Devin Dawson. Photo: Tyler Conrad
It’s been three years since Warner Music Nashville/Atlantic Records’ Devin Dawson released his moody and unique debut album, Dark Horse, which spawned his breakout hit “All on Me,” and other fan-favorites like “Asking For A Friend” and “Secondhand Hurt.”
But the ‘Dark Horse’ is back, and with The Pink Slip. Dawson released The Pink Slip EP on Jan. 15, comprised of six new, and noticeably lighter, songs.
In an interview with MusicRow, Dawson talked about the changes in him as a creative and as a person, that led him to make The Pink Slip.
MusicRow: The imaging for this is really different than Dark Horse. The music is more optimistic, and obviously the cover is pink. What do you think has changed in you since you’ve made Dark Horse?
I think my fans know to expect the unexpected from me. I always want to do something out of the box and unexpected. Posting a pink album cover was probably the last thing that anyone expected from me. But more so than that, not just to be flashy or unexpected, it’s more so about serving the music, serving the song and doing what’s right for these songs. Like you said, I have grown a lot since the man I was when I wrote Dark Horse. I keep saying this, but I have had a little success and I’ve seen the world, I’ve fallen in love and gotten married. So many great things have happened and I’m genuinely happy.
This EP is really just an example of me trying to make sense of that and still stay true to my songwriting. I’ll always be a ‘dark horse’ and I’ll always love to play the character of that vulnerable, visceral, introspective guy, but I think my job when I’m putting out an album is to just talk about what I’ve gone through in the last couple of years. And there’s been a lot of great shit that happened, so if this album seems a little bit hopeful and a little bit brighter, that’s why.
I imagine you’ve written more than six songs in the past three years. How did you put this selection together for the EP?
Honestly, it just happened by chance. These are the first ones that we went in to record and we had a plan to do a lot more. Obviously COVID changed that, and then it’s trying to figure out to pivot. I’ve worked with Jay Joyce since Dark Horse, just an absolutely incredible producer, but he’s been smoking for like 35 years and he has diabetes and all that. So it wasn’t necessarily something that we could just get into the studio like normal. As much as we would have loved to go back and tweak things and record more, maybe do a whole album and try to make things right or whatever, these are the first songs that we recorded and, to me, the priority was just to put out music. It had been so long and I’d be damned if I was going to let a quarantine that’s going to last however long, stop me from putting out new music.
You wrote with Ben Rector on “Range Rover.” Had you worked with him before?
“Range Rover” was like maybe the third or fourth song that we wrote. I’ve been a huge fan of him since college, when I first discovered him. I had seen some things he’s done recently and just really connected with it. I’ve had a couple accolades and some things happen publishing-, songwriting-, and artist-wise where I actually had a chance to be like, ‘I want to write with him.’ So I chased him down a little bit and was like, ‘Dude, I really think that we’d do something cool together.’ We both have the same things that make us happy when it comes to songwriting. We want to do something that’s never been done before and never been heard before, but do it in a way that everyone can relate to. That’s really hard, to reinvent the wheel every day, but I think when you get aligned with certain people, to go there and to write those songs, you need to be completely open and ready to fall on your face if it’s not good. So we got in a room and we started writing. We just hit it off.
The idea [for “Range Rover”] came out of conversation in the room when we were starting up. One of my other co-writers on that song, Mark Trussell was talking about him having a Top 20 finally and being able to get paid. He was like, ‘I have to get my wife a car.’ I said, ‘What does she want?’ He said, ‘I think she wants a Range Rover.’ She’s not the stereotypical, trophy wife kind of a girl looking for the Range Rover. She’s a very sweet, wholesome, amazing woman—not that every single person that drives a Range Rover is like that, but there’s that stereotypical thing. We were like, ‘Is there a song there? Can we write that? How do we do that?’ We were really obsessed with the challenge of conquering that idea in the right way. And we did it, it’s just so crazy and fun and different and cheeky and heavy and choppy. It checked all my boxes, and I’m really proud of it, so I’m glad that we wrangled that one.
Which one of these songs are you most excited to play with a full band? I’m sure you’re missing playing live.
“Not On My Watch.” It’s got this certain energy to it. There’s two words that come to mind when I think of this EP: it’s inspirational and it’s helpful. It’s like the dis-track to the devil on your shoulder, that’s what I keep calling it. I also don’t play guitar live when I sing that song, so it’s fun to just get around with no guitar, to walk around and just have that swag that song carries. That one’s just going to be a moment live, and I’m really excited for it.
ASCAP Kicks Off 2021 Master Class Virtually
/by Lorie HollabaughPictured (L-R, top row): ASCAP’s Lexi Miller, MV2 Entertainment’s Nicole Sherrill, Andrew Bontempo, ASCAP’s Holly Chester; (L-R, middle row): Dan Harrison, Will McBeath, Elysee Yulo, Frances Litterski; (L-R, bottom row): ASCAP’s Kele Currier, Nick Tyrrel, Corey Crowder.
ASCAP’s Master Class kicked off virtually on Jan. 12 with songwriter/producer Corey Crowder and MV2 Entertainment Creative Director Nicole Sherrill.
The songwriter development series, curated and hosted by ASCAP Membership Manager Holly Chester, provides a select group of promising writers with a unique opportunity to learn and receive feedback from a hit writer and a publisher. The series, started in 2019, is designed to equip songwriters with the knowledge to help hone their craft and expand their writing network.
The final installment of the 2020 series of Master Class was held on Thursday, Sept. 17 and featured songwriter-artist Deric Ruttan and Concord Music Creative Director Jen Hubbard.
Pictured (L-R, top row): Concord Music’s Jen Hubbard, ASCAP’s Holly Chester, ASCAP’s Lexi Miller; (L-R, middle row): Deric Ruttan, Shawn Chambliss, Dan Reardon; (L-R, bottom row): Emily Kroll, Jess Antonette, Joe Hanson
‘Dark Horse’ Devin Dawson Brings Out His Lighter Side With ‘The Pink Slip’ [Interview]
/by LB CantrellDevin Dawson. Photo: Tyler Conrad
It’s been three years since Warner Music Nashville/Atlantic Records’ Devin Dawson released his moody and unique debut album, Dark Horse, which spawned his breakout hit “All on Me,” and other fan-favorites like “Asking For A Friend” and “Secondhand Hurt.”
But the ‘Dark Horse’ is back, and with The Pink Slip. Dawson released The Pink Slip EP on Jan. 15, comprised of six new, and noticeably lighter, songs.
In an interview with MusicRow, Dawson talked about the changes in him as a creative and as a person, that led him to make The Pink Slip.
MusicRow: The imaging for this is really different than Dark Horse. The music is more optimistic, and obviously the cover is pink. What do you think has changed in you since you’ve made Dark Horse?
I think my fans know to expect the unexpected from me. I always want to do something out of the box and unexpected. Posting a pink album cover was probably the last thing that anyone expected from me. But more so than that, not just to be flashy or unexpected, it’s more so about serving the music, serving the song and doing what’s right for these songs. Like you said, I have grown a lot since the man I was when I wrote Dark Horse. I keep saying this, but I have had a little success and I’ve seen the world, I’ve fallen in love and gotten married. So many great things have happened and I’m genuinely happy.
This EP is really just an example of me trying to make sense of that and still stay true to my songwriting. I’ll always be a ‘dark horse’ and I’ll always love to play the character of that vulnerable, visceral, introspective guy, but I think my job when I’m putting out an album is to just talk about what I’ve gone through in the last couple of years. And there’s been a lot of great shit that happened, so if this album seems a little bit hopeful and a little bit brighter, that’s why.
I imagine you’ve written more than six songs in the past three years. How did you put this selection together for the EP?
Honestly, it just happened by chance. These are the first ones that we went in to record and we had a plan to do a lot more. Obviously COVID changed that, and then it’s trying to figure out to pivot. I’ve worked with Jay Joyce since Dark Horse, just an absolutely incredible producer, but he’s been smoking for like 35 years and he has diabetes and all that. So it wasn’t necessarily something that we could just get into the studio like normal. As much as we would have loved to go back and tweak things and record more, maybe do a whole album and try to make things right or whatever, these are the first songs that we recorded and, to me, the priority was just to put out music. It had been so long and I’d be damned if I was going to let a quarantine that’s going to last however long, stop me from putting out new music.
You wrote with Ben Rector on “Range Rover.” Had you worked with him before?
“Range Rover” was like maybe the third or fourth song that we wrote. I’ve been a huge fan of him since college, when I first discovered him. I had seen some things he’s done recently and just really connected with it. I’ve had a couple accolades and some things happen publishing-, songwriting-, and artist-wise where I actually had a chance to be like, ‘I want to write with him.’ So I chased him down a little bit and was like, ‘Dude, I really think that we’d do something cool together.’ We both have the same things that make us happy when it comes to songwriting. We want to do something that’s never been done before and never been heard before, but do it in a way that everyone can relate to. That’s really hard, to reinvent the wheel every day, but I think when you get aligned with certain people, to go there and to write those songs, you need to be completely open and ready to fall on your face if it’s not good. So we got in a room and we started writing. We just hit it off.
The idea [for “Range Rover”] came out of conversation in the room when we were starting up. One of my other co-writers on that song, Mark Trussell was talking about him having a Top 20 finally and being able to get paid. He was like, ‘I have to get my wife a car.’ I said, ‘What does she want?’ He said, ‘I think she wants a Range Rover.’ She’s not the stereotypical, trophy wife kind of a girl looking for the Range Rover. She’s a very sweet, wholesome, amazing woman—not that every single person that drives a Range Rover is like that, but there’s that stereotypical thing. We were like, ‘Is there a song there? Can we write that? How do we do that?’ We were really obsessed with the challenge of conquering that idea in the right way. And we did it, it’s just so crazy and fun and different and cheeky and heavy and choppy. It checked all my boxes, and I’m really proud of it, so I’m glad that we wrangled that one.
Which one of these songs are you most excited to play with a full band? I’m sure you’re missing playing live.
“Not On My Watch.” It’s got this certain energy to it. There’s two words that come to mind when I think of this EP: it’s inspirational and it’s helpful. It’s like the dis-track to the devil on your shoulder, that’s what I keep calling it. I also don’t play guitar live when I sing that song, so it’s fun to just get around with no guitar, to walk around and just have that swag that song carries. That one’s just going to be a moment live, and I’m really excited for it.
New Concert Venue The Factory Opening In St. Louis
/by Lorie HollabaughThe 52,000 square foot event space, being developed by The Staenberg Group, will have capacity of 3,000 for concerts and is currently booking live shows for 2021-2022. Veteran talent buyer, festival producer and St. Louis native Dan Merker will be the exclusive Talent Buyer for the venue. Brian Carp (formerly of House of Blues in Anaheim and Dallas) will serve as The Factory’s Chief Operating Officer.
Located at The District, Chesterfield’s newest food, beverage and entertainment destination, the venue offers ample free parking, a state-of-the-art sound and lighting system, seven full-service bars, five talent dressing rooms, a private production office, a catering room with outdoor deck, stage level load-in, and much more.
“This venue is setting a new standard for the fan and artist experience,” says Merker. “We’re excited to bring diverse and eclectic music genres to the community and get back to live music in 2021.”
Walker Montgomery Talks Heroes In New Digital Series ‘Influenced By’
/by Lorie HollabaughPlay It Again Entertainment’s flagship artist and emerging singer-songwriter Walker Montgomery has launched a new 10-episode digital series Influenced By featuring the Kentucky native talking about the artists who have influenced him and helped shape him as an artist and songwriter.
He kicked off the new series with one of his heroes, Luke Bryan. The weekly series is available on YouTube and across his socials, with a new episode airing each week. Episode 2, released last week, features Montgomery talking about one of his biggest influences, Glenn Miller, one of the most popular American big-band artists to emerge from the swing era during WWII.
“Growing up, I was blessed to be influenced and exposed to a wide range of different artists, music and songs, whether that was country, bluegrass, gospel or big band,” said Montgomery. “It all influenced the music that I make today.”
Emerging artist Montgomery released his new up-tempo feel-good single “Bad Day To Be A Beer” in late 2020. The song was penned by Dallas Davidson, Brock Berryhill, Ray Fulcher and Cole Taylor, and is the first single from a collection of new music expected next year.
Singer-Songwriter Randy Parton, Brother of Dolly, Passes
/by LB CantrellRandy Parton (far left) with family. Photo: Courtesy dollyparton.com
Singer-songwriter, actor and businessman Randy Parton passed away today (Jan. 21) after a battle with cancer. He was 67.
Randy’s sister, country music icon Dolly Parton, announced her brother’s death via social media. “The family and I are grieving his loss but we know he is in a better place than we are at this time. We are a family of faith and we believe that he is safe with God and that he is joined by members of the family that have gone on before and have welcomed him with joy and open arms,” Parton said.
According to Dolly’s post, Randy sang and played guitar and bass in her band for many years. He served as Dolly’s duet partner on “Old Flames Can’t Hold A Candle To You,” and on “You Are My Christmas,” a duet with her, and Randy’s daughter Heidi, on Dolly’s latest Christmas album.
Born Randel Huston Parton on Dec. 15, 1953, Randy was one of twelve children born to Avie Lee Caroline and Robert Lee Parton Sr. in Sevierville, Tennessee.
Randy’s first singles came in 1981 with “Hold Me Like You Never Had Me,” “Shot Full of Love,” and “Don’t Cry Baby.” He also released the singles “Oh, No” and “A Stranger in Her Bed” in the early ’80s.
In 1982 he was the first artist to record the song “Roll On (Eighteen Wheeler),” Alabama made it a hit in 1984. Also in 1984, he sang a song for the Rhinestone soundtrack; a movie that Dolly starred in. Randy has hosted a show at Dolly’s Dollywood theme park in East Tennessee since 1986.
Dolly, Randy Parton
Randy is survived by his wife Deb, his daughter Heidi, son Sabyn, and grandsons Huston and Trent.
Dolly’s publicist tells MusicRow, those wishing to honor Randy may donate to the Imagination Library in honor of both Randy and his Father Lee Parton.
BMI Foundation Scholarship Deadline Extended
/by Lorie HollabaughThe sixth annual Nashville Songwriting Scholarship will award $5,000 for the best original song in any of the following genres: Americana, blues, bluegrass, contemporary Christian, country, folk, and roots. The scholarship contest is open to students between the ages of 17-24 who are enrolled in any college or university located in the U.S. Grammy-winning recording artist and BMI songwriter Kacey Musgraves will serve as a final judge in the competition.
Program applications must be completed online no later than Friday, Jan. 29 at 11:59 p.m. For complete details and to apply, visit bmifoundation.org/programs.
A2IM Launches Accelerator to Amplify Black Businesses in the Independent Music Community
/by LB CantrellThe American Association of Independent Music (A2IM), a 501(c)(6) not-for-profit trade organization representing nearly 700 independent music labels, has announced the launch of its Black Independent Music Accelerator, a fellowship grant initiative designed to amplify Black voices in the independent music community.
The initiative will provide a platform for Black-owned businesses in the music industry, delivering greater visibility, networking, and mentorship opportunities for burgeoning business owners. Because financial barriers often pose significant obstacles for minority-owned, independent music businesses, BIMA offers subsidized yearly dues to A2IM, as well as complimentary tickets to annual events such as Indie Week, a four-day international conference and networking event aimed at maximizing the global impact of independent music.
In addition, fellowship benefits include label-to-label mentorship within the A2IM community as well as an opportunity to build relationships with participating streaming platforms. BIMA will feature meetings with the A2IM staff and Board of Directors, as well as A2IM member-led mentorship sessions. Fellows will be invited to legal roundtables, sessions with SoundExchange, meetings with DSPs including Spotify and Amazon Music to discuss available marketing benefits, and additional meetings and programs soon to be announced.
“My artists’ streams have all gone up by more than 100% because of the education and connectivity I am afforded by being a member of A2IM,” said Madeline Nelson, CEO and Founder of Heads Music. “Literally a 100% or more increase on all of them. Programs like Let’s Get Digital and Indie Week made a total difference for my company. The ability to do Q&A with the presenters was wonderful. The level of insight the panelists and speakers shared has proven to be invaluable.”
Nelson will be a part of BIMA’s Advisory Council, which will offer guidance and oversight on the project. Also serving on the council will be Troy Carter, Founder and CEO of Q&A; Fotemah Mba, Head of A&R, General Market at Cinq Music Group; Taryn Brown, Founding Principal at Taryn Brown + Company; Chissy Nkemere, Senior Director of Streaming Marketing at Concord Music Group; along with Marcus Hollinger, SVP of Marketing at Reach Records.
“I am proud to see the BIMA project come to fruition because it shows all of our commitment to uplifting the Black Community,” said Hollinger. “It’s an honor to be on the Advisory Council with like-minded people who are serious about bringing change to our industry.”
BIMA is presented in partnership with many sponsors, including Spotify, Amazon Music, ADA, Made in Memphis Entertainment, Songtrust, Reach Records, Taryn Brown + Company, Tunecore, Materia Collective, AdRev, Symphonic Distribution, Soundexchange, and Vydia.
The 2021 application process for BIMA began on Jan. 19, 2021. To apply or learn more, please visit a2im.org/bima.
Industry Ink: Collective Artist Management, Grayscale Marketing, KBFM
/by Lorie HollabaughParker Stacy Named Director Of Digital Marketing At Collective Artist Management
Parker Stacey
Parker Stacey has been named Director of Digital Marketing for Collective Artist Management. His role has expanded to handle all digital marketing initiatives for the full roster of clients including Clint Black, Everette, Grant Landis, Edwin McCain, Sara Evans and Tyler Rich. Stacey joined Collective Artist Management as an intern in January 2019 and was then hired in August 2019 as Manager of Digital Marketing. Prior to joining CAM, he worked for Riverbend Music Festival in Chattanooga, Tennessee.
“Parker is fearless. Even during our industry’s challenges over the past year, he has continually stepped up with his creative energy and original thinking,” said CAM President Brinson Strickland. “The Collective, our artists and our partners are all lucky to have him.”
Taylor Miller Named Grayscale Marketing’s Manager Of Strategic/Creative Marketing
Taylor Miller has been named Grayscale Marketing’s new Manager of Strategic & Creative Marketing. Miller will lead the agency’s non-music industry corporate clients in marketing, advertising, and creative strategy. She will report directly to the CEO, Tim Gray. Prior to joining the team at Grayscale, Miller worked as a publicist and designer with a number of clients including Microsoft, Acura, Belkin, Humm Kombucha, Chileno Bay Resort, and Hotel Wailea in Maui. Originally from New Jersey, Miller holds a Bachelor’s Degree in Communications Design from Syracuse University.
“Taylor’s broad experience in publicity, design, and marketing across industry sets her apart, but to me, her superpowers lie in ideation, strategy, communication, and creative problem-solving.” said Gray. “She has really hit the ground running and made an immediate impact on the team and her clients. I feel like we’ve all leveled up since she’s joined the GSM family, and I’m thrilled to have her on the team as we continue scaling the agency”
Mallory Mason Joins King Business & Financial Management LLC
Mallory Mason
King Business & Financial Management LLC (KBFM), which is celebrating its two year anniversary this year, has added Mallory Mason to the firm as Business Manager. Mason—who has a decade of experience, including time at Wiles + Taylor and Company—joins the firm that Chris King started in early 2019. KBFM’s roster includes international touring artists, songwriters, producers, industry executives and publishing companies.
“2020 has been a whirlwind of a year for all of those involved in the entertainment industry, especially business management,” says King. “I am very excited to announce the addition of Mallory Mason to our team. Mallory brings years of experience that are vital for a firm who prides itself on having expertise in working with global superstars and fresh talent alike. Our focus is on ensuring all clients receive top notch service no matter where they are in their career.”
Morgan Wallen’s ‘Dangerous’ Album Shatters More Records
/by LB CantrellBig Loud/Republic Records’ Morgan Wallen is taking the world by storm with his sophomore effort. Dangerous: The Double Album debuted at No. 1 this week atop the Billboard 200 Albums chart and earned the largest streaming week for a country album in history, a feat last achieved by Luke Combs‘ What You See Is What You Get.
With 265,000 in total consumption and over 240 million streams, Dangerous is the No. 1 streaming album and had the No. 1 streaming week for a country album in its debut, also landing spots atop the Billboard Top Country Albums chart and the Billboard Top 200 Album Sales chart. Only Taylor Swift and Ariana Grande had larger streaming weeks for a non-hip-hop album, marking the biggest week for a country album since 2018 and the biggest country album without a ticket bundle since 2015.
Wallen is the first artist ever to debut at No. 1 on the Top Country Albums and Hot Country Songs charts simultaneously.
27 of the 30 songs on Dangerous have landed inside the Billboard Hot Country Songs Top 50, with six in the Top 10, setting an unprecedented new record. Early favorite “Wasted On You” debuts at No. 1, making Wallen the only artist with multiple No. 1 Hot Country Songs debuts in the chart’s 62-year history. The song also earns him his second Hot 100 Top 10, debuting at No. 9 this week and touting 19 current entries throughout the chart.
The album set a new bar across all streaming platforms. Dangerous broke global debut records for most first-week streams and on-demand Alexa requests of any country album on Amazon Music; and Wallen had the No. 1 most added artist station across all genres on Pandora, among the top 10 highest streamed artists of the week.
Last week, Wallen set the record for Spotify’s biggest all-time first day stream record for a country album; and he set the record for the biggest first day and biggest first week for a country album of all-time at Apple Music in just two days.
Scott Borchetta Announces Big Machine Racing Team
/by LB CantrellPresident/CEO and Founder of Big Machine Label Group, Scott Borchetta, has announced the formation of the Big Machine Racing Team. The team will compete full-time in the 2021 NASCAR Xfinity Series, with Nashville driver Jade Buford behind the wheel.
Borchetta has a long history of merging his Nashville music empire which includes superstars like Tim McGraw, Sheryl Crow, Thomas Rhett and Florida Georgia Line, with the sport of racing. From providing talent for pre-race ceremonies to securing title sponsorships such as the Big Machine Vodka 400 at the Brickyard, Borchetta’s announcement is a natural progression for the entrepreneur.
Borchetta is no stranger to the track himself, he raced motocross and quarter midgets as a kid in Southern California before following his dad in the Nashville music business in the early ‘80s. He picked racing back up in the late ’90s in the NASCAR SuperTrucks Weekly Series where he won three consecutive championships. In 2020, Borchetta raced in the SVRA Group 6 Division, picking up a National Championship in his ’72 Corvette. The Nashville Fairgrounds Speedway further recognized his commitment to the sport this past October by inducting him into their Nashville Fairgrounds Speedway Hall of Fame.
“I’ve always been involved in racing, it’s a part of my DNA,” says Borchetta. “Whether as a competitor, a fan or a sponsor, racing is a constant in my life and is a part of our Big Machine culture. The formation of the Big Machine Racing team only broadens the integration opportunities for our recording artists and the sport.”
Buford is well known for his road racing prowess which includes wins at such tracks as Sebring and Watkins Glen as well as a fastest qualifier/pole position at Daytona. Buford had his first Xfinity starts in 2020 where he scored a Top 10 finish at Charlotte’s rainy Roval.
Big Machine Driver Jade Buford
The Mooresville-based team will be overseen by longtime NASCAR Crew Chief Patrick Donahue, a seasoned veteran who led four-time NASCAR Champion and Hall of Fame driver Jeff Gordon to victory in the Xfinity Series.
Big Machine brands will be the primary sponsor for the No. 48 Xfinity Chevrolet, including Big Machine Vodka, Big Machine Hand Sanitizer and key Big Machine Label Group artists.