Circle Network GM Drew Reifenberger
On Jan. 1, television network Circle celebrated the New Year by launching with a hefty slate of country music programming, including “Bluebird Café Sessions,” “Craig’s World,” “Phil Vassar’s Songs from the Cellar,” and “Opry Live,” a two-hour program featuring performance highlights from the Grand Ole Opry’s week of shows.
However, just 2 ½ months into the network’s launch, everything from live concerts to television productions shut down as states began implementing stay-at-home orders and banned gatherings to help slow the spread of the COVID-19 pandemic.
On Thursday, March 12, Nashville’s leaders began implementing shutdowns throughout the city. Within approximately 36 hours, the Grand Ole Opry and the CIRCLE network pivoted. Even as the Opry had to close its doors to in-house audiences, the show continued its 95-year tradition of broadcasts, airing on Saturday, March 14, with a revamped, one-hour live broadcast from the Grand Ole Opry House, featuring Jeannie Seely, Connie Smith, Bill Anderson, Many Barnettand more.
Since March, CIRCLE has helped to bring viewers the live, one-hour broadcast each Saturday night—bolstered by performances from Vince Gill, Reba McEntire, Garth Brooks, Trisha Yearwood, Luke Combs, Keith Urban, Darius Rucker, Brad Paisley, Keb’ Mo’, and more. In the process, the show has become the only show of its kind during the ongoing pandemic, offering a weekly, high-quality production of live music from a public venue. The show is broadcast live on Circle and Gray TV stations, DISH Studio Channel 102, Sling TV and other TV affiliates, as well as live streams via Circle All Access Facebook and YouTube channels, and aired on Nashville’s WSM-AM and SiriusXM.
“There was no planning for this,” says CIRCLE General Manager Drew Reifenberger. “But we were able to shift pretty dramatically, namely with the Opry itself, but also with a number of other programs that we’ve been able to produce in this limited sort of way. We have “Circle Sessions.” We’ve been able to maintain our morning show, “Coffee, Country & Cody,” obviously a lot more remote and with fewer artists in the studio, and then a series of live stream shows. So it was an adjustment for sure, but our mission and mandate never changed, how we do it just changed a little bit.”
Those decisions have paid off. A recent SmithGeiger research study from April 2020 showed that 43% of Circle Network’s potential audience was already aware of its existence and 83% had already viewed some of Circle Network’s programming. The study also suggested that just over half of Circle Network viewers who have never attended the Opry intend to do so in the future.
Circle Network also just announced season two of Vassar’s “Songs From The Cellar,” which is filmed at Vassar’s home wine cellar, will launch Sept. 10, with artists including Kix Brooks, Brothers Osborne, and more.
MusicRow caught up with Reifenberger to discuss how Circle Network has adjusted course—and even thrived— during the ongoing pandemic.
MusicRow: Circle Network and the Grand Ole Opry had to shift your game plan within a very brief timeframe once large performances were shut down. What was that like?
Reifenberger: In just over a day’s time, we said, “Hey, people can’t come to the Opry. We got to bring the Opry to the people.” We worked with the tools that we had. The Opry show wasn’t live at that point, we were doing the weekly compilation show. So we said, “Of course, the Saturday night Opry has to remain consistent, right?” Because with a more than nine-decade run, we weren’t breaking that on our watch. That was never an option. The show will go on. If it’s a camera on a tripod and an artist holding a flashlight, we will not break that streak, I assure you.
So we went live through the network and then we decided to open up a livestream, which we had not done at that point. We went to our affiliate partners and said, “Hey, would you like to take this live as well?” And, and over 80 of them signed on. The Opry is this place that brings people together, heals people. And the Opry has always been this steady community-oriented institution that brings that comfort, support, and frankly, a little distraction, which we all need at times right now. And so we never missed a beat. It was because we had a great team that could move on that dime, so to speak and take a format and completely change it in 36 hours. And then we’ve been learning every week since we’ve tuned and adjusted, but we never stopped.
How did the actual filming of the Opry show have to change?
It was a combination of a few things, not the least of which is we kind of deconstructed the master control, and we moved some people to different rooms to ensure the six feet of spacing. We added some plexiglass walls, those sorts of things. We just spaced everybody out that we needed to, then we stuck to the protocol of no more than 10 people in any one zone. As we moved on from [Phase] one, you’ve seen a little more onstage, with backup bands and supporting bands, than in those first few weeks where we were purely acoustic. We follow very strict protocols. We don’t want to have anybody to get sick, and some artists are more concerned than others and some like to take additional precautions and we support that. We’ve had staff and crew make certain requests that we’ve recognized and honored. We’re all getting through this together.
How has content been affected for other Circle programming?
Certain shows can be done remotely, because it’s all based on library archive footage put together in a very contemporary, fresh approach. But those producers and editors can all do that via phone and Slack. We’ve gotten very good at that remote editing, producing. So anything that comes that is library-based, we’re very good at it.
Others, like Circle Sessions, which is a new show we created, is actually potentially very freeform, because every week’s kind of a new adventure. And we build the show around the artist. Some perform, some don’t perform. Some are interview-centric, some are storytelling-centric. And that we’ve been able to do, initially in a more of a Zoom sort of format, and then as the world opened up a little bit, we’ve been able to do it in person, obviously social distance. And then live streams. We’ve done mid-week live streams too, outside of the Opry, with our friends Dailey & Vincent,and some others that have been very successful.
Artists can’t be on the road promoting their music, for the most part. What have those conversations been like with artists as far as Circle being able to offer them a way to get their music to the fans as things have kind of been scaled back with touring and other areas?
I think back to, for example, the “Circle Sessions” show. If you’re releasing music right now, there are not a lot of options. I mean, there’s plenty of radio shows you can call into, but that’s about it. So the ability to come on and do a Circle Sessions, the week you release some music, is just a win-win for everybody. The same thing with “Coffee, Country & Cody,” having a three-hour live morning show that, they can really have some meaningful involvement with, is been of great interest to the artists, managers, agents, and so forth. And then the Opry itself, as we’re streaming the Opry now, artists themselves are also cross-posting and doing a bunch of streaming activity.
It is interesting how the Opry feels very full-circle right now, as fans and the industry gather together—virtually—to watch one show on Saturday nights.
I completely agree. Look, I spent the last 20 years trying to condition people away from appointment viewing. And I am now working on one of the biggest appointment viewing shows going right now, for sure—a live, weekly show. We have so much feedback from people, saying, “Thank you for doing this. I look forward to this, it makes my week.” And it’s a responsibility that we and Dan [Rogers] and Gina [Keltner] and the team up at the Opry take very seriously, because a lot of people are counting on us.
How has the Opry’s popularity right now helped Circle Network in terms of new opportunities?
There’s no question that it’s elevated Circle. In a way, I wish it wasn’t the case, from a standpoint of this being during a global pandemic, but it absolutely elevated us in such a way that people are noticing us probably at a faster rate. From a sponsor standpoint, there are not many doing live original things like we’re doing, that they can get involved in. So it’s helped us for sure to attract some additional advertisers and sponsors.
When you announced the launch of Circle in January, that included a full slate of programming. What is ahead in terms of programming?
We started with a very strong slate and frankly, that’s why we’ve been able to stay as fresh as we have without being in original production. We started with 17 signature series, which is a lot for a network, and it’s quite intentional because we were trying to make a statement. And at the time, that’s why we did it and now it’s turned out to be invaluable in that we had a lot of fresh content to take us well into the end of the year. So that’s the medium-term plan. The short-term plan is we are identifying a few more original shows that we think we can produce responsibly, that don’t require audiences, and don’t require big production crews.
What have the viewership numbers been like during this time?
We did do some research, just a few weeks into the pandemic that showed 43% unaided awareness among country music fans, and that’s really high. I think it speaks to the thesis that country music fans are just so underserved. I think it’s really interesting that we’ve gotten so much done so fast. And that’s really before Opry sort of took off, and really before some of the bigger names, before Garth and Trisha, and Blake, and Keith Urban. We were sitting there with 42% unaided awareness. And those who’d seen us were 83% likability, that’s really high.
You relocated to Nashville to begin working for Circle. What have you enjoyed most about working in Nashville?
There’s a lot of humanity in this town that you don’t get in other aspects of entertainment and sports, and the way they support each other. You don’t see that quite so much in New York and L.A. Also, the way they help younger artists up. I think they just, everybody has a very similar background, with the exception of maybe some true overnight successes. They had some hardscrabble experiences, playing the lousy sets early on, or sleeping in a car. That struggle doesn’t seem to leave them—it stays and it creates a real level of humility that I’ve never seen in sports or other parts of entertainment. And at times like this, where you see it come out and people are asking, “How can we help? What can we do?” and that’s without being asked. I’m not saying that there’s not plenty of celebrities doing plenty of important things right now, but I think it’s just a different feel here.
JUST IN: MusicRow’s Rising Women On The Row Event Postponed
/by LB CantrellMusicRow‘s Rising Women on the Row event, previously scheduled for Sept. 23, 2020, has been postponed due to the COVID-19 pandemic. The new date for the ninth annual breakfast event will be announced at a later date.
The ninth annual celebration will honor the 2020 Rising Women on the Row honorees: Jen Conger (FBMM, Business Manager), JoJamie Hahr (BBR Music Group/BMG, VP Marketing), Mandy Morrison (City National Bank, Vice President/Senior Relationship Manager), Missy Roberts (Universal Music Publishing Group, Senior Creative Director), Jennie Smythe (Girlilla Marketing, CEO) and Stephanie Wright (UMG Nashville, Senior VP, A&R). Read more about the honorees here.
“I’m sure it comes as no surprise at this point that we are having to move our event again due to the pandemic,” says MusicRow Publisher/Owner Sherod Robertson. “Although it’s very disappointing that our industry still isn’t able to safely gather in person, our desire to honor and spotlight these six women while saluting all women in our industry has not dampened one bit… if anything, it’s risen to new heights. We remain steadfast and ready. All of your purchased tables and seats are still reserved. And when it’s safe to do so, we’ll have the most memorable ‘Rising Women’ event ever!”
For purchased table sponsors and individual ticket holders, tickets will be honored at the new event date. Refunds will be administered to ticket holders who cannot attend the new date. Please email lbcantrell@musicrow.com with any questions.
The Cadillac Three Create Country Fuzz Presents Global Live Stream Series, Benefitting Second Harvest
/by LB CantrellThe Cadillac Three announced today that they will curate global stream experiences beginning Aug. 13 and running through Sept. from The Basement in Nashville, where the trio have played since their early days of playing and watching music together. Artists will alternate utilizing the space for Country Fuzz Presents dates and drive donations to Second Harvest Food Bank of Middle Tennessee with a goal of 100,000 meals in 100 days. Fans will watch from their own homes via a secure link straight to each show.
Following CDC recommended guidelines, The Cadillac Three has also installed multiple autonomous cameras providing a crew-less production and will have a thorough cleaning service prior to each performance as additional COVID-19 safety precautions. Confirmed artists include: The Cadillac Three, A Thousand Horses, Austin Jenckes, Bare JR. Reunion, Boy Named Banjo, Caleb Lee Hutchinson, Daniel Donato, Dark Water featuring Kristian Bush, Drake White, Hailey Whitters, Hannah Dasher, HEY STEVE, Lauren Jenkins, Lillie Mae, Ray Fulcher, Steve Moakler, Tenille Arts and The Wild Feathers with more to be announced in the coming weeks.
“We are so excited to have partnered with Grimey and The Basement in our hometown to bring high quality live stream concerts from not only TC3 but a number of our artist friends that have been sidelined from touring as well. Country Fuzz Presents is a way to give fans direct access to music in a time when we all desperately need and miss it,” said The Cadillac Three’s Neil Mason. “We’ve also partnered with Second Harvest Food Bank with the goal of providing 100,000 meals throughout the community to kids and their families that aren’t able to be in school this fall over the next 100 days.”
“We’ve seen a 50% increase in the need for our services since the COVID-19 pandemic began,” said Second Harvest Food Bank of Middle Tennessee Director, Community Engagement Courtney Blaise. “We are so thankful for this new partnership with The Cadillac Three and the collective generosity of their community and fans for helping provide much-needed food and resources to our neighbors in need.”
Owner of The Basement, The Basement East and Grimey’s Mike Grimes added, “Partnering with Jaren, Kelby and Neil is the most down home thing I can think of that could happen right about now! We’ve been working together for many years, and this is gonna be good for the soul for so many. Let’s rock!”
Tickets are available now via CountryFuzzPresents.com.
DISClaimer Singles Reviews: The Grascals, Doyle Lawson & Quicksilver, And More
/by Robert K OermannThe Grascals
Have you hugged a bluegrass musician today?
This style of country music has been hit particularly hard during the pandemic, because it is so heavily dependent on the roughly 500 bluegrass festivals that re-popularize it each year. No live performance, no bluegrass.
The genre’s “bible,” Bluegrass Unlimited magazine, has been struggling so mightily (no festivals, no ads) that its publication is being taken over by the International Bluegrass Music Association (IBMA).
Nevertheless, bluegrass endures. Our roundup of current sounds today includes a Disc of the Day performance by Doyle Lawson & Quicksilver and a DisCovery Award for Daryl Mosley.
THE GRASCALS/Haggard
Writer: Harley Allen; Producer: The Grascals; Publisher: Coburn, BMI; Mountain Home
– This is nominated as Song of the Year at this year’s (Sirius/XM-streamed) IBMA Awards, and the group’s four-time winner Kristin Scott Benson is again nominated as Banjo Player of the Year. I ask you, how can go you wrong with a heart-melting lyric about a stray puppy named Haggard?
DARYL MOSLEY/A Few Years Ago
Writer: Daryl Mosley; Producers: Mosley/Danny Roberts; Publisher: Songs of Daryl, ASCAP; Pinecastle
– Mosley bowed with this on the Bluegrass Unlimited chart this past month. It’s now at No. 21, and his album entered the album chart last week at No. 15. This thoughtful, nostalgic and lilting meditation kicks off the CD. A gentle-voiced tenor and superb songwriter, Mosley began his career entertaining at Loretta Lynn’s Dude Ranch. He is a veteran of the award-winning bands New Tradition and The Farm Hands. His debut solo album, The Secret of Life, is entirely self-written.
LARRY SPARKS/Down In Union County
Writer: Roy Acuff; Producer: none listed; Publisher: none listed; Rebel
– This lively remake of a Roy Acuff chestnut is presently at No. 3 on the bluegrass chart, having spent almost an entire year climbing it. Durable veteran Sparks takes a lickety-split guitar run in the tune that’s quite impressive. He is nominated as Male Vocalist of the Year and his New Moon Over My Shoulder is up for Album of the Year.
BRADLEY & ADAIR/Oh Darlin’
Writers: J. O’Hara/K. Kane; Producers: Tim Adair & Dale Ann Bradley; Publisher: Sony/ATV Cross Key, ASCAP; Pinecastle
– Dale Ann Bradley and Tina Adair are individually two of the finest female voices in contemporary bluegrass. Together, they are dynamite on this title track of their debut duet CD. It’s a remake of the 1986 hit by The O’Kanes that the women give a delightfully bluesy, saucy hue. The scintillating performance has apparently taken up semi-permanent residence in the No. 1 position on the bluegrass chart. By the way, both women are in the all-female band Sister Sadie, which is nominated as IBMA Entertainer of the Year and Vocal Group of the Year.
GARY BREWER & THE KENTUCKY RAMBLERS/Goin’ Up Shell Creek
Writer: Gary Brewer; Producer: Vince Emmett; Publisher: Stretch Grass, BMI; SGM
– The CD 40th Anniversary Celebration is packed with guest stars. On this lead-off track, Brewer and band are joined by The Travelin’ McCourys. The cascading instrumental notes and tight vocal harmonies are classic. Elsewhere on the collection are contributions from T. Graham Brown, Ashton Shepherd, Ralph Stanley II, Dale Ann Bradley, Sam Bush, Russell Moore and Doug Phelps (of The Kentucky HeadHunters).
LORRAINE JORDAN & CAROLINA ROAD/Bill Monroe’s Ol’ Mandolin
Writer: David Stewart; Producer: Lorraine Jordan & Carolina Road; Publisher: Sony/ATV/In The Wings, BMI; Pinecastle
– It’s a remembrance of Bill Monroe’s funeral where Ricky Skaggs played Monroe’s mandolin. It’s a big hit, currently standing at No. 4, but it’s all a bit sappy/maudlin for my taste. The album contains an oldie remake that suddenly seems super timely, Crystal Gayle’s “Ready for the Times to Get Better.” By the way, Crystal has a banner on the lawn outside her Music Row office quoting Allen Reynolds’ song lyrics, “It’s been too long a time with no peace of mind, and I’m ready for the times to get better.” Amen to that, pandemic people.
JB & JAMIE DAILEY/Nobody’s Darlin’ But Mine
Writer: Jimmie Davis; Producer: Jamie Dailey; Publisher: Songs of Universal, no PRO listed; Pinecastle
– Dailey & Vincent bluegrass star Jamie Dailey teams with his father on the CD Step Back in Time. It’s a collection of goldies by the likes of The Blue Sky Boys, Roy Acuff, Johnnie & Jack and, in this case, Jimmie Davis. His 1934 recording of this song was one of the biggest hits of the Great Depression. The Daileys step up the tempo a little with JB taking the lead and his son offering his usual stunning high-tenor harmony. This whole sweet album is super listening.
STEVE GULLEY & NEW PINNACLE/Leaning Toward Leaving
Writers: Tim Stafford/Steve Gulley; Producer: Steve Gulley; Publisher: Daniel House/Gulley’s Curve, BMI; Rural Rhythm
– The picking is hot and the tune hops. Still, the whole outing sounds par for the course, largely because the band lacks a charismatic vocalist.
ELIZA MEYER/Hello Stranger
Writer: A.P. Carter; Producer: Cathy Fink & Liam Purcell; Publisher: peermusic, no performance rights listed; EM
– This teenage North Carolinian’s debut album is a warm, old-time music outing. She’s a fiddler, banjoist, guitarist and vocalist who offers mountain-soprano renditions of such timeless gems as “When I Stop Dreaming,” “Leaning on the Everlasting Arms,” “Darling Corey,” “When My Blue Moon Turns to Gold Again” and “Send Me the Pillow You Dream On.” What better way to announce your artistry than with the Carter Family classic that kicks off and provides the album’s title tune? Her tremulous, somewhat tenuous, tender voice is joined by harmony singer Sam Gleaves.
DOYLE LAWSON & QUICKSILVER/Living Like There’s No Tomorrow
Writers: Jim McBride/Roger Murrah; Producer: Doyle Lawson; Publisher: Universal Careers/EMI April, BMI/ASCAP; Billy Blue
– Bluegrass Hall of Famer Lawson’s always stellar harmony group has another hit with this top-10 bluegrass success. An IBMA nominee for Song of the Year, it is drawn from Live in Prague, Czech Republic, nominated as Album of the Year. Penned by two Nashville Songwriters Hall of Fame members, the slow waltz of regret is a thrilling showcase for the group’s spectacular new tenor, Jake Vanover. It will come as no surprise that the group is again nominated for Entertainer of the Year and Vocal Group of the Year (which it has won eight previous times).
FIRESIDE COLLECTIVE/Winding Road
Writers: Jesse Laquinto; Producers: Travis Book & Fireside Collective; Publisher: Fireside Collective, ASCAP; Mountain Home
– This North Carolina quintet combines elements of folk and jam-band into its progressive bluegrass sound. The poor guys scheduled the release of their Elements CD at exactly the same time as the shelter-in-place orders came down. The planned celebratory shows were scuttled. The set kicks off and concludes with this upbeat ode to their musical journey. Sit tight in Asheville, fellows: We’ll see you when this pandemic passes.
Industry Ink: Soundstripe, Lucky Bird Media, PLA Media
/by Lorie HollabaughTia Watkins Promoted At Soundstripe
Tia Watkins
Tia Watkins has been promoted to Director of Customer Support at Soundstripe. Watkins has been with the tech-enabled production startup since October 2017, when she was the company’s second hire in its Customer Care department. Beginning as a Customer Care Concierge, she worked her way up to Customer Support Manager in January 2019. As Director of Customer Support, Watkins will be responsible for strategizing the branch’s growth, optimizing the timeliness and efficiency of member support, and overseeing the branch’s projects. She will be based in Soundstripe’s Nashville office.
Lorie Liebig Joins Lucky Bird Media
Lorie Liebig
Lorie Liebig has joined Lucky Bird Media as the newest member of the company’s growing team. Liebig previously served as a publicist at Baby Robot Media, where she worked on campaigns for Shawn Colvin, Drivin N Cryin, Brandon Stansell, and more. Earlier in her career, she served as an A&R Scout for Elektra Records after working her way up the ranks to Managing Editor at Wide Open Country. She actively writes as a freelance journalist, and will continue her work as Director of U.S. Operations at Norway’s Jansen Records.
Brandon Collins Signs With PLA Media
Brandon Collins
Brandon Collins has joined the PLA roster and signed with the company for PR representation. Collins, a recording artist, actor, model and outdoor/fitness enthusiast, is prepping his next single release in August. Before making the transition from Los Angeles to Nashville to focus on his music endeavors, he could be seen in ad campaigns for brands like Marvel, Nike, Samsung and SONY. On the small screen, he’s appeared in Law & Order: Special Victims Unit, McFarland, USAand ION’s holiday film A Husband for Christmas.
Dolly Parton To Release ‘Songteller: My Life in Lyrics’ Audiobook
/by Jessica NicholsonRBmedia has inked a deal with Dolly Parton to release the audiobook production Dolly Parton, Songteller: My Life in Lyrics, as a companion to the previously-announced book by the same title, which Parton penned alongside author and journalist Robert K. Oermann.
The audiobook production Songteller features Parton in her own words, telling personal stories, sharing memories, and revealing insights into the creative process behind her music and lyrics. The audiobook includes Parton’s stories alongside samples of nearly 100 of her songs.
“Across my life, I’ve written thousands of songs. This fall, for the first time ever, we’re spotlighting a hundred of my favorites in my new audiobook, Dolly Parton, Songteller. Not only will you be able to revisit my life in lyrics, but I’ll tell you never-before-heard stories behind the songs. I am so thrilled to announce my collaboration with Recorded Books to create this unique audio experience.”
“Above all else, Dolly Parton truly is a Songteller,” says Troy Juliar, Chief Content Officer for RBmedia. “In this unique audio experience, she carries fans with her on a journey behind the scenes of her legendary music career. We are honored to be the publisher that shares these remarkable stories and memories with everyone who loves music history, country music, and Dolly Parton.”
Dolly Parton, Songteller: My Life in Lyrics will be available on Nov. 17, 2020 in both CD and digital audiobook form, and is currently available for preorder on Amazon.
Lightning 100’s Live On The Green Music Festival Pivots To FM Music Festival For 2020
/by Jessica NicholsonLightning 100 has announced the 2020 Live On My Green FM Music Festival coming to WRLT Lightning 100.1 FM over Labor Day weekend, Thursday, Sept. 3 through Sunday, Sept. 6, 2020.
Fans can tune in all weekend to hear recorded live festival performances, including exclusive never before heard content and interviews with the artists including Amos Lee, Black Pumas, Bruce Hornsby, Dawes, Devon Gilfillian, Jack Johnson & Friends, Jason Isbell & The 400 Unit, Larkin Poe, Liza Anne, Marcus King, Moon Taxi, My Morning Jacket, Rainbow Kitten Surprise, St. Paul & The Broken Bones, Wood Brothers and many more.
“Live music looks much different this year,” said Lester Turner, President of Tuned in Broadcasting, Lightning 100 and the Executive Producer for Live On The Green. “We cannot have an on-site event this year, but we want to be the soundtrack for your on-site event – in your backyard, on the water or wherever you may be all weekend long. As Nashville’s Independent Radio Station, we have been engaging the community at Live On The Green since 2009. Just because we can’t be together in Public Square Park this year, doesn’t mean we cannot still share the spirit of Live On The Green.”
Live On My Green will also feature the finalists of the Music City Mayhem contest with exclusive, recorded performances. Live On My Green can be heard via 100.1 FM, Lightning100.com, a smartspeaker, or the Lightning 100 app.
Circle’s Drew Reifenberger On Launching A Network—Then Revamping—During A Pandemic
/by Jessica NicholsonCircle Network GM Drew Reifenberger
On Jan. 1, television network Circle celebrated the New Year by launching with a hefty slate of country music programming, including “Bluebird Café Sessions,” “Craig’s World,” “Phil Vassar’s Songs from the Cellar,” and “Opry Live,” a two-hour program featuring performance highlights from the Grand Ole Opry’s week of shows.
However, just 2 ½ months into the network’s launch, everything from live concerts to television productions shut down as states began implementing stay-at-home orders and banned gatherings to help slow the spread of the COVID-19 pandemic.
On Thursday, March 12, Nashville’s leaders began implementing shutdowns throughout the city. Within approximately 36 hours, the Grand Ole Opry and the CIRCLE network pivoted. Even as the Opry had to close its doors to in-house audiences, the show continued its 95-year tradition of broadcasts, airing on Saturday, March 14, with a revamped, one-hour live broadcast from the Grand Ole Opry House, featuring Jeannie Seely, Connie Smith, Bill Anderson, Many Barnettand more.
Since March, CIRCLE has helped to bring viewers the live, one-hour broadcast each Saturday night—bolstered by performances from Vince Gill, Reba McEntire, Garth Brooks, Trisha Yearwood, Luke Combs, Keith Urban, Darius Rucker, Brad Paisley, Keb’ Mo’, and more. In the process, the show has become the only show of its kind during the ongoing pandemic, offering a weekly, high-quality production of live music from a public venue. The show is broadcast live on Circle and Gray TV stations, DISH Studio Channel 102, Sling TV and other TV affiliates, as well as live streams via Circle All Access Facebook and YouTube channels, and aired on Nashville’s WSM-AM and SiriusXM.
“There was no planning for this,” says CIRCLE General Manager Drew Reifenberger. “But we were able to shift pretty dramatically, namely with the Opry itself, but also with a number of other programs that we’ve been able to produce in this limited sort of way. We have “Circle Sessions.” We’ve been able to maintain our morning show, “Coffee, Country & Cody,” obviously a lot more remote and with fewer artists in the studio, and then a series of live stream shows. So it was an adjustment for sure, but our mission and mandate never changed, how we do it just changed a little bit.”
Those decisions have paid off. A recent SmithGeiger research study from April 2020 showed that 43% of Circle Network’s potential audience was already aware of its existence and 83% had already viewed some of Circle Network’s programming. The study also suggested that just over half of Circle Network viewers who have never attended the Opry intend to do so in the future.
Circle Network also just announced season two of Vassar’s “Songs From The Cellar,” which is filmed at Vassar’s home wine cellar, will launch Sept. 10, with artists including Kix Brooks, Brothers Osborne, and more.
MusicRow caught up with Reifenberger to discuss how Circle Network has adjusted course—and even thrived— during the ongoing pandemic.
MusicRow: Circle Network and the Grand Ole Opry had to shift your game plan within a very brief timeframe once large performances were shut down. What was that like?
Reifenberger: In just over a day’s time, we said, “Hey, people can’t come to the Opry. We got to bring the Opry to the people.” We worked with the tools that we had. The Opry show wasn’t live at that point, we were doing the weekly compilation show. So we said, “Of course, the Saturday night Opry has to remain consistent, right?” Because with a more than nine-decade run, we weren’t breaking that on our watch. That was never an option. The show will go on. If it’s a camera on a tripod and an artist holding a flashlight, we will not break that streak, I assure you.
So we went live through the network and then we decided to open up a livestream, which we had not done at that point. We went to our affiliate partners and said, “Hey, would you like to take this live as well?” And, and over 80 of them signed on. The Opry is this place that brings people together, heals people. And the Opry has always been this steady community-oriented institution that brings that comfort, support, and frankly, a little distraction, which we all need at times right now. And so we never missed a beat. It was because we had a great team that could move on that dime, so to speak and take a format and completely change it in 36 hours. And then we’ve been learning every week since we’ve tuned and adjusted, but we never stopped.
How did the actual filming of the Opry show have to change?
It was a combination of a few things, not the least of which is we kind of deconstructed the master control, and we moved some people to different rooms to ensure the six feet of spacing. We added some plexiglass walls, those sorts of things. We just spaced everybody out that we needed to, then we stuck to the protocol of no more than 10 people in any one zone. As we moved on from [Phase] one, you’ve seen a little more onstage, with backup bands and supporting bands, than in those first few weeks where we were purely acoustic. We follow very strict protocols. We don’t want to have anybody to get sick, and some artists are more concerned than others and some like to take additional precautions and we support that. We’ve had staff and crew make certain requests that we’ve recognized and honored. We’re all getting through this together.
How has content been affected for other Circle programming?
Certain shows can be done remotely, because it’s all based on library archive footage put together in a very contemporary, fresh approach. But those producers and editors can all do that via phone and Slack. We’ve gotten very good at that remote editing, producing. So anything that comes that is library-based, we’re very good at it.
Others, like Circle Sessions, which is a new show we created, is actually potentially very freeform, because every week’s kind of a new adventure. And we build the show around the artist. Some perform, some don’t perform. Some are interview-centric, some are storytelling-centric. And that we’ve been able to do, initially in a more of a Zoom sort of format, and then as the world opened up a little bit, we’ve been able to do it in person, obviously social distance. And then live streams. We’ve done mid-week live streams too, outside of the Opry, with our friends Dailey & Vincent,and some others that have been very successful.
Artists can’t be on the road promoting their music, for the most part. What have those conversations been like with artists as far as Circle being able to offer them a way to get their music to the fans as things have kind of been scaled back with touring and other areas?
I think back to, for example, the “Circle Sessions” show. If you’re releasing music right now, there are not a lot of options. I mean, there’s plenty of radio shows you can call into, but that’s about it. So the ability to come on and do a Circle Sessions, the week you release some music, is just a win-win for everybody. The same thing with “Coffee, Country & Cody,” having a three-hour live morning show that, they can really have some meaningful involvement with, is been of great interest to the artists, managers, agents, and so forth. And then the Opry itself, as we’re streaming the Opry now, artists themselves are also cross-posting and doing a bunch of streaming activity.
It is interesting how the Opry feels very full-circle right now, as fans and the industry gather together—virtually—to watch one show on Saturday nights.
I completely agree. Look, I spent the last 20 years trying to condition people away from appointment viewing. And I am now working on one of the biggest appointment viewing shows going right now, for sure—a live, weekly show. We have so much feedback from people, saying, “Thank you for doing this. I look forward to this, it makes my week.” And it’s a responsibility that we and Dan [Rogers] and Gina [Keltner] and the team up at the Opry take very seriously, because a lot of people are counting on us.
How has the Opry’s popularity right now helped Circle Network in terms of new opportunities?
There’s no question that it’s elevated Circle. In a way, I wish it wasn’t the case, from a standpoint of this being during a global pandemic, but it absolutely elevated us in such a way that people are noticing us probably at a faster rate. From a sponsor standpoint, there are not many doing live original things like we’re doing, that they can get involved in. So it’s helped us for sure to attract some additional advertisers and sponsors.
When you announced the launch of Circle in January, that included a full slate of programming. What is ahead in terms of programming?
We started with a very strong slate and frankly, that’s why we’ve been able to stay as fresh as we have without being in original production. We started with 17 signature series, which is a lot for a network, and it’s quite intentional because we were trying to make a statement. And at the time, that’s why we did it and now it’s turned out to be invaluable in that we had a lot of fresh content to take us well into the end of the year. So that’s the medium-term plan. The short-term plan is we are identifying a few more original shows that we think we can produce responsibly, that don’t require audiences, and don’t require big production crews.
What have the viewership numbers been like during this time?
We did do some research, just a few weeks into the pandemic that showed 43% unaided awareness among country music fans, and that’s really high. I think it speaks to the thesis that country music fans are just so underserved. I think it’s really interesting that we’ve gotten so much done so fast. And that’s really before Opry sort of took off, and really before some of the bigger names, before Garth and Trisha, and Blake, and Keith Urban. We were sitting there with 42% unaided awareness. And those who’d seen us were 83% likability, that’s really high.
You relocated to Nashville to begin working for Circle. What have you enjoyed most about working in Nashville?
There’s a lot of humanity in this town that you don’t get in other aspects of entertainment and sports, and the way they support each other. You don’t see that quite so much in New York and L.A. Also, the way they help younger artists up. I think they just, everybody has a very similar background, with the exception of maybe some true overnight successes. They had some hardscrabble experiences, playing the lousy sets early on, or sleeping in a car. That struggle doesn’t seem to leave them—it stays and it creates a real level of humility that I’ve never seen in sports or other parts of entertainment. And at times like this, where you see it come out and people are asking, “How can we help? What can we do?” and that’s without being asked. I’m not saying that there’s not plenty of celebrities doing plenty of important things right now, but I think it’s just a different feel here.
A2IM, Recording Academy Address PPP Concerns In Letter To Senator Rubio
/by Lorie HollabaughThe American Association of Independent Music (A2IM) and The Recording Academy recently sent a letter to Senator Marco Rubio‘s office on behalf of artists and indie labels regarding concerns about Paycheck Protection Program loans, and to voice support for the Continuing Small Business Recovery and Paycheck Protection Program Act.
Rubio is Chairman of the Committee on Small Business and Entrepreneurship, and the letter argues against large broadcasters receiving aid as small businesses under the PPP, rather than being considered part of their corporate parent companies. The letter also advocates extension of the PPP to self-employed individuals.
The letter states: “We are very pleased to see that your proposal does not include provisions supported by the broadcasting industry, and radio broadcasters specifically, to allow radio stations owned by mega conglomerates to qualify if an individual location employs fewer than 500 people. PPP funds have proven challenging to secure, and opening up a pot of money to enormous companies that have other means of accessing capital, defeats Congress’ laudable objective of targeting aid to businesses on the front lines in struggling communities.”
The letter also addresses the issue of PPP loans going to large businesses, saying, “according to data released by the Small Business Administration, over 2,000 radio broadcasters have received as much as $350 million in support. 25 of those companies have over 100 employees. Suffice it to say, the program is already very generous. But the five largest radio conglomerates in the country own over 1,900 stations, are anything but small, and should not qualify for this aid.”
A full copy of the letter is below:
Kane Brown, Crown Royal Team With Military Veterans For “Homesick” Remix
/by Lorie HollabaughKane Brown. Photo: Matthew Berinato
Kane Brown and a team of veteran singer-songwriters have remixed his No. 1 single “Homesick,” and Brown has released the track on the one-year anniversary of the song’s original release date. He is teaming up with the Crown Royal Purple Bag Project to use the song to support veterans through its care package project.
Originally written by Brown, “Homesick” was dedicated to members of the military. The “Homesick (Veterans Version)” track, available on streaming services now, is a re-imagined ballad featuring the vocals of veterans Generald Wilson, Retired Petty Officer First Class, U.S. Navy; J.W. Cortés, Retired Gunnery Sergeant, U.S. Marines; and Sal Gonzalez, Retired Lance Corporal, U.S. Marines.
For every stream of “Homesick (Veterans Version),” The Crown Royal Purple Bag Project will pack one bag to be donated as a care package to non-profit Packages From Home as part of the brand’s goal of one million bags by the end of 2020, and will donate $1 to community-based organization Minority Veterans of America, up to $100,000.
Crown Royal and Kane Brown are committed to supporting the American heroes who have generously served our country during these unprecedented times, including frontline and essential workers, first responders, healthcare workers, active-duty military servicemembers and those who are fighting for social justice in the minority veteran community.
“I’m honored to partner with The Crown Royal Purple Bag Project and release ‘Homesick (Veterans Version)’ in recognition of the American servicemen and women who have given so generously during this difficult time,” said Brown. “I also recognize the incredible importance of acknowledging the service our minority veterans have made for this country. My hope is this remix shines a light of hope and generosity, to uplift our heroes during this time.”
“Our iconic purple bag is a symbol of generosity and we’re proud that The Crown Royal Purple Bag Project can help give back to those who have given so much of themselves,” said Sophie Kelly, SVP, Whiskies, Diageo NA. “We’re so grateful for the support of Kane and our veteran partners, as well as Packages from Home and Minority Veterans of America, as we continue to give back to those who protect and serve our country.”
Songwriting University Competition Winner Awarded $10,000 Grand Prize
/by Lorie HollabaughPictured: Billy Sprague, Joe Beck, Michael Blanton, Winner Colin Matchack, Tony Brown and Gary Glover
Songwriting University recently concluded their first of many international songwriting competitions with entries from hundreds of songwriters all over the world. On July 31, finalist Colin Matchack was invited to the Songwriting University office to discuss a potential development deal with the company. He was also surprised with a $10,000 grand prize in the form of a giant check during his visit. A 21-year-old aspiring singer-songwriter, Matchack currently lives in Ooltewah, Tennessee, and entered 14 songs into the competition.
The 15 finalists were chosen by Songwriting University founders Michael Blanton, Gary Glover, Billy Sprague, and Joe Beck, along with celebrity guest judges songwriter Wayne Kirkpatrick and producer Tony Brown.
“When we first started developing Songwriting University three years ago, the goal was to foster and develop the next generation of songwriters,” says SU co-founder Gary Glover. “Finding this talented young writer through this competition is the culmination of 3 years of work and development, it’s why we started the company.”
“Thank you, this means so much,” said Matchack. “I didn’t go to college, I chose music and I don’t have a degree, but it feels like I do now. A degree from Songwriting University.”