Mimi and Muziqueen, leaders of the organization Nashville Is Not Just Country Music. Photo: Chad Crawford
In June, as the national Black Lives Matter movement surged around the country, industry organization Nashville Is Not Just Country Music released a survey of creators and business executives in the Nashville area, led by the question “Does Music Row Reflect Music City?”.
The majority of those surveyed represented Black/African-Americans (46.2%), and white/caucasian (42.8%), and nearly 40% of participants were artists and singer/songwriters. The survey revealed that 66.2% of those surveyed do not believe the Music Row-area music industry is interested in genres other than country. Nearly half (43.4%) report that they sometimes believe they would have a better career if they left Nashville, while 47.6% believe they have experienced discrimination while working in Nashville’s music industry. 43.4% said they do not feel they have access to resources in the Music Row/Nashville music industry to advance their professional and/or creative careers.
Music industry veterans Jamila McCarley and Thalia Ewing, known as Mimi & Muziqueen, had already been working in Nashville’s music scene for several years. Mimi founded Collab Music Network in 2015, while Muziqueen launched Muziqueen Publishing Administration in 2014. Together, they have more than 20 years’ experience in publishing administration, licensing, and catalog development.
They teamed to build the organization a few years ago to help serve non-country music creators and business executives in the Nashville area, and to help build a networking community and resource hub for Nashville creators and execs in Urban, R&B, pop, hip-hop, rock, and other non-country genres. They began hosting quarterly industry mixers and monthly Urban Writer’s Rounds.
“We saw a need to be a facilitator and advocate for the creators of music that don’t just do country music,” Nashville native Thalia said. “So the Urban Writers Round was birthed out of that. We were very specific when choosing writers, so we wanted to make sure we have someone that represented each genre of music. We wanted to make sure we had equality and gender representation and ethnicity as well, so there was always somebody in the audience who could relate to somebody on the stage regardless of whether it was the music they played or how they looked, or whatever the case may be.” Thalia said.
MusicRow Magazine spoke with Mimi and Muziqueen about the organization’s work to expand opportunities for the non-country music community in Nashville.
MusicRow: This organization is very focused on education. Why is that such a cornerstone of what the organization does?
Mimi: Education is the reason why Nashville Is Not Just Country music was started. We came together as independent music publishers to cultivate talent and pitch music. We found out very quickly that the average creative in Nashville that was doing music outside of country music, did not have the music business education or knowledge. Some of these people have never heard of a split sheet, hadn’t heard of compositional rights. Thalia, just being a music business education advocate, she’s like, “Okay, we can’t do business here without education.” So we started offering education sessions. We did one about monetizing your music. We ran into a lot of artists who started releasing music, but hadn’t done all their registration, so now they are not in a position to collect their money that they’re working so hard for. Instead of complaining about it, we decided to serve the community where the greater need was.
Thalia: There is a lot of mis-education out there, so we wanted to bring in professional experts to discuss how business is really done.
For other genres, a lot of that industry infrastructure is already set up in Nashville, and it is for the most part centralized around the Music Row, Brentwood and Berry Hill areas.
Mimi: Nashville created an infrastructure for aspiring and existing country music artists, and musicians and creators can be dropped into that structure and maneuver. That is the same thing that we are looking to do, to cultivate Nashville’s diverse music scene. It puts Nashville in a very unique position to expand and build their legacy, to be part of the next wave of what’s happening right here in their backyard.
What needs to be done to continue to build that kind of infrastructure for non-country music executives and artists?
Thalia: I’ve heard various reasons from people within the Music Row community, that they don’t know what to do with Urban, R&B and that genre of music, and that’s a legitimate, concern on their end, when you have a structure that has worked so well in a particular genre of music. There are other cities and places that have been able to tap into those genres of music and have been able to do it well. I believe if resources and capital were allocated towards that as a priority or interest, then there would be great success in those areas here, just like in other cities. Having Nashville investing in the urban music community will boost the economy for the city, as well. It’s all win-win all around, because if a label invests into a local artist, that local artist makes it big, that has now put Nashville in a whole new trajectory. Now more artists and creatives want to move here, but we’ve lost some artists to other cities as a result of them not being able to scale here in Nashville.
Mimi: Tay Keith is a good example. As a result of his success, he’s been able to sign up artists under him, multiple talents. Now we’re creating economic opportunities for multiple people after the success of one person.
There have been several panels in recent months that have centered on the experiences of Black executives and artists in Nashville. The Nashville Is Not Just Country Music panel was one of those. What is your reaction to the experiences that were discussed during the panels?
Thalia: There are very few people of color that just work in general jobs in the Music Row area. When I say general, I mean licensing, copywriting, royalties, very administrative-types of jobs. It has not been an easy road being a Black female with 15 years experience, to navigate a career in Nashville on the business side of things and in the corporate space. So it’s really refreshing to hear that companies are now re-evaluating their processes and hiring, where they select talent from and broadening the pool. I’m looking forward to this being something continual. There are lots of very qualified people of color that have degrees in music business that really deserve an opportunity to have their career here, and not feel like they need to move to another city in order to just put their music business degrees to work. I also hope that the companies will follow through and reach out to all universities and bring in all interns of all colors and backgrounds.
The pandemic has forced so many organizations to find new ways of getting their messages out—Zoom meetings, that sort of thing. What is next for Nashville Is Not Just Country Music?
Mimi: Right after our panel discussion, we were inspired by everyone’s honesty, and we followed up with everyone to discuss what actions we can take. So we are in the process of putting together services we feel this community really needs, in areas of publishing, management.
The writer’s rounds are special, a time of community. We want to expand on that with building a digital community, without losing the integrity of the community of the writer’s round. After every event, our hearts are filled, and we are part of this community that we serve.
Who are some of your favorite artists that are rising right now?
Thalia: Well, Aaron Dews is amazing.
Mimi: His artistry and work ethic are incredible. There is an artist by the name of Tahne and she worked with Shannon Sanders, so we’re definitely excited about that music that’s about to start rolling out.
Any final thoughts to add?
Mimi: If you look at the streaming charts, hip-hop and Urban have the top numbers. It’s about facilitating economic opportunity. We want to bring opportunity and empowerment to this creative community. We can help facilitate and support efforts that the Music Row area may be seeking in partnering with creatives in the Urban music space. It’s everybody that is getting with this mood, getting with the wave of understanding that Nashville is not just country music, and it really never has been.
Thalia: I’m just excited to see the next five years, if Nashville really puts forth efforts towards these changes, we will be unstoppable. We can really take charge and become that diverse leader in these areas—especially in the South, with the history that the South holds.
Mimi And Muziqueen, Leaders of Nashville Is Not Just Country Music, Talk Driving a Diverse Scene
/by Jessica NicholsonMimi and Muziqueen, leaders of the organization Nashville Is Not Just Country Music. Photo: Chad Crawford
In June, as the national Black Lives Matter movement surged around the country, industry organization Nashville Is Not Just Country Music released a survey of creators and business executives in the Nashville area, led by the question “Does Music Row Reflect Music City?”.
The majority of those surveyed represented Black/African-Americans (46.2%), and white/caucasian (42.8%), and nearly 40% of participants were artists and singer/songwriters. The survey revealed that 66.2% of those surveyed do not believe the Music Row-area music industry is interested in genres other than country. Nearly half (43.4%) report that they sometimes believe they would have a better career if they left Nashville, while 47.6% believe they have experienced discrimination while working in Nashville’s music industry. 43.4% said they do not feel they have access to resources in the Music Row/Nashville music industry to advance their professional and/or creative careers.
Music industry veterans Jamila McCarley and Thalia Ewing, known as Mimi & Muziqueen, had already been working in Nashville’s music scene for several years. Mimi founded Collab Music Network in 2015, while Muziqueen launched Muziqueen Publishing Administration in 2014. Together, they have more than 20 years’ experience in publishing administration, licensing, and catalog development.
They teamed to build the organization a few years ago to help serve non-country music creators and business executives in the Nashville area, and to help build a networking community and resource hub for Nashville creators and execs in Urban, R&B, pop, hip-hop, rock, and other non-country genres. They began hosting quarterly industry mixers and monthly Urban Writer’s Rounds.
“We saw a need to be a facilitator and advocate for the creators of music that don’t just do country music,” Nashville native Thalia said. “So the Urban Writers Round was birthed out of that. We were very specific when choosing writers, so we wanted to make sure we have someone that represented each genre of music. We wanted to make sure we had equality and gender representation and ethnicity as well, so there was always somebody in the audience who could relate to somebody on the stage regardless of whether it was the music they played or how they looked, or whatever the case may be.” Thalia said.
MusicRow Magazine spoke with Mimi and Muziqueen about the organization’s work to expand opportunities for the non-country music community in Nashville.
MusicRow: This organization is very focused on education. Why is that such a cornerstone of what the organization does?
Mimi: Education is the reason why Nashville Is Not Just Country music was started. We came together as independent music publishers to cultivate talent and pitch music. We found out very quickly that the average creative in Nashville that was doing music outside of country music, did not have the music business education or knowledge. Some of these people have never heard of a split sheet, hadn’t heard of compositional rights. Thalia, just being a music business education advocate, she’s like, “Okay, we can’t do business here without education.” So we started offering education sessions. We did one about monetizing your music. We ran into a lot of artists who started releasing music, but hadn’t done all their registration, so now they are not in a position to collect their money that they’re working so hard for. Instead of complaining about it, we decided to serve the community where the greater need was.
Thalia: There is a lot of mis-education out there, so we wanted to bring in professional experts to discuss how business is really done.
For other genres, a lot of that industry infrastructure is already set up in Nashville, and it is for the most part centralized around the Music Row, Brentwood and Berry Hill areas.
Mimi: Nashville created an infrastructure for aspiring and existing country music artists, and musicians and creators can be dropped into that structure and maneuver. That is the same thing that we are looking to do, to cultivate Nashville’s diverse music scene. It puts Nashville in a very unique position to expand and build their legacy, to be part of the next wave of what’s happening right here in their backyard.
What needs to be done to continue to build that kind of infrastructure for non-country music executives and artists?
Thalia: I’ve heard various reasons from people within the Music Row community, that they don’t know what to do with Urban, R&B and that genre of music, and that’s a legitimate, concern on their end, when you have a structure that has worked so well in a particular genre of music. There are other cities and places that have been able to tap into those genres of music and have been able to do it well. I believe if resources and capital were allocated towards that as a priority or interest, then there would be great success in those areas here, just like in other cities. Having Nashville investing in the urban music community will boost the economy for the city, as well. It’s all win-win all around, because if a label invests into a local artist, that local artist makes it big, that has now put Nashville in a whole new trajectory. Now more artists and creatives want to move here, but we’ve lost some artists to other cities as a result of them not being able to scale here in Nashville.
Mimi: Tay Keith is a good example. As a result of his success, he’s been able to sign up artists under him, multiple talents. Now we’re creating economic opportunities for multiple people after the success of one person.
There have been several panels in recent months that have centered on the experiences of Black executives and artists in Nashville. The Nashville Is Not Just Country Music panel was one of those. What is your reaction to the experiences that were discussed during the panels?
Thalia: There are very few people of color that just work in general jobs in the Music Row area. When I say general, I mean licensing, copywriting, royalties, very administrative-types of jobs. It has not been an easy road being a Black female with 15 years experience, to navigate a career in Nashville on the business side of things and in the corporate space. So it’s really refreshing to hear that companies are now re-evaluating their processes and hiring, where they select talent from and broadening the pool. I’m looking forward to this being something continual. There are lots of very qualified people of color that have degrees in music business that really deserve an opportunity to have their career here, and not feel like they need to move to another city in order to just put their music business degrees to work. I also hope that the companies will follow through and reach out to all universities and bring in all interns of all colors and backgrounds.
The pandemic has forced so many organizations to find new ways of getting their messages out—Zoom meetings, that sort of thing. What is next for Nashville Is Not Just Country Music?
Mimi: Right after our panel discussion, we were inspired by everyone’s honesty, and we followed up with everyone to discuss what actions we can take. So we are in the process of putting together services we feel this community really needs, in areas of publishing, management.
The writer’s rounds are special, a time of community. We want to expand on that with building a digital community, without losing the integrity of the community of the writer’s round. After every event, our hearts are filled, and we are part of this community that we serve.
Who are some of your favorite artists that are rising right now?
Thalia: Well, Aaron Dews is amazing.
Mimi: His artistry and work ethic are incredible. There is an artist by the name of Tahne and she worked with Shannon Sanders, so we’re definitely excited about that music that’s about to start rolling out.
Any final thoughts to add?
Mimi: If you look at the streaming charts, hip-hop and Urban have the top numbers. It’s about facilitating economic opportunity. We want to bring opportunity and empowerment to this creative community. We can help facilitate and support efforts that the Music Row area may be seeking in partnering with creatives in the Urban music space. It’s everybody that is getting with this mood, getting with the wave of understanding that Nashville is not just country music, and it really never has been.
Thalia: I’m just excited to see the next five years, if Nashville really puts forth efforts towards these changes, we will be unstoppable. We can really take charge and become that diverse leader in these areas—especially in the South, with the history that the South holds.
‘2020 Billboard Music Awards’ Airs Tonight
/by Sarah SkatesThe 2020 Billboard Music Awards air live on NBC Wednesday, Oct. 14 at 8 p.m. ET/PT from the Dolby Theater in Los Angeles.
Luke Combs, Maren Morris, and Dan + Shay lead this year’s country nominees. Country performers include Combs, as well as Kane Brown feat. Swae Lee and Khalid.
Garth Brooks will be the first country artist to receive the elite ICON Award which recognizes “the cultural impact of an artist whose extraordinary talent as a creator, writer and entertainer has stood the test of time.” Brooks and his band will be in L.A. to perform on the show.
The event will be hosted by Kelly Clarkson who will be joined in her opening performance by Pentatonix and Sheila E.
Additional performers include Alicia Keys, Bad Bunny, Brandy feat. Ty Dolla $ign, BTS, Doja Cat, En Vogue, John Legend, Demi Lovato, Sia, Post Malone feat. Tyla Yahweh, and SAINt JHN.
Post Malone leads this year’s nominees with 16 nominations. Lil Nas X follows with 13 nominations, while Billie Eilish and Khalid earned 12 nominations each.
More on the Country nominees here.
Outback Concerts Co-Founder Kathy Smardak Passes
/by Lorie HollabaughL-R: Sasha Smardak, Mike Smardak, Kristina Smardak, Kathy Smardak
Photo credit: Rick Diamond
Kathy Smardak, co-founder of Outback Concerts, died on Sunday, October 11, 2020 at Williamson Medical Center in Franklin, Tenn. after a brief illness. She was 60 years old.
Smardak was born on November 24, 1959, in Lynchburg, VA, and graduated from Brookville High School and Virginia Western Community College. She married husband Michael Smardak in 1992. In 1997, the two co-founded Outback Concerts, a successful independent concert promotion company located in Nashville.
Kathy is survived by her husband and beloved daughters Sasha Amara Karina Smardak and Natalya Kristina Smardak.
A Celebration of Life will be held on Thursday, October 15, from 5 to 7 p.m., at The Stone House at Arrington Vineyards. A private family graveside will be held at Woodlawn Memorial Park in the Grand Tour Garden.
Flowers may be sent to the Williamson Memorial Funeral Home at 3009 Columbia Ave., Franklin, TN, 37064, (615) 794-2289, and donations in remembrance can be sent to the Tennessee Baptist Children’s Homes, P.O. Box 2206, Brentwood, TN 37024.
IEBA Celebrates 50 Years With Free Online Conference
/by Sarah SkatesHighlights include the Award Winners Power Panel, featuring IEBA Industry Award winners reflecting on how this unprecedented year impacted their businesses and lives, with panelists Darin Lashinsky, NS2 (Promoter of the Year); Amy Madrigali, Troubadour (Club of the Year); Josh Moore, The Bowery Presents (Club Buyer of the Year); Stacy Vee, Goldenvoice / MTG (Festival Buyer of the Year); and moderator David Kells, Bridgestone Arena (Venue Executive of the Year).
Also available to watch is the panel New Terms & Conditions In Response to the Pandemic, discussing urgent legal issues including COVID cancellation, weather payment, and indemnity and liability limitations, with panelists Jason Bernstein, AEG Presents; Brent Daughrity, Anderson Benson; Tim Epstein, Duggan Bertsch, LLC; Berkeley Reinhold, Business & Law Office of Berkeley Reinhold; and moderator Pam Matthews, IEBA Executive Director.
“As a trade association, our role is to trumpet live entertainment’s cultural significance and role as an economic multiplier,” said Matthews. “Our business is built on celebration and the shared human experience. When that is lost, the world becomes a poorer place. The question of when—and how—live music will return is agonizing the entire entertainment business as well as wider society. At IEBA’s 2020 virtual conference, we provide answers to those when and how questions.”
IEBA’s virtual conference included sessions with talent buyers, promoters, and venue operators from Europe, Latin America, Asia and the Pacific, and across the United States. In two days, nearly 3,000 online attendees have viewed the 2020 conference programming.
IEBA’s 51st annual conference is scheduled for October 3-5, 2021 at the Omni Nashville.
Pam Matthews, IEBA Executive Director.
PCG Artist Development, Visible Music College Launch Hybrid Development Curriculum For Artists
/by Jessica Nicholson“PCG Artist Development at Visible Music College is dedicated to providing serious development for serious artists,” said Bernard Porter, President of PCG Artist Development. “We strive to provide an environment that promotes physical, mental and spiritual well-being, inspires creativity and the challenge necessary for personal and artistic growth.”
Topics covered include songwriting, vocal technique, keyboard skills, stage confidence, recording, touring and artist health.
Visible Music College’s Founder and President Dr. Ken Steorts was the founding guitarist of Christian hard rock band Skillet, a chart-topping songwriter, and an award-winning music entrepreneur for establishing Visible Music College in 2000, leading the global network of music schools for kids and college students.
“I am stoked to work with Bernard and the entire PCG team of providers to bring Visible’s twenty year history of real artist development in an accredited college setting with an extra level of real world experience,” said Steorts. “We are all excited to combine industry pros in multiple cities, high level academic alignment, along with immediate application and connection for student artists’ long-term success.”
Carter Faith Signs With Altadena
/by Jessica NicholsonRising singer-songwriter Carter Faith has signed an Artist Development deal with Altadena, the multi-faceted music company founded by late hitmaker busbee.
With financial backing and management services from Pound It Out Loud, an entertainment company founded by songwriter and producer Margaret Valentine, the artist development structure will allow Carter to maintain control of her recording and publishing assets while building her career with the Altadena and Pound It Out Loud teams. Carter released her first song, “Leaving Tennessee,” at the end of July, and it has quickly accrued nearly one million on-demand streams. Her follow-up single, “Sinners in a Small Town,” will release Friday, Oct. 16, with a video following later in the month. Both songs were co-written by Faith, Valentine, and Jen Stegall and co-produced by both Stegall and Valentine.
Altadena President Daniel Lee says, “The first time I heard Carter sing, I knew she had a gift. The first time I sat with her, I knew she had a voice. And the first time I saw her perform, I knew she was a star. I’m excited to carry on the incredible legacy busbee built through his work with Maren [Morris] and Carly [Pearce] as we introduce to the world, the next rising female country star.”
A North Carolina native, Carter moved to Nashville to attend Belmont University and pursue her craft in songwriting.
Industry Ink: ACM, Mitchell Tenpenny, Jericho Rose
/by Lorie HollabaughTaylor Wolf Promoted To Manager At ACM Lifting Lives
Taylor Wolf has been promoted to Manager of the ACM’s charitable arm, ACM Lifting Lives. In her new role, Wolf will coordinate the annual discretionary grant cycle, oversee correspondence, and fund distribution for the ACM Lifting Lives COVID-19 Response Fund and will continue providing support for the overall functions of ACM Lifting Lives. In addition, Wolf currently serves as the Secretary of the ACM Lifting Lives Board. Wolf reports to Lyndsay Cruz, Executive Director, ACM Lifting Lives.
Originally from Brentwood, Tennessee, Wolf attended Pepperdine University where she received a bachelor’s degree of Science in Psychology. Following graduation, she returned to Nashville to work in the human resources department at Sarah Cannon, the Cancer Institute of HCA Healthcare, and later relocated back to California for a digital content opportunity. She joined the Academy of Country Music early last year working with both ACM Lifting Lives and Academy of Country Music’s Strategic Partnerships department, before transitioning to focus fully on the charitable arm in the summer.
Mitchell Tenpenny Holds Benefit Event For 10Penny Fund
Pictured: JT Pratt/ Red Light Management, Mitchell, Kristen Ashley/ Red Light Management, Mitchell’s manager
Mitchell Tenpenny hosted a live streaming concert and two in-person shows last Saturday (Oct. 10) to raise money for his 10Penny Fund. The events raised $23,895.47 including a $10,000 match from Sarah Cannon, the Cancer Institute of HCA Healthcare, his partner in the 10Penny Fund, and a $2,000 donation from labelmate/friend Chris Young. The day began at Noon with a live-streamed concert and wrapped with two sold-out shows at Nashville’s Listening Room with songwriting friends Andy Albert, Ernest, Meghan Patrick and Dallas Wilson.
“It felt so good to play again!” said Tenpenny. “And everyone that came out did something good for someone else. Every penny will go to help families dealing with cancer.”
Jericho Rose Inks With Los Banditos BMI/Pierce Sullivan Music
Seated (L-R): Preston “Shoes”Sullivan, GM-Partner, Global Eyes Entertainment LP; James Jericho and Hannah Huntley, Jericho Rose; Tommy Pierce, Partner GEE. Standing (L-R): David Preston, Senior Director BMI Nashville, Mike D’Ancona, Co-Manager The Holland Group, Billy Holland, Co-Manager/President The Holland Group
Hannah Huntley and James Jericho of Jericho Rose have signed an exclusive songwriter and co-publishing deal with Los Banditos BMI /Pierce Sullivan Music, a division of Global Eyes Entertainment, LP. The duo has been touring, writing and recording continuously since arriving in Nashville from L.A. in 2017. Jericho Rose previously released a four song EP, Rough Around The Edges (including the chart single “Johnny Cash”) along with two videos in 2018. The duo has released one single per month this year for the past 10 months via ONErpm Distribution, while gaining popularity on various streaming outlets, including the New Nashville Spotify Playlist. Their next single, titled “Fallout,” drops on Oct. 9.
‘Idol’ Champion Laine Hardy Talks New Music, Zoom Co-Writes
/by Jessica NicholsonLaine Hardy
American Idol champion Laine Hardy shows off his love of small towns and hometowns with his latest music.
The Louisiana native recently visited with MusicRow Magazine staffers via Zoom, and offered acoustic performances of several tracks praising small-town life, such as his official radio single “Tiny Town,” and “Ground I Grew Up On,” a slice of hometown nostalgia that lists all the ways his small town helped mold him.
Hardy auditioned twice for Idol, first in 2018. His second try in 2019 proved to be his triumphant shot, making it all the way to the winner’s circle. After his Idol win, Hardy began working with Jason Aldean producer Michael Knox, and writing songs. He signed with Hollywood Records, and with Fusion/Red Light’s Daniel Miller and Nick Garvin, and signed with UTA for touring.
Another recent release, “Other LA,” was inspired by his time in Los Angeles while he was competing on Idol. He penned the track with Erik Dylan, Dan Isbell, and Andy Sheridan.
If it was up to those old boots/I’d be back down in Baton Rouge/I know a country boy can survive/but it’s tough on Rodeo Drive, he sings in the sweetly nostalgic, blues-tinged number.
“Idol taught me a lot in a short amount of time. If you didn’t learn fast and soak everything up, you get lost,” he said of his time on the hit singing competition. “They looked out for all the contestants and I felt they wanted the best for every contestant.”
Though the COVID-19 pandemic largely halted touring for the time being, Hardy has continued focusing on creating new music.
“I’ve seen some people start to slowly get back to songwriting in-person. I’m not a big fan of the Zoom co-writes,” he admits. “I think it feels more authentic to do it in-person. I’ve been saving up a lot of song ideas for [in-person sessions].”
In addition to focusing on music, Hardy hosted a livestream to benefit the American Red Cross and their disaster relief efforts and it raised more than $8,000 to benefit his home state of Louisiana, which was recently impacted by Hurricane Laura.
Luke Combs, Sam Hunt, Shania Twain Added To CMT Music Awards
/by Lorie HollabaughSam Hunt, Morgan Wallen, Gabby Barrett, and Shania Twain are among the latest artists announced to perform on the upcoming 2020 CMT Music Awards on Wednesday, October 21st at 7:00 p.m. CT on CMT, MTV, MTV2, Logo, Paramount Network, Pop and TV Land.
Barrett is nominated for “Female Video of the Year” and “Breakthrough Video of the Year,” Wallen is up for “Male Video of the Year,” Hunt is nominated for “Male Video of the Year” and “CMT Performance of the Year” and Twain is making her first appearance on the CMT stage since 2011.
Additionally, this year’s awards will feature collaborations from Kelsea Ballerini (“Video of the Year,” “Female Video of the Year” and “CMT Performance of the Year”) and Halsey (“CMT Performance of the Year”), Jimmie Allen and Noah Cyrus, and Luke Combs (“Video of the Year,” “Male Video of the Year,” and “CMT Performance of the Year”) and Brooks & Dunn (“CMT Performance of the Year”).
The second round of performers will join previously announced stars Ashley McBryde, Dan + Shay, Kane Brown, Little Big Town, Luke Bryan and Maren Morris, plus Ram Trucks Side Stage performers Caylee Hammack, HARDY, Ingrid Andress, Mickey Guyton, Riley Green and Travis Denning.
Talent Agency Platform Artists Launches With Star-Studded CCM Roster
/by Jessica NicholsonPlatform Artists debuts with a star-studded roster including Aaron Cole, Amy Grant, Brandon Heath, Cade Thompson, Chris Renzema, Chris Tomlin, Coby James, Cochren & Co., Courtnie Ramirez, Ellie Holcomb, Jon Reddick, JUDAH, Lydia Laird, Mac Powell, Mandisa, Michael W. Smith, NEEDTOBREATHE, Newsboys, Pat Barrett, RICHLIN, Ryan Stevenson, Steven Curtis Chapman, Terrian, TobyMac, and We Are Messengers.
Myers previously worked in the Contemporary Christian Music department at CAA for 22 years. Johnsen spent the past 16 years at CAA, following 11 years as an agent at GOA. Schaumberg worked in multiple facets of the CCM industry over the past decade, including the past six years at CAA.
“We are thankful for all the support we have felt from the industry, from the artists and managers that signed on with us, to the promoters and labels,” shares Johnsen. “We are excited about this new adventure.”
Myers adds, “In a year of tremendous unpredictability and challenges, we are overwhelmed by the support we have received from the Christian music industry. I am truly excited for this new chapter in our careers. CAA was a great home for many years. We look forward to making Platform Artists a home for many more moving forward.”
“Live music has the power to change lives,” states Schaumberg. “I’m incredibly grateful for my time at CAA, and I’m thrilled to continue working alongside an incredible group of artists.”