Dion Pride accepts the RIAA Lifetime Achievement Award on behalf of his father, Charley Pride, from Garth Brooks at the National Museum of African American Music in Nashville, Tennessee on Oct. 25, 2021. Photo: Blue Rose Inc.
Monday night (Oct. 25), members of the music industry gathered at the National Museum of African American Music (NMAAM) in Nashville to honor the late country music trailblazer Charley Pride with the RIAA Lifetime Achievement Award. The honor was posthumously presented by Garth Brooks, another country music giant, in his own right.
Pride, who spent over 50 years as a recording artist, enjoyed one of the most successful years in country music and became the first Black superstar within the format.
Throughout his career, Pride sold millions of records worldwide with his expansive repertoire of hits, earning three Grammy awards. He was the Country Music Association’s Entertainer of the Year in 1971 and the Top Male Vocalist of 1971 and 1972. Pride also received the Crossroads of American Music Award At the 2019 Grammy Museum Mississippi Gala in November of 2019, and the Country Music Association’s Willie Nelson Lifetime Achievement Award one year later in November 2020 before his death on Dec. 12.
Jackie Jones, VP of Artist & Industry Relations at RIAA, kicked off the night to welcome the intimate crowd, as well as introduce the President & CEO of NMAAM, H. Beecher Hicks, III.
“When this museum was conceived, it was really for moments just like this,” Hicks explained. “[It was created] to honor incredible artists just like Charley Pride, to bridge generations, and connect people and communities. The NMAAM provides a platform for discussions like these and a place for anyone—from a local songwriter to a towering global superstar—to reflect on the music and the artists that have shaped our lives, our culture, and our nation.”
RIAA Chairman & CEO Mitch Glazier took the stage to share his thanks to the Pride family, the museum, and to Brooks, who Glazier explained came up with the idea for the night’s festivities to celebrate Pride, his friend of 25 years.
Garth Brooks. Photo: Diana King
Joining Brooks for an enlightening Q&A was a fellow, celebrated music trailblazer, Alice Randall. Now a professor in Vanderbilt University’s Department of African-American and Diaspora Studies, Randall was one of the first Black women to co-write a country hit (“XXX’s And OOO’s” recorded by Trisha Yearwood) and has gone on to co-write more than twenty other recorded songs. She has published extensively on Black artists in country music and teaches courses on The Country Lyric in American Culture and Black Country.
Together, Brooks and Randall took time to discuss the legacy of Charley Pride in country music and in American music at large, the influence that Pride had on Brooks’ music, Pride’s last recording with Brooks, and more.
Pride’s first single, “The Snakes Crawl At Night,” was released in 1966, and his first No. 1 came three years later with “All I Have To Offer You Is Me.” When asked about his favorite Pride single, Brooks was unable to name just one, listing off hits like “Is Anybody Goin’ To San Antone” and “Mountain of Love,” breaking out his guitar to sing a snippet of each.
“I hear Charley Pride in Garth Brooks music so much… His influence on me was probably greater than I thought,” Brooks shared. “He was a big influence on my mom too. Her favorite song was ‘Kiss An Angel Good Morning,'” to which he also gave a preview of.
As Brooks was first coming onto the music scene in 1989 with “Much Too Young (To Feel This Damn Old),” Pride was closing on his first quarter of a century in country music. Pride’s influence on Brooks was undeniable as Brooks said he couldn’t remember the radio without Pride on it, becoming an integral part of his childhood.
“When you talk about influences and what his music means to people, for me it’s that he never seemed like he doubted himself when he stepped up to the mic, so therefore he sold it to me, my mom, and to a lot of other people. The RIAA number of records he sold would prove that,” Brooks said with a laugh. “That was something you learned as a kid before you got into the business, like ‘Son, if you’re gonna do this, don’t leave any of you out. Let’s bring everything you’ve got.’ That’s what [Charley] specialized in,” Brooks explained.
“[Charley Pride] was a freak of nature. He was gifted beyond belief and was so humble about his gifts,” he added. “It’s easy to stay humble in this business when you know that if Charley Pride had sang ‘If Tomorrow Never Comes,’ it would’ve been a bigger song… It’s really sweet to get to hang around guys that cheered you on and actually wanted you to do better than them. [Charley] sincerely wanted you to do better than he did.”
A similarity shared between the two larger-than-life entertainers is their love for baseball. Both men played in various leagues and on various teams throughout their years, with Pride actually going on to become one of the owners of the Texas Rangers. Whether through music or through sports, Pride played a central role in American life and in bringing people together.
“The new word that people are using right now is ‘unifier.’ Charley Pride was a unifier before unifiers were even thought of,” Brooks offered.
“We’re so divided. You can use a word and half the people will love it and half the people won’t like it. How in the world when you use the word ‘America’ do half of the people [groan]?” He continued, “He was what we all want to be and what we all want to stand for. One of the greatest American icons that I can think of would be [Charley Pride].”
Shortly before Pride’s death in December of 2020, he and Brooks recorded “Where The Cross Don’t Burn,” which became the last song Pride recorded. Penned by the late songwriters Troy Jones and Phil Thomas, the track tells the story of a friendship between a young white boy and an older Black man during segregation.
Featured on his 2020 album, Fun, Brooks had been holding on to the song for ten years hoping to eventually collaborate with Pride.
“What I love about that song is that it starts out as a white boy and a Black, old man, but by the time you get to the end it’s just a young boy and a kind, old man. It’s the evolution or progression of love,” Brooks elaborated. “Love gets you past the differences and focuses on what you have in common.”
He concluded, “The best way that all of us can take Charley Pride’s name forward is to love one another. That was his thing… When you talk about the future of country music, I want the country artists of the future to be sincere in loving country music. I don’t care if they’re white, Black, transgender, or what their religion is. I want people who love country music like [Charley Pride] did.
“It didn’t matter that Charley Pride was Black, but it mattered so much that Charley Pride was Black,” he summed. “When it shouldn’t have mattered, it didn’t. When it should’ve mattered, he was the most proud of that.”
Pictured (L-R): Mitch Glazier (RIAA), H. Beecher Hicks III (NMAAM), Michele Ballantyne (RIAA), Dion Pride, & Garth Brooks. Photo: Diana King
Before the plaque presentation, RIAA COO Michele Ballantyne shared a list of Pride’s record of achievements, including being the first Black artist to win the CMA’s Entertainer of the Year award and a Grammy in the country genre; being one of six country music giants to win a CMA Lifetime Achievement Award, alongside Dolly Parton, Johnny Cash, Kris Kristofferson, Kenny Rogers, and Willie Nelson; and earning 29 No. 1 hits on Billboard‘s Hot Country Songs chart and over 70 million records sold, giving him 11 Gold albums and 1 Gold-certified single for “Kiss An Angel Good Morning.”
Charley’s son, Dion Pride, accepted the Lifetime Achievement Award on his family’s behalf saying, “We’re all very, very proud of my father’s accomplishments… all of his accomplishments are a byproduct of the sheer love that he had for country music.”
Dion continued, “As a son, I am more impressed with the man. My father was a great, great man. All of his values, all of his principles, will live through me.”
Brandi Carlile’s ‘Right On Time’ Shifted To Pop Category For 64th Annual Grammy Awards
/by Lydia FarthingAfter the release of the preliminary ballots for the upcoming 64th Annual Grammy Awards, it has been revealed that Brandi Carlile‘s single, “Right On Time,” has been shifted to the best pop performance category rather than the American Roots division.
“Right On Time” was the lead single off of Carlile’s recently released studio album, In These Silent Days, which topped the Billboard Top Americana/Folk Albums and Top Rock Albums. A celebrated singer, songwriter, performer, and producer, Carlile has earned 12 Grammy nominations and six wins throughout her career.
Carlile took to social media to express her disappointment for this decision saying, “Americana/American Roots music is more than a genre to me. It represents my community, my family, my friends and my beautiful island of misfits. I am also proud that it represents a great number of people actively working to platform marginalized people—LGBTQIA, women, and people of color (who, of course, actually built the genre).”
She continues, “While I’m incredibly flattered to be considered ‘pop’ as a 40 year old crooning lesbian mother, I would be lying if I said I wasn’t a bit surprised and disappointed to learn the Recording Academy decided to move ‘Right On Time’ out of the American Roots genre and into the pop category.” She concludes, “Being recognized by the Grammys—in any form—is a great honor. I just want folks to know this wasn’t my decision. Regardless, it doesn’t change who I am or what my Americana community continues to mean to me.”
This news follows another controversy surrounding the Recording Academy’s screening committee which deemed Kacey Musgraves‘ Star-Crossed not eligible for inclusion in the Country Album of the Year category.
Final nominees for this year’s awards will be revealed on Tuesday, Nov. 23. The 64th Annual Grammy Awards will be held at MGM Grand Garden Arena in Las Vegas on Sunday, April 3, 2022.
Music Row Power Couple, Beth & Luke Laird, Celebrate 10 Years Of Creative Nation [Interview]
/by LB CantrellLuke and Beth Laird. Photo: Spencer Combs
When Luke Laird, a young songwriter with a new publishing deal, met his future wife Beth at the receptionist counter at BMG Nashville in 2005, it was the start of a long and beautiful partnership.
It was Beth’s first real music industry job out of college, and she was worried that a relationship with a songwriter would be unprofessional. Lucky for them, she soon moved to Windswept to be a song-plugger before landing at BMI, where she would remain for the next five years. The two then began dating and were married a few years later in 2010. They now have two children, Jake (8) and Mack (5), and a successful 10-year old publishing company, Creative Nation.
“It’s been exciting because from the very beginning, with him having no cuts yet and me literally being at my first day on the job, we’ve gotten to grow in the music business together. We’ve been through the highs and lows together, that’s really been fun,” Beth says.
Beth and Luke Laird in 2010. Photo: Courtesy Beth Laird
The two say they never dreamed of starting a publishing company together. The idea came about at a meeting with the couple’s business manager, when Luke was nearing the end of a publishing deal.
Once the wheels were turning, Beth and Luke were able to take their experiences as a songwriter and a music publishing professional and design a company that they would want to work at. “The main thing that we knew we really wanted that we weren’t really feeling at that time in the music business was a publishing company that was really creative and really writers first. [We wanted to build a company] where you felt like the writers were the bosses of their careers and the publishers came alongside them to help fulfill their dreams and to help them along their path,” Beth says.
Luke adds, “When I first signed a publishing deal, and I think this is probably a similar story for a lot of writers at that time and years before, writers were looked at as ‘we are hiring you to do a job,’ but really that’s not how those contracts work. In reality, the publisher works for the writer. You can have ideas and plans for a writer, but you’re in a partnership. That’s one thing I want our writers to know is we, as a publisher, work for you. So what are your goals?”
Goal-setting is a paramount part of the business ethic at Creative Nation, which now boasts a roster that includes lauded songwriters Lori McKenna and Barry Dean, as well as country hitmaker Casey Brown, artist-songwriters Steve Moakler and Kassi Ashton, and more.
When new writers come in, the staff at Creative Nation help them make a goal sheet for themselves, which becomes a big part of the plan for success for each writer. Any one writer’s goals can range from having a No. 1 country hit, getting nominated for a song of the year award, or getting a cut from a specific artist. “If what we’re doing does not serve your goals, then we shouldn’t be doing it,” Beth says. “That is the basis of where to start. It lets them be the CEO of their career and their business, and it feels more like we are helping manage their business, but we’re not in control telling them what to do.”
In addition to putting writer’s goals first, Creative Nation also makes the family-owned aspect of their business part of the company culture.
Luke says, “We are so involved with our families. A lot of times the music business almost feels like two separate things, but we like to have things like a Creative Nation pool day where everyone can bring their kids. We hope that our staff and writers feel that we value more than just what they can do for our business.”
Pictured (L-R): Jody Williams, Luke Laird, Del Bryant, Beth Laird, Clay Bradley at the 59th Annual BMI Country Awards in 2011. Photo: Jason Kempin for BMI / Courtesy of Beth Laird
Their writer and staff-friendly environment has proved fruitful for Creative Nation. Since getting started in 2011, the company has worked with some of country music’s biggest performers, including Kacey Musgraves, Luke Bryan, Thomas Rhett, and Eric Church, and has released more than 20 No. 1 songs and 60 radio singles, including Sam Hunt’s “Hard to Forget” and Harry Styles’ “Watermelon Sugar.”
Beth says there are two moments from the beginning of Creative Nation when she felt most validated. The first being when she went to her first pitch meeting as Creative Nation and pitched “Pontoon,” which became a blockbuster hit for Little Big Town. The second is when they received their first BMI publisher award, presented to them from Beth’s former BMI boss, Jody Williams.
“At BMI, I was the one that had handed up the awards to Jody to hand out to publishers, so when I got to go up and Jody handed me one, it was like ‘You’re a real publisher. You’re getting an award on stage,'” Beth says. “Even now it makes me feel emotional because it made me feel like a real publisher.”
Moments like those, and the many more that have followed as Creative Nation has become a flourishing indie publisher, have made the risk of going out on their own worth it for the husband and wife team.
As for the next 10 years, the Lairds are most concerned with maintaining the creative, relational, and positive environment they’ve established at Creative Nation.
“One of my ultimate goals sounds generic, but it’s to love what I do and to love who I’m working with. I actually really value every Monday morning when I wake up; I get excited to come to work,” Beth shares. “I’m never bored. I’m always excited about the next songwriter. I’m always excited about the song that’s going to come in today or getting to strategize with my team. My goal is to always make sure I keep that spark and that we are constantly surrounded by good people who are creative.”
Dierks Bentley Extends His “Beers On Me Tour” Into 2022
/by Lorie HollabaughMulti-Platinum singer-songwriter Dierks Bentley has revealed details behind the winter run of his upcoming 2022 “Beers On Me Tour.” After recently wrapping the first leg, Bentley will continue the tour with a 21-city run launching Jan. 6th in London, Ontario.
The shows will include openers Jordan Davis, Tenille Arts, and Lainey Wilson. Tickets for the new dates go on sale to the public beginning Friday, Nov. 5 at 10 a.m. local time.
“People think we are crazy to go to Canada and the northwest in January, but we’ve learned from previous tours that it’s a great time to bring a party up there,” Bentley says. “For me personally, I don’t mind that there is plenty of ice, snow, and mountains for some adventure between shows.”
Bentley also dropped the video for the tour’s namesake today, featuring Bentley, Hardy and Breland ambushing unsuspecting bystanders across Nashville with free beer and plenty of high fives and selfies.
“Beers On Me Tour” Dates:
01/06/2022 London, ON – Budweiser Gardens*
01/08/2022 Oshawa, ON – Tribute Communities Centre*
01/09/2022 Ottawa, ON – Canadian Tire Centre*
01/13/2022 Winnipeg, MB – Canada Life Centre*
01/14/2022 Saskatoon, SK – SaskTel Centre*
01/15/2022 Regina, SK – Brandt Centre*
01/19/2022 Lethbridge, AB – ENMAX Centre*
01/20/2022 Calgary, AB – Scotiabank Saddledome*
01/21/2022 Edmonton, AB – Rogers Place*
01/28/2022 Kelowna, BC – Prospera Place*
01/29/2022 Vancouver, BC – Rogers Arena*
02/04/2022 Missoula, MT – Adams Center**
02/05/2022 Billings, MT – MetraPark**
02/10/2022 Yakima, WA – SunDome**
02/11/2022 Eugene, OR – Matthew Knight Arena**
02/12/2022 Tacoma, WA – TacomaDome**
02/24/2022 Columbus OH – Nationwide Arena**-
02/25/2022 Nashville, TN – Bridgestone Arena**
03/03/2022 Grand Rapids, MI – Van Andel Arena**
03/04/2022 Bloomington, IN – Simon Skjodt Assembly Hall**
03/05/2022 Toledo OH – Huntington Center**-
*with Jordan Davis and Tenille Arts
**with Jordan Davis and Lainey Wilson
Carrie Underwood’s Debut Album, ‘Some Hearts,’ Certified 9x Platinum
/by Lorie HollabaughCarrie Underwood and Jackie Jones, RIAA VP, Artist & Industry Relations. Photo: Chris Hollo
Carrie Underwood was surprised at her Oct. 23 Grand Ole Opry performance with plaques commemorating two new career milestones: the 9x RIAA Platinum certification of her 2005 debut album, Some Hearts, and the 7x Platinum certification of her smash hit single, “Before He Cheats.”
The superstar was awarded the honors by Jackie Jones, RIAA Vice President, Artist & Industry Relations during her Opry appearance.
Some Hearts, which was released by Arista Nashville in 2005 and produced by Mark Bright and Dann Huff, is the sixth and most recent country album to achieve 9x Platinum. Underwood now joins Garth Brooks and Taylor Swift as the only three country artists to reach that pinnacle in the past 16 years.
“Before He Cheats,” written by Josh Kear and Chris Tompkins, is the 11th and most recent country song to achieve 7x Platinum.
Five singles from Underwood’s Cry Pretty album have gone Platinum and Gold, including the Platinum-certified singles, “The Champion” featuring Ludacris and “Southbound,” and the Gold-certified “Cry Pretty,” “Love Wins,” and “Drinking Alone.”
All nine of her consecutive album releases have debuted at No. 1 on the Billboard Country Chart, making her the only artist to accomplish that feat. Her latest single “If I Didn’t Love You,” a duet with Jason Aldean, is currently No. 1 at country radio.
Underwood has sold more than 66 million records worldwide, recorded 28 No. 1s (14 of which she co-wrote), and has seven albums certified Platinum or Multi-Platinum by the RIAA. In just over 15 years, she has achieved Gold and Platinum history with over 70 million certifications.
RIAA & Garth Brooks Honor Charley Pride Posthumously With Lifetime Achievement Award
/by Lydia FarthingDion Pride accepts the RIAA Lifetime Achievement Award on behalf of his father, Charley Pride, from Garth Brooks at the National Museum of African American Music in Nashville, Tennessee on Oct. 25, 2021. Photo: Blue Rose Inc.
Monday night (Oct. 25), members of the music industry gathered at the National Museum of African American Music (NMAAM) in Nashville to honor the late country music trailblazer Charley Pride with the RIAA Lifetime Achievement Award. The honor was posthumously presented by Garth Brooks, another country music giant, in his own right.
Pride, who spent over 50 years as a recording artist, enjoyed one of the most successful years in country music and became the first Black superstar within the format.
Throughout his career, Pride sold millions of records worldwide with his expansive repertoire of hits, earning three Grammy awards. He was the Country Music Association’s Entertainer of the Year in 1971 and the Top Male Vocalist of 1971 and 1972. Pride also received the Crossroads of American Music Award At the 2019 Grammy Museum Mississippi Gala in November of 2019, and the Country Music Association’s Willie Nelson Lifetime Achievement Award one year later in November 2020 before his death on Dec. 12.
Jackie Jones, VP of Artist & Industry Relations at RIAA, kicked off the night to welcome the intimate crowd, as well as introduce the President & CEO of NMAAM, H. Beecher Hicks, III.
“When this museum was conceived, it was really for moments just like this,” Hicks explained. “[It was created] to honor incredible artists just like Charley Pride, to bridge generations, and connect people and communities. The NMAAM provides a platform for discussions like these and a place for anyone—from a local songwriter to a towering global superstar—to reflect on the music and the artists that have shaped our lives, our culture, and our nation.”
RIAA Chairman & CEO Mitch Glazier took the stage to share his thanks to the Pride family, the museum, and to Brooks, who Glazier explained came up with the idea for the night’s festivities to celebrate Pride, his friend of 25 years.
Garth Brooks. Photo: Diana King
Joining Brooks for an enlightening Q&A was a fellow, celebrated music trailblazer, Alice Randall. Now a professor in Vanderbilt University’s Department of African-American and Diaspora Studies, Randall was one of the first Black women to co-write a country hit (“XXX’s And OOO’s” recorded by Trisha Yearwood) and has gone on to co-write more than twenty other recorded songs. She has published extensively on Black artists in country music and teaches courses on The Country Lyric in American Culture and Black Country.
Together, Brooks and Randall took time to discuss the legacy of Charley Pride in country music and in American music at large, the influence that Pride had on Brooks’ music, Pride’s last recording with Brooks, and more.
Pride’s first single, “The Snakes Crawl At Night,” was released in 1966, and his first No. 1 came three years later with “All I Have To Offer You Is Me.” When asked about his favorite Pride single, Brooks was unable to name just one, listing off hits like “Is Anybody Goin’ To San Antone” and “Mountain of Love,” breaking out his guitar to sing a snippet of each.
“I hear Charley Pride in Garth Brooks music so much… His influence on me was probably greater than I thought,” Brooks shared. “He was a big influence on my mom too. Her favorite song was ‘Kiss An Angel Good Morning,'” to which he also gave a preview of.
As Brooks was first coming onto the music scene in 1989 with “Much Too Young (To Feel This Damn Old),” Pride was closing on his first quarter of a century in country music. Pride’s influence on Brooks was undeniable as Brooks said he couldn’t remember the radio without Pride on it, becoming an integral part of his childhood.
“When you talk about influences and what his music means to people, for me it’s that he never seemed like he doubted himself when he stepped up to the mic, so therefore he sold it to me, my mom, and to a lot of other people. The RIAA number of records he sold would prove that,” Brooks said with a laugh. “That was something you learned as a kid before you got into the business, like ‘Son, if you’re gonna do this, don’t leave any of you out. Let’s bring everything you’ve got.’ That’s what [Charley] specialized in,” Brooks explained.
“[Charley Pride] was a freak of nature. He was gifted beyond belief and was so humble about his gifts,” he added. “It’s easy to stay humble in this business when you know that if Charley Pride had sang ‘If Tomorrow Never Comes,’ it would’ve been a bigger song… It’s really sweet to get to hang around guys that cheered you on and actually wanted you to do better than them. [Charley] sincerely wanted you to do better than he did.”
A similarity shared between the two larger-than-life entertainers is their love for baseball. Both men played in various leagues and on various teams throughout their years, with Pride actually going on to become one of the owners of the Texas Rangers. Whether through music or through sports, Pride played a central role in American life and in bringing people together.
“The new word that people are using right now is ‘unifier.’ Charley Pride was a unifier before unifiers were even thought of,” Brooks offered.
“We’re so divided. You can use a word and half the people will love it and half the people won’t like it. How in the world when you use the word ‘America’ do half of the people [groan]?” He continued, “He was what we all want to be and what we all want to stand for. One of the greatest American icons that I can think of would be [Charley Pride].”
Featured on his 2020 album, Fun, Brooks had been holding on to the song for ten years hoping to eventually collaborate with Pride.
“What I love about that song is that it starts out as a white boy and a Black, old man, but by the time you get to the end it’s just a young boy and a kind, old man. It’s the evolution or progression of love,” Brooks elaborated. “Love gets you past the differences and focuses on what you have in common.”
He concluded, “The best way that all of us can take Charley Pride’s name forward is to love one another. That was his thing… When you talk about the future of country music, I want the country artists of the future to be sincere in loving country music. I don’t care if they’re white, Black, transgender, or what their religion is. I want people who love country music like [Charley Pride] did.
“It didn’t matter that Charley Pride was Black, but it mattered so much that Charley Pride was Black,” he summed. “When it shouldn’t have mattered, it didn’t. When it should’ve mattered, he was the most proud of that.”
Pictured (L-R): Mitch Glazier (RIAA), H. Beecher Hicks III (NMAAM), Michele Ballantyne (RIAA), Dion Pride, & Garth Brooks. Photo: Diana King
Before the plaque presentation, RIAA COO Michele Ballantyne shared a list of Pride’s record of achievements, including being the first Black artist to win the CMA’s Entertainer of the Year award and a Grammy in the country genre; being one of six country music giants to win a CMA Lifetime Achievement Award, alongside Dolly Parton, Johnny Cash, Kris Kristofferson, Kenny Rogers, and Willie Nelson; and earning 29 No. 1 hits on Billboard‘s Hot Country Songs chart and over 70 million records sold, giving him 11 Gold albums and 1 Gold-certified single for “Kiss An Angel Good Morning.”
Charley’s son, Dion Pride, accepted the Lifetime Achievement Award on his family’s behalf saying, “We’re all very, very proud of my father’s accomplishments… all of his accomplishments are a byproduct of the sheer love that he had for country music.”
Dion continued, “As a son, I am more impressed with the man. My father was a great, great man. All of his values, all of his principles, will live through me.”
Brandi Carlile Confirms Headline Tour Dates For 2022
/by Lorie HollabaughBrandi Carlile. Photo: Neil Krug
Brandi Carlile has announced some new headline dates on her “Beyond These Silent Days Tour,” which will launch in 2022. Special guests on the tour include Ani DeFranco, Brittany Howard, Celisse, Indigo Girls, Lake Street Dive, Lucius, Sarah McLachlan and Allison Russell.
Stops on the tour include Washington’s Gorge Amphitheater on June 11, Los Angeles’ The Greek Theatre on June 24, Nashville’s Ascend Amphitheater on July 8-9, Chicago’s Huntington Bank Pavilion at Northerly Island on August 6, D.C.’s Merriweather Post Pavilion on Aug. 18, Colorado’s Red Rocks Amphitheater on Sept. 9-10, Boston’s TD Garden on Oct. 21, and New York’s Madison Square Garden on Oct. 22.
Pre-sale will begin Thursday, Oct. 28 at 10 a.m. local time with general on-sale following Friday, Oct. 29 at 10 a.m. local time. Citi is the official card of the tour and Citi cardmembers will have access to purchase pre-sale tickets beginning Tuesday, Oct. 26-28 through Citi Entertainment.
Ahead of the newly-confirmed dates, Carlile will once again perform Joni Mitchell’s legendary album Blue in full to a sold-out audience at Carnegie Hall on Nov. 6. Her successful Girls Just Wanna Weekend will return Feb. 1-5 in Mexico’s Hard Rock Hotel Riviera Maya.
Brandi Carlile Tour Dates:
November 6—New York, NY—Carnegie Hall (SOLD OUT)
February 1-5—Riviera Maya, Mexico—Girls Just Wanna Weekend (SOLD OUT)
April 22—Miramar Beach, FL—Moon Crush 2022
April 29—Indio, CA—Stagecoach Music Festival
June 11—George, WA—Gorge Amphitheater*
June 24—Los Angeles, CA—The Greek Theatre†
July 8—Nashville, TN—Ascend Amphitheater‡
July 9—Nashville, TN—Ascend Amphitheater‡
July 30—St. Paul, MN—Xcel Energy Center+
August 6—Chicago, IL—Huntington Bank Pavilion at Northerly Island#
August 18—Columbia, MD—Merriweather Post Pavilion§
September 9—Morrison, CO—Red Rocks Amphitheater~
September 10—Morrison, CO—Red Rocks Amphitheater§
October 21—Boston, MA—TD Garden^
October 22—New York, NY—Madison Square Garden^
*with special guests Sarah McLachlan and Lucius and featuring Celisse
†with special guest Lucius
‡with special guests Indigo Girls and Celisse and featuring Lucius
+with special guests Lake Street Dive and Celisse
#with special guests Ani DeFranco and Celisse
§with special guests Indigo Girls and Allison Russell
~with special guests Lucius and Allison Russell
^with special guest Brittany Howard
Red Creative Group Signs Matt Koziol To Label, Artist Development Deal
/by Lydia FarthingPictured (L-R): John Cantu (General Manager, RED Creative Records), Matt Koziol, Jeremy Stover (President, RED Creative Records)
Red Creative Group has signed singer-songwriter Matt Koziol to an exclusive label and artist development deal.
Koziol, who signed a publishing deal with Prescription Songs in 2019, has worked with noteworthy artists, including John Paul White, Joy Oladokun, Jimmie Allen, Charlie Worsham, Steve Moakler and more.
Some of his previously released singles include “Runs In The Family,” “Wrong Things,” and his debut EP Here For The Long Haul. Koziol is set to release his upcoming single, “Work All Day,” this Friday (Oct. 29).
“Matt is a true talent with a deep love for the craft, and we can’t wait for everyone to hear this guy’s voice and musicianship,” shares John Cantu, General Manager of RED Creative Records. “He is one of those timeless artists who is just undeniable. We’re excited to be working with him at RED Creative Records.”
“I feel like the magic of Nashville is that you get to create with folks you consider family. That’s what it has felt like recording and creating with Matt Odmark (Jars Of Clay). I’m excited to bring some of that creativity and work into the world with the help of John Cantu and Jeremy Stover over at Red Creative Group,” adds Koziol. “They really understand the vision, and the passion that goes into creating honest music. I feel very fortunate to be part of their team, and I’m really excited for what’s next!”
Waylon Jennings Estate Inks Management Deal With WME
/by LB CantrellWaylon Jennings. Photo: Billy Mitchell
WME’s Legends group, a management company focused on estate, legacy artist and brand management, has partnered with the estate of Country Music Hall of Fame member Waylon Jennings.
The late country icon’s wife, CMA and Grammy winning artist and songwriter Jessi Colter, and their son, artist and producer Shooter Jennings, will work with WME Legends to manage Waylon’s name, image, likeness and intellectual property rights and assets.
“WME Legends is proud to be working with Jessi Colter, Shooter Jennings and the Waylon Jennings estate. Waylon is considered the most important force in country’s outlaw movement—not only creatively but also for the business standard he set for other artists to strive for in their musical freedom,” says Phil Sandhaus, head of WME Legends.
Waylon Jennings is one of the founding pioneers of the outlaw movement in country music. His career began when he starred in the film Nashville Rebel and scored top 10 hits with “The Chokin’ Kind” and “Only Daddy That’ll Walk the Line.” He won his first of two Grammy awards in 1969 for his collaboration with the Kimberlys on “MacArthur Park.”
Waylon’s albums released in the ’70s are some of his most renowned work, including Lonesome, On’ry and Mean and Honky Tonk Heroes. In 1976, Waylon released Wanted! The Outlaws which included songs by himself, his wife Jessi Colter, Willie Nelson, and Tompall Glaser. It became the first album in country music history to be certified Platinum.
Wanted! The Outlaws also launched Waylon and Willie as one of country’s most famous duos. Together the two released “Good Hearted Woman” in 1976, and “Luckenbach, Texas (Back to the Basics of Love)” in 1977. Waylon and Willie won a Grammy together in 1978 for their country classic, “Mamas Don’t Let Your Babies Grow Up to Be Cowboys.”
Later on Waylon and Willie found success in the Highwaymen, a country supergroup they formed with Kris Kristofferson and Johnny Cash.
Waylon was inducted into the Country Music Hall of Fame in 2001, and died in February of 2002.
Lee Starr Signs With Sony Music Publishing & KP Entertainment
/by Lorie HollabaughPictured (L-R): Rusty Gaston, Kerri Edwards, Lee Starr, Aubrey Schwartz, Scott Safford
Rising singer-songwriter and producer Lee Starr has signed a worldwide publishing agreement with Sony Music Publishing Nashville and KP Entertainment.
Originally hailing from Arkansas, Starr arrived in Nashville in 2014 after spending time as a working musician in and around Austin. He has worked with up-and-coming artists as a songwriter and producer, penning songs for Elvie Shane, Ashland Craft, Conner Smith and Drew Green.
Starr co-wrote Shane’s debut single, “My Boy,” which reached No. 1 on Billboard’s Country Airplay chart. In the same week, “My Boy” reached the No. 4 spot on Billboard’s Hot Country Songs with 6.6 million U.S. streams.
“I couldn’t be more excited for Lee and the team at KP Entertainment,” says Sony Music Publishing Nashville CEO Rusty Gaston. “Lee’s songs are full of heart, and his work ethic is second to none. His potential is endless and I’m looking forward to all that is to come.”
“When our Creative Director Aubrey Schwartz played some demos of Lee earlier this year, I knew he was someone we had to represent,” adds Kerri Edwards, Founder, KP Entertainment. “His approach to songwriting and producing is inspiring, along with his drive to work toward those next level goals. Lee is such a great addition to our roster, and I look forward to building this with him.”
“Aubrey has been my champion since day one and as soon as she introduced me to Kerri, I knew where I wanted to be,” shares Starr. “Rusty and the staff at Sony Music Publishing are incredible, and everyone involved in this deal is an absolute hustler. When you find good people, you stick with them. I think the sky is the limit for us.”
CRB IV Proceedings: NSAI’s Bart Herbison On What You Need To Know [Interview]
/by LB CantrellBart Herbison
Copyright Royalty Board (CRB IV), or the Phonorecords IV proceedings, is currently underway to determine the new statutory streaming royalty rate paid to songwriters between the years of 2023 and 2027.
On Oct. 14, National Music Publishers Association (NMPA) President & CEO David Israelite made a social media post claiming that a number of digital service providers, including Amazon, Spotify, Apple, Pandora and Google, were proposing the “lowest royalty rates in history.”
The filings aren’t public yet, but according to Israelite, “not only do they propose rolling back rates and terms to erase all gains over the last 15 years, but they actually are proposing a structure worse than at any point in the history of interactive streaming.”
Nashville Songwriters Association International (NSAI) Executive Director Bart Herbison recently spoke with MusicRow to explain what’s going on at the CRB IV proceedings, what NSAI and NMPA are fighting for, and how songwriters and the publishing community should respond.
First, Herbison reminds us how the streaming services pay songwriters today. Currently, songwriters receive the greater of a per subscriber payment, a percent of revenue, or a percent of the total content revenue.
At the CRB IV trial, NSAI and NMPA are asking for a fourth revenue stream: a per stream payment. “We’re asking for substantial increases,” Herbison tells MusicRow. “We are seeking the greater of:
– On the percent of revenue model, we want 20%.
– Total content cost: 40%.
– Per subscriber: $1.50 per month.
– And per stream: $0.0015 per stream.”
He explains that while the streaming services claim they are still agreeing to the headline rate of 10.5%, they want to make changes on what is applicable revenue to split.
“Spotify wants massive carve outs that could lead to zero revenue per subscriber on the music side. They redefine bundles in such a way it can allow for a zero rate for music. And Spotify eliminates the safety net of total content costs for songwriters.
“Apple wants 30% of their revenue to be sheltered from defined revenue because of their App Store fees, another 10% to be sheltered for distributor fees, and additional uncapped revenues to be sheltered for miscellaneous fees. That would cut the effective rate significantly,” Herbison says, adding that Apple wants to eliminate the total content cost safety net, expand the family and student discounts, and make the free trial period longer.
All of the other proposals from streaming services are similar in that they aim to change the portion of revenue applicable to the headline rate and to diminish the value of total content. “They also ask that family and student discount plans be redefined or removed from the platforms,” he adds. “We’re asking for a new way to get paid, they’re asking for us to take significant decreases on what we already got paid by changing the definitions and terms.
“The devil is in the details here. They are going to claim that they don’t dispute the headline rate of 10.5%, but they just gut the definition of revenue to where it’s essentially tragic.”
NSAI chose and helped brief five songwriters who will testify at CRB IV, which include Autumn Rowe, NSAI President Steve Bogard, Jamie Floyd, Jimmy Yeary, and Angela Hunte. “We tried to represent different genres, ethnicities, geographical regions, and different eras of music, because those correlate with different concerns that American songwriters have,” Herbison says.
The songwriters will testify sometime in April 2022.
“Pat the back of these five songwriters who are testifying, they have given lots of time already, and this is a scary thing, to get up and testify against streaming services,” he says. “This is David versus Goliath, again.
“It’s BS, and you can quote on me on that, for the streaming corporations to say they care about songwriters, to put out articles that say we need to sit down and have a friendly discussion,” he adds. “How can you have a friendly discussion when some of their proposals take us back more than 15 years ago when we were already dying?”
Ironically, the CRB III trial that raised rates from from 10.5 percent of revenue to 15.1 percent of revenue is still under an appeal by some of the streaming services. Herbison is skeptical that the appeal of CRB III will be resolved before anyone testifies for CRB IV.
Songwriters are encouraged to follow NSAI and NMPA on social media and to stay tuned for calls to action in the coming days and months. “Nothing less than the very profession of songwriting is at stake,” Herbison sums.