of the world around you. That’s how you stay relevant and by staying relevant, you’re able to continue and hopefully change with the times. Adapt and keep an open mind about everything. I have writer friends that say, “The music is different, it’s changed. I don’t want to try to write anymore.” I had that attitude for a short while in the ’80s when I took off and started doing game shows and soap operas and crazy things. But I never quit feeling that the next song that I was going to write was going to be the best one. I just never quit that. I never felt like the fire in my belly went out, it just kept burning.
And I surrounded myself with young people, particularly when I started co-writing in the ’90s. I was writing with Brad Paisley virtually before anybody knew who he was. I was writing with the Vince Gill‘s and the Jon Randall‘s and so many of these people that were younger than me. And I was like a sponge—I was soaking up what I could learn from them. At the same time, I think they were learning a few things from me about how it used to be done.
What business advice would you give to younger songwriters?
I know this isn’t always possible, and I know there are advantages to getting the better deal and moving around, but I’m going to tell you what, from where I am right now with my perspective on the business and on life, I am so glad that I’m not having to go all over the world trying to round up my songs. I know where my songs are. My songs are at Sony and Round Hill Music. I don’t really have but two places to go, and I’ve bought some of my songs back. I would advise people, if you’ve got a good situation with a good publisher, try to hang in there with it because there’s a lot of advantage.
You’ve won so many awards and been honored by all the major country music and songwriting institutions. You’re a member of the Songwriters Hall of Fame, the Country Music Hall of Fame, and the Grand Ole Opry. Now you have your very own Hall of Fame exhibit. What moments in your career have meant the most to you?
In [chronological] order, being asked to join the Grand Ole Opry is No. 1. Then having a big crossover record like “Still” was amazing. But the top rung on the ladder is [being inducted into] the Hall of Fame. That’s something that you don’t even dare to think about. Lord knows I didn’t.
That was just something that happened to somebody else. That kind of thing wasn’t going to happen to Bill Anderson from Commerce, Georgia. I thought they were lying when they called me and told me.
How does all of this feel, looking back?
This all feels very special to me because I’ve loved country music all my life. I grew up from a very early age listening to it and following it. To think that I’ve made a career out of it and people are going to come and look at some of the things that I did along the way… It’s pretty heavy. It’s extremely special.