Nashville Music Venue The Basement East Destroyed By Tornado

[Update, March 3, 11:19 a.m. CT]: Putnam County, Tennessee Mayor Randy Porter has updated its number of deaths from 14 to 16, bringing the total number of deaths in Nashville and surrounding cities to 21.]

Beloved Nashville music venue The Basement East was destroyed early Tuesday morning (March 3) when a tornado ripped through much of Nashville around 1:00 a.m. The tornado caused severe damage in areas of Nashville including East Nashville, Germantown, Donelson and Mt. Juliet.

The Basement East, located at 917 Woodland Street in East Nashville, was among several buildings either destroyed or severely damaged in Nashville’s Five Points area.

According to a notice on The Basement East’s social media, staffers took shelter in the basement of the venue late Monday night (March 2) and all are safe.

As of this time, the Tennessee Emergency Management Agency has confirmed 19 fatalities from the deadly storms and the number of injuries is unknown. Confirmed fatalities represent 14 fatalities in Putnam County, one fatality in Benton County, two in Wilson County, and two in Davidson County.

Among the artists that were scheduled to perform at The Basement East this week include Maggie Miles, ELOHIM, The Mattson, and Rob Aldridge and the Proponents. The Basement East is co-owned by Mike Grimes and Dave Brown, as an East Nashville outpost of the original venue The Basement, located on 8th Ave. S. in Nashville. In October, Live Nation announced a multi-year booking agreement for The Basement East.

Kenny Chesney To Release New Album ‘Here And Now’ May 1

Photo Credit: Allister Ann

Kenny Chesney‘s latest album, Here and Now, is set for release on May 1 via Warner Music Nashville. The album follows Chesney’s first project with Warner, 2018’s charity album Songs for the Saints.

Here and Now was written and recorded over the last 18 months with co-producer/longtime collaborator Buddy Cannon and Ross Copperman, and includes the first single, “Here And Now,” which is already rising at radio.

“One of the things I really wanted (for Here and Now) was to bring a lot of my favorite writers together, not to do ‘writing camp,’ but just hang out and talk, remember when it was the stories and laughs that sparked songs, not sitting down to churn out something to cut,” Chesney said.

“You know, it’s going to have a high fun factor,” he continues. “People work hard, and need music that makes them smile, that kicks them into a happy place. There are also songs here that look at very specific people, that tell one person’s story, but it could be any of us. That’s the mark of a good song: let one person’s specific life say so much about a lot of people’s lives. When you’re this far into a career, I think artists need to keep pushing themselves and the music without losing sight of who they are, or forgetting the people you make music for. No Shoes Nation is a very passionate place without borders; I get inspired every time I see and hear them.”

By the time the album drops Chesney will be in full swing on his Blue Chair Bay Rum Presents the Chillaxification Tour fueled by Marathon which kicks off April 18 at AT&T Stadium in Texas and runs through the summer.

Mark Your Calendar—March 2020

Industry Events


March 13-22
SXSW Conference

March 24-28
28th Tin Pan South Festival

March 25
MusicRow‘s Ninth Annual Rising Women On The Row

Single Add Dates


March 2
Old Dominion/Some People Do/RCA Nashville
Russell Dickerson/Love You Like I Used To/Triple Tigers Records
The Desert City Ramblers/Hillbilly Rollin Stone/Crane Creek
AC Jones/Castle/Sialia Records
Rob Georg/Dust/SMG-Nashville

March 9
Johnny McGuire/I Can’t Even/Wheelhouse Records
Payton Smith/Like I Knew You Would/Big Machine
James Dupre/You’re Probably Drunk Right Now/Fleur de Magnolia Music
Craig Mecham/Driving Through Montana/SMG-Nashville

March 16
Auburn Road/Warning/Powerbase Music/Star Farm Nashville
Robert Eskridge and Southern Daze/Simple Things/Riverfront Promotions

March 23
Joe & Martina/Give Me Back the 90’s/Costa Gold Productions

Album Releases


March 6
Brandy Clark/Your Life Is A Record/Warner Records
Jim Lauderdale/When Carolina Comes Home Again/Yep Roc Records
Lauren Alaina/Getting Good EP/UMG Nashville

March 13
Caitlyn Smith/Supernova/Monument Records

March 20
Kelsea Ballerini/Kelsea/Black River
Delta Rae/The Light

March 27
Jessi Alexander/Decatur County Red
Jill Andrews/Thirties/Vulture Vulture/Tone Tree Music
Lilly Hiatt/Walking Proof/New West Records
Ingrid Andress/Lady Like/Warner Music Nashville/Atlantic Records

Weekly Register: Luke Combs, Dan + Shay, Justin Bieber Continue Chart Reigns


Luke Combs, Dan + Shay, and Justin Bieber continue to top the country sales charts, as Combs again takes the top two spots on the Nielsen Soundscan top album sales rankings with What You See Is What You Get and This One’s For You.

Dan+Shay and Bieber’s “10,000 Hours” tops the country on-demand audio streaming chart with 9.5 million streams, while Maren Morris‘ two-week radio chart-topper “The Bones” remains at No. 2 with 8 million streams.

See the Top 5 on the country albums and country on-demand streaming charts below:

Top Country Albums (total activity)

  1. Luke Combs, What You See Is What You Get: 24.9K
  2. Luke Combs, This One’s For You: 18.9K
  3. Morgan Wallen, If I Know Me: 14.8K
  4. Blake Shelton, Fully Loaded: God’s Country: 13.6K
  5. Kane Brown, Experiment: 11K

Country On-Demand Audio Streaming

  1. “10,000 Hours,” Dan+Shay/Justin Bieber, 9.5 million streams
  2. “The Bones,” Maren Morris, 8 million streams
  3. “One Man Band,” Old Dominion, 6.82 million streams
  4. “Heartless,” Diplo, ft. Morgan Wallen and Julia Michaels, 6.79 million streams
  5. “I Hope,” Gabby Barrett, 6.5 million streams

Luke Combs Reclaims No. 1 Spot On MusicRow Top Songwriter Chart


Luke Combs has reclaimed the No. 1 slot on the MusicRow Top Songwriter Chart this week, with credits on his own “Even Though I’m Leaving,” “Does To Me (Featuring Eric Church),” and “Better Together,” as well as the Carly Pearce and Lee Brice duet, “I Hope You’re Happy Now.” Ross Copperman moves down to the No. 2 position.

Craig Wiseman shifts from No. 15 to No. 7, with credits on Morgan Wallen’s “Chasin’ You” and Kenny Chesney’s new song, “Here And Now.”

The weekly MusicRow Top Songwriter Chart, published every week, uses algorithms based upon song activity according to airplay, digital downloaded track sales and streams. This unique and exclusive addition to the MusicRow portfolio is the only songwriter chart of its kind.

Click here to view the full MusicRow Top Songwriter Chart.

BREAKING: Deborah Dugan Officially Terminated As Recording Academy President/CEO

Deborah Dugan

The Recording Academy’s Board of Trustees has voted to terminate Deborah Dugan as President/CEO of the organization. Dugan has been on a paid administrative leave since Jan. 16, 2020.

According to a statement from the Recording Academy, the decision was made with full support of the Executive Committee, based on two independent investigations into allegations made by and against Dugan. A total of 37 witnesses were interviewed, and “each investigator had free rein to fully investigate all of the allegations that were made against Ms. Dugan and by Ms. Dugan against the Recording Academy,” a statement from the Recording Academy noted.

The statement noted that additional factors in the decision to dismiss Dugan from the President/CEO role include “Ms. Dugan’s consistent management deficiencies and failures,” and the “unwarranted and damaging media campaign she launched in an attempt, without justification, to derail the Grammy Awards show, including her false allegations that the system was—in her words—”rigged” and that the Academy was “corrupt.”

In January 2020, Dugan filed a complaint against the Recording Academy, in which Dugan described the “sexual harassment to which she was subjected by Joel Katz, Esq.,” an entertainment attorney and tenured executive at the Academy.

Dugan’s complaint also stated that her Recording Academy predecessor, Neil Portnow, “allegedly raped a female recording artist.” The alleged artist was not named in the complaint. The complaint claims that the board was aware of the incident, and that is why Portnow’s contract was not renewed. The complaint also claimed Dugan was asked to offer Portnow a $750,000 consulting contract and that “Katz and his law firm are paid an exorbitant amount of money by the Academy.” The complaint also claimed Dugan’s assistant Claudine Little was sharing information from Dugan’s emails with Academy board members and executives. Dugan’s complaint also stated that some board members on “secret committees” that select the Grammy nominees represent or have relationships with nominated artists, and that the “Board uses these committees as an opportunity to push forward artists with whom they have relationships,” that “the Board manipulates the nominations process to ensure that certain songs or albums are nominated when the producer of the Grammys (Ken Ehrlich) wants a particular song performed during the show,” and that “the Board is permitted to simply add in artists for nominations who did not even make the initial 20-artist list.”

The newly-issued statement from The Recording Academy on Dugan’s exit says,

“All of this led the elected leaders of the Academy to conclude that it was in the best interests of the Academy to move on. This is not what we wanted or what we expected when we hired Ms. Dugan last year. At the time, we placed our trust in her and believed she would effectively lead the organization. Unfortunately, that is not what happened. Though she made some valuable contributions, Ms. Dugan failed to perform her job duties as promised and expected.

Although we did participate in some settlement discussions at Ms. Dugan’s request after she stated that it was her desire to leave the Academy and be bought out of her employment contract, we were ultimately compelled to dismiss Ms. Dugan as our President/CEO. Not removing Ms. Dugan from the organization at this time would have caused us to compromise our values. We could not reward her with a lucrative settlement and thereby set a precedent that behavior like hers has no consequence. Our members and employees, and the entire music industry, deserve better than that.”

The Recording Academy will soon begin a search for a new President/CEO.

“Our focus will be on moving forward with the transformation agenda we initiated prior to hiring Ms. Dugan, and on working to improve the Academy. Much of this work has been happening but much of it is yet to come. We realize that we are not perfect, but we want you to know that our attention and energy will remain squarely on you and on the positive changes we are making together. We will not be distracted from that.  We will use this moment to reflect on where we can be better, and pledge to realize a future in which our organization is known for its diversity, transparency, creativity, mutual respect, and overall excellence.”

The complete statement from the Recording Academy sent to members today (March 2, 2020) follows:

Dear Members:

As you know, Deborah Dugan has been on a paid administrative leave of absence since January 16, 2020. We are writing to let you know that, earlier today, the Board of Trustees voted to terminate Ms. Dugan’s employment as President/CEO of the Recording Academy.

This decision of the Board, with full support of the Executive Committee, was based on:

Two exhaustive, costly independent investigations relating to Ms. Dugan and the allegations made against her and by her. These investigations were carried out by experienced individuals with no prior relationship to the Academy, interviewed a combined total of 37 witnesses, and reviewed numerous relevant documents and emails. The investigators were not given any directives about what specifically to investigate or what conclusions, if any, they were expected to reach, and they were not limited by the Academy in terms of what witnesses they could interview or files or documents they could review. Each investigator had free rein to fully investigate all of the allegations that were made against Ms. Dugan and by Ms. Dugan against the Recording Academy.

The unwarranted and damaging media campaign that she launched in an attempt, without justification, to derail the GRAMMY Awards show, including her false allegations that the system was—in her words—“rigged” and that the Academy was “corrupt.”

Ms. Dugan’s consistent management deficiencies and failures, and other factors.

All of this led the elected leaders of the Academy to conclude that it was in the best interests of the Academy to move on.

This is not what we wanted or what we expected when we hired Ms. Dugan last year. At the time, we placed our trust in her and believed she would effectively lead the organization. Unfortunately, that is not what happened. Though she made some valuable contributions, Ms. Dugan failed to perform her job duties as promised and expected.

Although we did participate in some settlement discussions at Ms. Dugan’s request after she stated that it was her desire to leave the Academy and be bought out of her employment contract, we were ultimately compelled to dismiss Ms. Dugan as our President/CEO. Not removing Ms. Dugan from the organization at this time would have caused us to compromise our values. We could not reward her with a lucrative settlement and thereby set a precedent that behavior like hers has no consequence. Our members and employees, and the entire music industry, deserve better than that.
The Board’s decision to dismiss Ms. Dugan closes one chapter in the Recording Academy’s history. It also begins a new one. In the coming days, we will initiate a search for a new President/CEO who will leverage the Academy’s diverse membership and rich history and help us transform it to better serve our members today and into the future. As we structure this new search, we will look carefully to see where the last one led us astray and make any necessary changes going forward.

It is not uncommon for organizations and leaders to part ways after a short period. It usually happens without rancor. Unfortunately, in this case, Ms. Dugan sought to damage our reputation on her way out, and it is likely we will see more attempts to disparage the Academy in the coming weeks. We regret that, as members of the Academy, you have had to endure so much recent negativity.

From this point forward, our focus will be on moving forward with the transformation agenda we initiated prior to hiring Ms. Dugan, and on working to improve the Academy. Much of this work has been happening but much of it is yet to come. We realize that we are not perfect, but we want you to know that our attention and energy will remain squarely on you and on the positive changes we are making together. We will not be distracted from that. We will use this moment to reflect on where we can be better, and pledge to realize a future in which our organization is known for its diversity, transparency, creativity, mutual respect, and overall excellence.

Thank you for your support and continued service and commitment to the Recording Academy.

-The Executive Committee of the Recording Academy

Morgan Evans, Seaforth Honored At APRA Music Awards

Seaforth (Mitchell Thompson and Thomas Jordan) accepting the award for Breakthrough Songwriter of the Year – Nashville.

The Global APRA Music Awards completed the second of three around-the-world stops, with awards handed out last night in Nashville at Clementine Hall. The awards, hosted by O’Shea, were presented by APRA AMCOS (Australasian Performing Right Association and Australasian Mechanical Copyright Owners Society) and given to Nashville-based Australasian songwriters, composers and publishers achieving artistic excellence and commercial success.

The Breakthrough Songwriter of the Year Nashville went to Mitchell Thompson and Thomas Jordan of country-pop duo Seaforth. They released their debut EP Love That on Sony Nashville in 2019 and have been touring in the States. They return to Australia this month for CMC Rocks and a Sydney headline show.

The Overseas Recognition Award Nashville was presented by two longtime Nashville-via-Australia songwriters, Kylie Sackley and Lindsay Rimes, and awarded to Rick Price. Artist manager Gina Mendello presented the Distinguished Services Award Nashville to world-renowned guitarist and songwriter Tommy Emmanuel, who has been playing live and wowing audiences since his childhood in Australia. With a deep discography and a non-stop touring schedule, Emmanuel’s fingerpicking style is lauded for its virtuosity. He has collaborated with Jason Isbell, Mark Knopfler, Rodney Crowell, among countless others, and is one of just a few Certified Guitar Players in the world, as named by his hero Chet Atkins.

Chris DeStefano presented Morgan Evans with the Outstanding International Achievement Award Nashville for his global success. Evans’ ‘Day Drunk’ collaboration with Destefano and Lindy Robbins was the 2019 APRA Music Awards Country Work of the Year and his single ‘Kiss Somebody’ was a No. 1 Country Aircheck/Mediabase hit and made Evans one of country music’s ones to watch.

The final award of the night, Songwriter of the Year Nashville, was presented to Phil Barton, who was introduced by his good friend and Grammy-winning songwriter Liz Rose. Barton relocated to Nashville in 2005 and has written hits for Lee Brice (“A Woman Like You”), Sara Evans, David Nail and fellow award winner Morgan Evans. Recently, he’s been writing with the next wave of country stars American Young, Catherine McGrath, and Kalsey Kulyk.

“It’s wonderful to celebrate the nominees, performers, presenters, and our special honorees with the Nashville community, a community of songwriters,” said APRA Chair Jenny Morris. “A lot of our members work behind-the-scenes crafting songs day in and day out, playing a vital role in the Nashville music ecosystem, and we’re here to acknowledge all the hard work and artistry they contribute,” said APRA AMCOS Chief Executive Dean Ormston.

>The Nashville awards came on the heels of a similar event in Los Angeles (Feb. 26) and ahead of London (March 6) events.

BREAKING: Pam Tillis Revealed As Featured Speaker For 2020 Rising Women On The Row

Pam Tillis

MusicRow is honored to announce Pam Tillis as the featured speaker at MusicRow‘s Rising Women on the Row breakfast on Wednesday, March 25 at 8:30 a.m. at the Omni Nashville Hotel.

Guests will be treated to an on-stage interview with Tillis and MusicRow Publisher/Owner Sherod Robertson.

The previously announced Rising Women on the Row honorees for 2020 are Jen Conger (FBMM, Business Manager), JoJamie Hahr (BBR Music Group/BMG, VP Marketing), Mandy Gallagher 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.

Tickets can be purchased here.

City National BankTri Star Sports and Entertainment Group, and Loeb & Loeb are the Presenting Sponsors for the 2020 Rising Women on the Row event.

A special performance, sponsored by Radio Disney Country, will also be announced soon.

As the child of country music royalty, Pam Tillis was determined from a young age to find her own way in music as a singer and songwriter. After many false starts with her own recording career, including a pop single on Elektra and 1984’s “Above And Beyond The Doll Of Cutey” for Warner Brothers, Tillis came to the attention of Tim Dubois who headed up the Nashville office of Arista records.

After much soul searching, Tillis made the commitment to make an honest country record. The album Put Yourself In My Place yielded two No. 1 songs, two top five singles, and one top twenty hit, and in its first year the album was certified Gold. Tillis followed this success with three Platinum albums on Arista, including Homeward Looking Angel in 1992, Sweethearts Dance in 1994 and Greatest Hits in 1997. Tillis achieved six No. 1 songs during this time including “Shake the Sugar Tree,” “Mi Vida Loca,” “When You Walk In The Room,” “In Between Dances,” “Don’t Tell Me What To Do,” and “Maybe It Was Memphis,” while 14 of Pam’s other singles landed in the top ten and top twenty.

Tillis fell in love with music at an early age. Band, chorus, talent shows, church and the creative community of Nashville all helped to shape the young singer. Growing up, Pam was in a variety of bands, spanning from jazz and alternative country to top 40. She sang demos and lent her voice to many national jingles including Coca Cola, Country Time Lemonade and a Coors Silver Bullet with country superstar, Alan Jackson. At the same time, Tillis worked as a staff writer for Elektra Asylum Publishing and later took a job writing for Warner Brothers Publishing, which resulted in her songs being recorded by some of the biggest names throughout all genres of music, including artists like Chaka Khan, Juice Newton, Dan Seals, Gloria Gaynor, Conway Twitty and the top 10 hit “Someone Else’s Trouble Now” for Highway 101.

Tillis has performed on the stages of Broadway in New York, modeled on the pages of Glamourmagazine and is a proud member of the Grand Ole Opry. Some of Tillis’ most memorable award moments are being a 3-time CMA award winner including the prestigious 1994’s Female Vocalist Of The Year Award, and being nominated multiple times for Grammy’s Best Female Country Vocal Performance in 1993 for “Maybe It Was Memphis,” in 1996 for “Mi Vida Loca,” and in 1998 for “All The Good Ones Are Gone.” Tillis is also proud to be a 9-time Academy of Country Music Award nominee, a 2-time Grammy award winner and 6-time Grammy nominee, and an American Music Award’s nominee.

Tillis has celebrated an IBMA award win in 2004 for Recorded Event Of The Year “Livin’ Lovin’ Losin’” and most recently a 2012 IBMA Song Of The Year nomination for co-writing Dale Ann Bradley’s “Somewhere South Of Crazy”.

Though Tillis has rolled easily with the tides and has drawn something from every new twist the ever-changing country music world has shown her, she has always insisted on writing and cutting songs that speak from the soul. The results have been records that emanate an almost painful beauty. She’s garnered more than 30 charting singles on Billboard charts, and 10 studio albums including her favorite, the critically acclaimed 2002 It’s All Relative (a tribute to her father, the great Mel Tillis), and three other releases RhinestonedRecollection and Just In Time For Christmas off her own label, Stellar Cat Records. In 2012 Red River Entertainment released Dos Divas a country duo album with fellow superstar Lorrie Morgan under the name Grits and Glamour.

Tillis’ star continues to shine brightly in the third decade of her career. She will release her eleventh studio albumLooking For A Feeling, April 24 on Stellar Cat Records via OneRPM Distribution, and is currently touring extensively on her own as well as with her Grits And Glamour tour partner, country star, Lorrie Morgan.

Taylor Swift Is IFPI’s Global Recording Artist of 2019

Taylor Swift has been named the world’s best-selling recording artist of 2019 by the International Federation of the Phonographic Industry (IFPI), the organization that represents the recorded music industry worldwide. This is the second time Swift has won the award, as she also received the accolade in 2014.

Swift had another hugely successful year in 2019, releasing her seventh studio album, Lover, in August. The album debuted at No. 1 in more than 10 countries and reached three million album equivalent sales worldwide by the end of its first week of release. Three singles were released from the album last year, including “ME!” featuring Brendon Urie of Panic! at the Disco, “You Need To Calm Down,” and the title track, “Lover.” “ME!”opened at number one on the global Spotify charts.

“Taylor Swift is the epitome of a truly global star,” said Frances Moore, chief executive of IFPI. “She continues to grow as an artist and maintains an incredibly strong connection with her fanbase, whilst continuing to evolve her sound with each album. It is a pleasure to be able to present her with the Global Recording Artist of the Year award for the second time.”

Swift is the recipient of the seventh IFPI Global Recording Artist of the Year Award, which reflects an artist’s worldwide success across digital and physical music formats, from streams to vinyl. Previous recipients of this prestigious award also include One Direction (2013), Adele (2015), Drake (2016 & 2018) and Ed Sheeran (2017).

The IFPI Global Recording Artist of the Year Award and Top 10 chart measures consumption across all formats (including streaming channels, digital and physical album and singles sales) and all countries. It is weighted based on the relative value of each method of consumption.

IFPI Top 10 Global Recording Artists of 2019

1.Taylor Swift
2. Ed Sheeran
3. Post Malone
4. Billie Eilish
5. Queen
6. Ariana Grande
7. BTS
8. Drake
9. Lady Gaga
10. The Beatles

Cody Johnson Celebrates Gold Status For “With You I Am”

Cody Johnson and Shelby Kennedy (VP, Entertainment Relations TuneCore)

Cody Johnson, who is a current ACM New Male Artist of the Year nominee ahead of the upcoming Academy of Country Music Awards, is celebrating Gold status from the Recording Industry Association of America (RIAA).

Johnson’s song “With You I Am” —which he released independently, before striking a joint venture deal between his own COJO Music and major label Warner Music Nashville in 2018— has earned the download and streaming equivalent of 500,000 units. The track was the lead single from his 2016 album Gotta Be Me, which he released on COJO Music and distributed via TuneCore. Though Johnson released the single and album without a national radio campaign, Gotta Be Me landed at No. 2 on Billboard’s Top Country Albums chart.

His first album released via COJO Music/Warner Music Nashville, Ain’t Nothin’ To It, earned Johnson his first No. 1 album on the country albums chart. The album produced the 2018 single “On My Way To You,” which has been certified Platinum by the RIAA.

He is currently opening for Miranda Lambert’s headlining tour, in addition to his own sold-out gigs.