The Country Music Association has announced several promotions and hew hires.
Ben Balch has been promoted to Director, Accounting & Financial Planning; Mary Overend to Director, Marketing & Consumer Engagement; Kris Kennedy to Live Events Producer; Chris Harrington to Senior Manager, Live Events; Brenden Oliver to Senior Manager, Awards & Industry Relations; Greg Pitman to Senior Manager, Production; Angi Brown to Accounts Payable Manager; MaryAnn Dicks to Finance & Administration Manager; Haley Steinbuchel to Partnerships Project Manager; Katie Storey to Live Events Project Manager; Lisa Valentine to Communications Project Manager; and Taylor Viegut to Digital Marketing Project Manager.
CMA has also announced the addition of Melissa Hewett as Vice President, Human Resources; Sara Stile as Marketing & Media Manager; Julie Anne Jacobs as Communications Coordinator; and Michael Jennings as Marketing Coordinator. Katherine Wong, formerly Marketing & Social Coordinator, has assumed a new position as International Relations Coordinator.
Ben Balch
Balch joined CMA as Accounting Services Manager before moving to Senior Manager, Budgets, and now Director, Accounting & Financial Planning. In his new role, Balch is responsible for reporting CMA’s and the CMA Foundation’s financial standing, managing the annual budget and performing the monthly closing processes for both accounts payable and accounts receivable as well as the general ledger. He earned his Master’s degree in Finance from Middle Tennessee State University. Balch reports to Amy Smartt, Senior Vice President, Finance & Administration.
Mary Overend
Overend’s new position as Director, Marketing & Consumer Engagement will include overseeing social media, email marketing and messaging strategy for CMA. In her previous role as Senior Manager, Digital Marketing, Overend handled project management as well as social media and email marketing. She graduated from the University of Tennessee with a Bachelor’s degree in Communications. Overend reports to Catherine Frizzell, Senior Director, Marketing.
Kris Kennedy
Kennedy has worked for CMA for over 20 years, starting as Special Projects Assistant. In her new role as Live Events Producer, Kennedy is responsible for managing key functional areas within CMA Live Events, including CMA Fest, CMA Awards, CMA Country Christmas and additional CMA events and meetings. She received a Bachelor’s degree in Business Administration with an emphasis in Music Business from Belmont University. Kennedy reports to Chris Crawford, Senior Director, Live Events.
Chris Harrington
Moving from Live Events Manager to Senior Manager, Live Events, Harrington will oversee event ticketing and provide support for all CMA events. With 15 years of experience in the sports and entertainment field, Harrington has worked with the Washington Capitals, Nashville Predators and CMA. He graduated from Marymount University with a Bachelor’s degree in Business Management and Communications. Harrington reports to Crawford.
Brenden Oliver
In his new role as Senior Manager, Awards & Industry Relations, Oliver will continue to work closely with CMA Awards balloting, Country Music Hall of Fame elections, CMA Broadcast Awards, CMA Touring Awards and additional awards presented by CMA. He will also recruit new members, as well as coordinate membership events, artist visits and assist in managing the CMA KixStart Artist Scholarship program. Oliver started in the department in 2011 as an intern, before being hired fulltime in 2012. He graduated from Vanderbilt University with a Bachelor’s degree in Human and Organizational Development with a concentration in Leadership and Organizational Effectiveness. He reports to Brandi Simms, Senior Director, Awards & Industry Relations.
Greg Pitman
With more than 20 years of production experience, Pitman will now serve as Senior Manager, Production, acting as the main contact for all aspects of live event production. Along with the Live Events team, he will continue to manage CMA events from concept and implementation to live show and load out. Pitman has served as CMA’s Production Manager for the last seven years. He holds a degree in Radio Broadcasting and Engineering from Brown Institute. Pitman reports to Crawford.
Angi Brown
In her new role as Accounts Payable Manager, Brown will assist in reporting CMA’s financial standing through the management of the Accounts Payable accounting process. Additionally, she will be assisting with the annual budget process and preparation of other financial reports. She previously held the position of Accounting Coordinator. Brown has a Master’s degree in Business Administration from Indiana Wesleyan University. She reports to Balch.
MaryAnn Dicks
In her new role as Finance & Administration Manager, Dicks will oversee accounts receivable, assist with budgeting and reports, as well as handle all paperwork and payroll for temporary hires. She joined the department in 2012 as Finance & Administration Coordinator. Dicks received her Associate’s degree from Washtenaw Community College. She reports to Balch.
Haley Steinbuchel
As Partnerships Project Manager, Steinbuchel will assist in the development and management of CMA’s event-specific and corporate-level partners, along with the planning and execution of the CMA Brand Marketing Summit and other events targeted at growing brand partnership opportunities for the Country Music community. Steinbuchel previously held the position of Strategic Partnerships Coordinator, and will continue to report to Emily Evans, Senior Director, Strategic Partnerships.
Katie Storey
Transitioning from Live Events Coordinator to Live Events Project Manager, Storey brings an extensive amount of live events experience to her new role. She will now oversee credentialing for all CMA events, as well as manage budgets and catalog all vendor information. Storey is a graduate of Middle Tennessee State University with a Bachelor’s degree in Music Business. She reports to Crawford.
Lisa Valentine
In her new position as Communications Project Manager, Valentine will facilitate communications for CMA’s international initiatives and the CMA Foundation, as well as continuing to serve as Managing Editor for the organization’s member magazine, CMA Close Up. Valentine previously held the position of Communications Coordinator. She graduated with a Bachelor’s degree in Marketing and Public Relations from the Frederick M. Supper Honors Program at Palm Beach Atlantic University. Valentine reports to Catharine McNelly, Senior Director, Communications.
Taylor Viegut
In her new role as Digital Marketing Project Manager, Viegut will focus on the success and optimization of the CMA mobile app, New Music Friday initiatives, CMA’s presence on streaming platforms and Google advertising initiatives. She will also work cross-departmentally to support additional marketing strategies. She previously served as Digital Marketing Coordinator. Viegut graduated from the University of Wisconsin-Madison with a Bachelor’s degree in Strategic Communications and Communications Arts. She reports to Overend.
Melissa Hewett
Hewett has worked with CMA as a human resources consultant since 2017, but now will serve full time as Vice President, Human Resources. She will be responsible for directing all personnel functions within CMA. Hewett received a Master’s degree in Human Resource Development from Vanderbilt University. Hewett reports to Sarah Trahern, Chief Executive Officer.
Sara Stile
As Marketing & Media Manager, Stile will assist in developing and implementing marketing, promotional, and advertising campaigns for CMA events through traditional and digital media outlets, including TV, radio and online. Stile is also responsible for managing merchandise e-commerce and on-site business throughout the year. Having joined CMA in March as a consultant, she brings nine years of experience in experiential marketing, artist management and music festival event production. She has a Master’s degree in Music Business from New York University and a Bachelor’s degree in Marketing from Ohio University. Stile reports to Frizzell.
Julie Anne Jacobs
Jacobs joins CMA full time as Communications Coordinator, having previously interned with the department in 2018. In her new role, she will create and manage the distribution of press releases, maintain media relationships, oversee temporary media staff and assist with media logistics and credentialing for all CMA events. Jacobs previously worked for Edelman in Atlanta, where she coordinated media opportunities to enhance the company’s marketing efforts. She has a Master’s degree in Business Administration as well as a Bachelor’s degree in Public Relations from Auburn University. Jacobs reports to McNelly.
Michael Jennings
Jennings joins CMA as Marketing Coordinator, where he will develop and implement ticket sales campaigns for CMA’s annual events through traditional media outlets as well as through online and social networking mediums. Additionally, he will manage creative assets along with website and CMA mobile app updates. Jennings previously worked in Chicago, handling digital sales for ESPN. He received a Bachelor’s degree from Michigan State University in Marketing from the Eli Broad School of Business. Jennings reports to Bobby Dirienzo, Digital Marketing Manager.
Katherine Wong
In Wong’s new position as International Relations Coordinator, she will provide project management support for CMA’s international initiatives including the organization’s television properties and touring series, as well as international relations and partners. Wong previously served as Marketing & Social Coordinator. She received a Bachelor’s degree in Business Administration with a specialization in Marketing from the Stephen M. Ross School of Business at the University of Michigan. Wong reports to Milly Olykan, Vice President, International Relations & Development.
Glen Campbell Museum And Rhinestone Stage Set To Open In Downtown Nashville
/by Lorie HollabaughPhoto: Clearbrook Hospitality
A new museum celebrating the life and career of Glen Campbell is set to open at the corner of Broadway and 2nd Avenue in downtown Nashville early next year.
The Glen Campbell Museum and Rhinestone Stage will offer guests over four thousand square feet of immersive, interactive displays showcasing different stages of Glen’s life and extraordinary career as a studio musician in The Wrecking Crew (Elvis Presley, Frank Sinatra, Dean Martin, The Beach Boys and others), the singer of many hits, and a TV and film star (The Glen Campbell Goodtime Hour, True Grit, I’ll Be Me).
The Clearbrook Hospitality property will feature never-before-seen artifacts from Campbell’s early years on the farm in Arkansas through his climb to superstardom, including many of his legendary guitars and instruments, his extensive collection of golf paraphernalia, intimate family photos, stage clothing, and much more.
In the evenings, the museum will transform into The Rhinestone Stage, a live music venue where national and local touring acts can host intimate performances in a unique environment.
The Glen Campbell Museum and Rhinestone Stage is slated to open early 2020, and a Grand Opening is planned which will be a star-studded event with performances by various celebrity friends of the late singer and the Campbell family.
Photo credit: Clearbrook Hospitality
Hootie & The Blowfish To Return With First Album In 15 Years
/by Lorie HollabaughHootie & the Blowfish are back with the band’s first new album in nearly 15 years, Imperfect Circle. The project is due out Nov. 1 on Universal Music Group’s Capitol Nashville imprint, and is available for pre-order now. According to a story in USA Today, the album will feature background vocals from Sheryl Crow, and finds the band collaborating with Lucie Silvas on a track Rucker co-wrote with pop star Ed Sheeran.
Following the nostalgic Group Therapy Tour this summer, fans now eager to hear new music by the band can get early access to a first track called “Rollin’” available exclusively at Hootie.com, before it becomes available for purchase and streaming on Sept. 6.
Hootie and the Blowfish members Darius Rucker (lead vocals), Mark Bryan (guitarist), Dean Felber (bass) and Jim “Soni” Sonefeld (drums), have sold more than 25 million albums to date following the release of their debut project Cracked Rear View in 1994, which included hits “Hold My Hand,” “Let Her Cry,” and “Only Wanna Be With You.”
Remaining Group Therapy Tour Dates:
August 8 Columbia, Md. | Merriweather Post Pavilion
August 9 Canandaigua, N.Y. | Constellation Brands-Marvin Sands Performing Arts Center
August 10 New York, N.Y. | Madison Square Garden
August 11 New York, N.Y. | Madison Square Garden
August 16 Detroit, Mich. | DTE Energy Music Theatre
August 17 Noblesville, Ind. | Ruoff Home Mortgage Music Center
August 18 Des Moines, Iowa | Iowa State Fair
August 22 St. Paul, Minn. | Minnesota State Fair
August 23 East Troy, Wis. | Alpine Valley Music Theatre
August 24 Tinley Park, Ill. | Hollywood Casino Amphitheatre
August 29 Toronto, Ont. | Budweiser Stage
August 30 Hershey, Penn. | Hersheypark Stadium
August 31 Hartford, Conn. | XFINITY Theatre
September 5 Charlotte, N.C. | PNC Music Pavilion
September 6 Birmingham, Ala. | Oak Mountain Amphitheatre
September 7 Nashville, Tenn. | Bridgestone Arena
September 11 Columbia, S.C. | Colonial Life Arena
September 12 Columbia, S.C. | Colonial Life Arena
September 13 Columbia, S.C. | Colonial Life Arena
October 4 Dublin, Ireland | 3Arena
October 6 Bristol, England | O2 Academy
October 7 Leeds, England | O2 Academy
October 9 Glasgow, Scotland | Barrowland
October 10 Glasgow, Scotland | Barrowland
October 12 London, England | Eventim Apollo
October 15 Manchester, England | O2 Apollo
October 16 Birmingham, England | O2 Academy
Old Dominion’s Trevor Rosen, Matthew Ramsey Lead Morris Higham Bluebird Cafe Show
/by Jessica NicholsonMorris Higham’s Emily Galloway, NARAS’ Laura Crawford, Morris Higham’s Basak Kizilisik, pop artist Nick Luebke, Old Dominion’s Trevor Rosen and Matthew Ramsey, Morris Higham’s Will Hitchcock, MusiCares’ Debbie Carroll, country newcomer Chase Wright, NARAS’ Alicia Warwick and Morris Higham’s Robert Filhart | Photo: Osprey Media
Morris Higham held its second show in this year’s “Morris Higham Presents at The Bluebird Cafe” series on Tuesday (Aug. 6). The writers round featured Morris Higham clients including Old Dominion’s Trevor Rosen and Matthew Ramsey, along with pop artist Nick Luebke and country artist Chase Wright.
The show raised more than $2,500 with proceeds going to MusiCares. The evening follows May’s inaugural “Morris Higham Presents at The Bluebird Cafe” featuring Warner Nashville recording artists Michael Ray, Ryan Griffin and Walker County as well as Arista recording artist Carlton Anderson to benefit The CMA Foundation.
“We’re so grateful to our friends at Morris Higham for creating this series to give back to our industry,” said Debbie Carroll, Vice President, Health and Human Services MusiCares. “Events like this not only feature a night of incredible music but they allow us the opportunity to continue our mission of providing a place for the music community to turn in times of financial, personal and medical crisis.”
“Since 1989, MusiCares has distributed more than $60 million to artists in need,” shared Morris Higham’s Robert Filhart. “We created this concert series as a way to support the many incredible causes that give back to our music community and are thrilled to contribute to the incredible work being done by MusiCares.'”
The final “Morris Higham Presents at The Bluebird Cafe” of 2019 is scheduled for Nov. 19 and will benefit ACM Lifting Lives. The show will feature clients of Morris Higham Management performing in the round at the Bluebird Cafe.
Walker Hayes Talks New Single “Don’t Let Her” [Interview]
/by LB CantrellMonument Records artist Walker Hayes‘ new single, “Don’t Let Her,” is a cute and uplifting but devastatingly honest song that chronicles a conversation between Walker and a hypothetical man taking his place in the life of the woman he loves, if something were to happen to him.
Written by Hayes, with Andrew DeRoberts and Shane McAnally, and produced by McAnally and DeRoberts, “Don’t Let Her” has been showing potential to become a new fan-favorite, like that of “Halloween.”
MusicRow: I loved Halloween, but I think I might actually love this one more.
Hayes: Damn, thank you. I appreciate it. I love that because, you know, I thought I would never outdo “Halloween.” The song people are obsessed with that song. And I love hearing people say that they love [“Don’t Let Her”] even more than that.
MR: This song is a little dark. What prompted you to write “Don’t Let Her”?
Hayes: So, Laney, my wife, she would laugh at when she tells you this but it’s so true, I’m the emotionally dramatic one. I’m the high feeler of our relationship. And she talks me off of those over-romanticizing ledges and she allows me to communicate all of my feelings all the time. And I was in the UK and had been away from her and the kids for 10, 11 days plus. So this was like a 16-day trip, I was going very dark places in my head. They are where I recharge my batteries, and so I had just had enough of the road. I’m very much a homebody, so that’s weird that I travel for a living, but I miss them. And I just began to write this love song to Laney.
And it wasn’t to her immediately. And honestly, when I began the song, I didn’t know that it was to anyone. I just was talking about her and I was listing specifics about her because, to me, the most endearing form of flattery is when you can tell somebody, “Hey, when you smile like that, I know it means this.” And, “When you fix your coffee, I know you’re going to dump that honey for four seconds, you know, and then you’re going to put in coffee next.” I just thought it was sweet to say, “Hey, I noticed these things about you.” And then the last line, I completely out of the accident wrote, “And if she misses me…” You know, at first I was going to say, “Show her this picture, or Play her this song.” Then I was like, no, you know, if she misses me, I don’t want her to be sad. And then that opened the road to a song to whoever might take my place if something were to happen to me.
Laney and I’ve always, since we were in 11th grade, we’ve always played the game. of, “What would you do if something happened to me?” We’ve always asked that and we’ve always answered it with these like elaborate, “I would never love again, you’re irreplaceable. You’re so funny. You’re so cute.” We’ve always done that.
It was kind of a miraculous coming together of many things and many emotions, and I love where it landed. I’m so proud. You mentioned “Halloween” and these are examples—”Don’t Let Her” and “Halloween”—that’s how I love to write love songs. I feel like they’re very true and they’re honest about the, maybe the darker, the harder, the uglier side of love, but also the most beautiful part I love is to me the unconditional part. And to me that’s what “Don’t Let Her” speaks to, if you will.
MR: You mentioned the ‘Honey in her coffee’ and you have lines about her ‘Hating glitter’ and you ‘Watching your grammar’ around her. How do you put those specific qualities in a song and still try to keep the song universally relatable?
Hayes: Well, a guy told me—and I kinda did this in my music before this person told me this—but they told me that personal is actually universal. A lot of songs are hits that are very vague and generic, but I personally feel like the most important thing in songs are the details, the personal artifacts that you place in a song because that allows a listener to put themselves within that story. A lot of people have said when they watch the lyric video of “Don’t Let Her” that they see themselves in high school, they see themselves getting married, they see themselves at the beach. And to me that’s what the personal pieces of a song do for people. If it’s all vague, you may never grab someone and bring in their story, they may just listen to a song and never insert their own life. I think when you get someone to insert themselves inside a story, that’s when they become a fan.
I mean, I’ve always loved songs that did that. Kenny Chesney’s “There Goes My Life,” you know, with the American Express line, the “She covers up the refrigerator,” and going up the stairs with bouncing curls. You just picture a standard house with a refrigerator and I just love lines that grab you like that and kind of take you inside the room.
MR: What was Laney’s reaction to “Don’t Let Her”?
Hayes: Oh, she loved it. I mean, Laney is the sweetest human on the planet, but I think when you’ve listened to songs from somebody for 15 years, you’re rarely blown away, especially by the love songs. And this one, this one really got her. Usually, and in the case of this song, the way she hears music first is I text her a line or two or I’ll text her a chorus. I did that with this song and she was like, “I get teared up just reading this.” So, yeah, she really loved it. And it’s a love letter to her and it’s what I would say to her at home if nobody ever heard it. I think she really has an appreciation for this song, like “Halloween.” She’s always loved “Halloween,” and I think she loves this one even more.
MR: You’re doing a new video series with Laney called ‘The Hayes Of Our Lives.’ Tell me about that.
Hayes: So that’s been fun. The song has been fun to promote because it’s not as much of a lonely song to promote. You know, it’s about Laney. It’s about our life together and our kids. And so many people ask me, “What was it like doing this?” You know, “What was it like being at Costco and still writing?” and I’m always like I wish more people would ask Laney because she was there for everything. And so that’s been fun to include her. And I mean, my fans are crazy about Laney. They love her and they’re so sweet about her and they just think she’s a rock star.
And, you know, we don’t have this famous elaborate life. And I think people love seeing the holes and sheet rock on our walls and they love seeing our broken stove and they love seeing us in our pajamas, and I feel like including her and just the reality of our life is soothing to the public. And I’ve always said I felt like people need to meet Laney because she’s very, there’s things that she just doesn’t care about that I feel like other women knowing that she doesn’t, it inspires them to not care. Anyway, I’ve loved sharing her with the world and obviously, I love when people love her as much as I do. I’m so proud, those ‘Hayes of Our Lives’ [episodes], I watched them like it’s not even us. Like they’re funny to me. They make me laugh.
New Luke Combs Album Coming In November
/by Jessica NicholsonLuke Combs. Photo: David Bergman for Sony Records Nashville
Luke Combs just released a five-song EP, The Prequel, in June, and he has more music on the way later this year. Combs took to Instagram to announce he will release a new full-length album on Nov. 8 via River House Artists/Columbia Nashville.
Combs recently celebrated his sixth consecutive No. 1 song, with “Beer Never Broke My Heart” reaching the top slot on both Billboard‘s Country Airplay chart and the Mediabase/Country Aircheck chart. The milestone makes Combs the only country artist to have their first six consecutive singles hit No. 1.
The new album will follow his smash debut full-length album, This One’s For You, which has held the No. 1 spot on the Billboard Top Country Albums chart for 44 weeks, the longest ever for a male artist, and second only to Shania Twain’s 1997 album Come On Over (50 weeks). This One’s For You has also been certified double-Platinum by the RIAA.
Scotty McCreery Set For First Headlining Shows In UK, Germany
/by Jessica NicholsonScotty McCreery. Photo: EB Media
“In Between” hitmaker Scotty McCreery will headline his first concerts in the United Kingdom and Germany later this year, with four shows to take place during Country Music Week in both countries.
He will play concerts in Berlin and Cologne, Germany (Oct. 23-24), followed by shows in London’s Bush Hall (Oct. 26) and Manchester’s Manchester Academy 3 (Oct. 27).
“I’ve received numerous emails and social media messages from fans asking me to perform in the UK and Germany,” said McCreery. “I am happy to finally announce that I’m coming over in October and I cannot wait to be there.”
On-sale dates for the two UK shows begin Friday, Aug. 9 at 9 a.m. BST, with a pre-sale for C2C attendees on Wednesday, Aug. 7 at 9 a.m. BST, and a Manchester venue pre-sale on Thursday, Aug. 8 at 9 a.m. BST. Tickets for the UK shows will be available for purchase here: http://gigst.rs/Scotty.
McCreery’s latest single, “In Between,” follows his most recent chart-toppers, “Five More Minutes” and “This Is It.”
CMA Announces Promotions, Hirings
/by Jessica NicholsonBen Balch has been promoted to Director, Accounting & Financial Planning; Mary Overend to Director, Marketing & Consumer Engagement; Kris Kennedy to Live Events Producer; Chris Harrington to Senior Manager, Live Events; Brenden Oliver to Senior Manager, Awards & Industry Relations; Greg Pitman to Senior Manager, Production; Angi Brown to Accounts Payable Manager; MaryAnn Dicks to Finance & Administration Manager; Haley Steinbuchel to Partnerships Project Manager; Katie Storey to Live Events Project Manager; Lisa Valentine to Communications Project Manager; and Taylor Viegut to Digital Marketing Project Manager.
CMA has also announced the addition of Melissa Hewett as Vice President, Human Resources; Sara Stile as Marketing & Media Manager; Julie Anne Jacobs as Communications Coordinator; and Michael Jennings as Marketing Coordinator. Katherine Wong, formerly Marketing & Social Coordinator, has assumed a new position as International Relations Coordinator.
Ben Balch
Balch joined CMA as Accounting Services Manager before moving to Senior Manager, Budgets, and now Director, Accounting & Financial Planning. In his new role, Balch is responsible for reporting CMA’s and the CMA Foundation’s financial standing, managing the annual budget and performing the monthly closing processes for both accounts payable and accounts receivable as well as the general ledger. He earned his Master’s degree in Finance from Middle Tennessee State University. Balch reports to Amy Smartt, Senior Vice President, Finance & Administration.
Mary Overend
Overend’s new position as Director, Marketing & Consumer Engagement will include overseeing social media, email marketing and messaging strategy for CMA. In her previous role as Senior Manager, Digital Marketing, Overend handled project management as well as social media and email marketing. She graduated from the University of Tennessee with a Bachelor’s degree in Communications. Overend reports to Catherine Frizzell, Senior Director, Marketing.
Kris Kennedy
Kennedy has worked for CMA for over 20 years, starting as Special Projects Assistant. In her new role as Live Events Producer, Kennedy is responsible for managing key functional areas within CMA Live Events, including CMA Fest, CMA Awards, CMA Country Christmas and additional CMA events and meetings. She received a Bachelor’s degree in Business Administration with an emphasis in Music Business from Belmont University. Kennedy reports to Chris Crawford, Senior Director, Live Events.
Chris Harrington
Moving from Live Events Manager to Senior Manager, Live Events, Harrington will oversee event ticketing and provide support for all CMA events. With 15 years of experience in the sports and entertainment field, Harrington has worked with the Washington Capitals, Nashville Predators and CMA. He graduated from Marymount University with a Bachelor’s degree in Business Management and Communications. Harrington reports to Crawford.
Brenden Oliver
In his new role as Senior Manager, Awards & Industry Relations, Oliver will continue to work closely with CMA Awards balloting, Country Music Hall of Fame elections, CMA Broadcast Awards, CMA Touring Awards and additional awards presented by CMA. He will also recruit new members, as well as coordinate membership events, artist visits and assist in managing the CMA KixStart Artist Scholarship program. Oliver started in the department in 2011 as an intern, before being hired fulltime in 2012. He graduated from Vanderbilt University with a Bachelor’s degree in Human and Organizational Development with a concentration in Leadership and Organizational Effectiveness. He reports to Brandi Simms, Senior Director, Awards & Industry Relations.
Greg Pitman
With more than 20 years of production experience, Pitman will now serve as Senior Manager, Production, acting as the main contact for all aspects of live event production. Along with the Live Events team, he will continue to manage CMA events from concept and implementation to live show and load out. Pitman has served as CMA’s Production Manager for the last seven years. He holds a degree in Radio Broadcasting and Engineering from Brown Institute. Pitman reports to Crawford.
Angi Brown
In her new role as Accounts Payable Manager, Brown will assist in reporting CMA’s financial standing through the management of the Accounts Payable accounting process. Additionally, she will be assisting with the annual budget process and preparation of other financial reports. She previously held the position of Accounting Coordinator. Brown has a Master’s degree in Business Administration from Indiana Wesleyan University. She reports to Balch.
MaryAnn Dicks
In her new role as Finance & Administration Manager, Dicks will oversee accounts receivable, assist with budgeting and reports, as well as handle all paperwork and payroll for temporary hires. She joined the department in 2012 as Finance & Administration Coordinator. Dicks received her Associate’s degree from Washtenaw Community College. She reports to Balch.
Haley Steinbuchel
As Partnerships Project Manager, Steinbuchel will assist in the development and management of CMA’s event-specific and corporate-level partners, along with the planning and execution of the CMA Brand Marketing Summit and other events targeted at growing brand partnership opportunities for the Country Music community. Steinbuchel previously held the position of Strategic Partnerships Coordinator, and will continue to report to Emily Evans, Senior Director, Strategic Partnerships.
Katie Storey
Transitioning from Live Events Coordinator to Live Events Project Manager, Storey brings an extensive amount of live events experience to her new role. She will now oversee credentialing for all CMA events, as well as manage budgets and catalog all vendor information. Storey is a graduate of Middle Tennessee State University with a Bachelor’s degree in Music Business. She reports to Crawford.
Lisa Valentine
In her new position as Communications Project Manager, Valentine will facilitate communications for CMA’s international initiatives and the CMA Foundation, as well as continuing to serve as Managing Editor for the organization’s member magazine, CMA Close Up. Valentine previously held the position of Communications Coordinator. She graduated with a Bachelor’s degree in Marketing and Public Relations from the Frederick M. Supper Honors Program at Palm Beach Atlantic University. Valentine reports to Catharine McNelly, Senior Director, Communications.
Taylor Viegut
In her new role as Digital Marketing Project Manager, Viegut will focus on the success and optimization of the CMA mobile app, New Music Friday initiatives, CMA’s presence on streaming platforms and Google advertising initiatives. She will also work cross-departmentally to support additional marketing strategies. She previously served as Digital Marketing Coordinator. Viegut graduated from the University of Wisconsin-Madison with a Bachelor’s degree in Strategic Communications and Communications Arts. She reports to Overend.
Melissa Hewett
Hewett has worked with CMA as a human resources consultant since 2017, but now will serve full time as Vice President, Human Resources. She will be responsible for directing all personnel functions within CMA. Hewett received a Master’s degree in Human Resource Development from Vanderbilt University. Hewett reports to Sarah Trahern, Chief Executive Officer.
Sara Stile
As Marketing & Media Manager, Stile will assist in developing and implementing marketing, promotional, and advertising campaigns for CMA events through traditional and digital media outlets, including TV, radio and online. Stile is also responsible for managing merchandise e-commerce and on-site business throughout the year. Having joined CMA in March as a consultant, she brings nine years of experience in experiential marketing, artist management and music festival event production. She has a Master’s degree in Music Business from New York University and a Bachelor’s degree in Marketing from Ohio University. Stile reports to Frizzell.
Julie Anne Jacobs
Jacobs joins CMA full time as Communications Coordinator, having previously interned with the department in 2018. In her new role, she will create and manage the distribution of press releases, maintain media relationships, oversee temporary media staff and assist with media logistics and credentialing for all CMA events. Jacobs previously worked for Edelman in Atlanta, where she coordinated media opportunities to enhance the company’s marketing efforts. She has a Master’s degree in Business Administration as well as a Bachelor’s degree in Public Relations from Auburn University. Jacobs reports to McNelly.
Michael Jennings
Jennings joins CMA as Marketing Coordinator, where he will develop and implement ticket sales campaigns for CMA’s annual events through traditional media outlets as well as through online and social networking mediums. Additionally, he will manage creative assets along with website and CMA mobile app updates. Jennings previously worked in Chicago, handling digital sales for ESPN. He received a Bachelor’s degree from Michigan State University in Marketing from the Eli Broad School of Business. Jennings reports to Bobby Dirienzo, Digital Marketing Manager.
Katherine Wong
In Wong’s new position as International Relations Coordinator, she will provide project management support for CMA’s international initiatives including the organization’s television properties and touring series, as well as international relations and partners. Wong previously served as Marketing & Social Coordinator. She received a Bachelor’s degree in Business Administration with a specialization in Marketing from the Stephen M. Ross School of Business at the University of Michigan. Wong reports to Milly Olykan, Vice President, International Relations & Development.
Rhiannon Giddens, Frank Johnson To Be Honored With Inaugural Legacy Of Americana Award
/by Jessica NicholsonRhiannon Giddens
The Americana Music Association and the National Museum of African American Music have partnered to establish the inaugural Legacy of Americana Award, which will be presented to roots music artist Rhiannon Giddens and late folk musician Frank Johnson.
The award will be given during the upcoming 18th annual Americana Honors & Awards on Sept. 11 at the Ryman Auditorium. The Legacy of Americana Award has been instituted to honor an artist, writer, producer or educator who has either made a lasting impression through music or inspired art to recognize the legacy of Americana music traditions. Replicas of the awards will be showcased at the National Museum of African American Music, which is scheduled to open in early 2020 in downtown Nashville.
“African American artists play pivotal roles in the tapestry of Americana music,” said H. Beecher Hicks III, CEO and President of NMAAM. “Through the Legacy of Americana Award and our new partnership with the Association, we hope to shine a light on forgotten artists like Frank Johnson, whose stories may have been lost to history, and on innovators like Rhiannon Giddens, who is pushing Americana and American music forward by exploring the past.”
“We are honored to partner with the National Museum of African American Music and present the first Legacy of Americana Award to Rhiannon Giddens and Frank Johnson,” said Jed Hilly, Executive Director of the Americana Music Association. “Without a legacy, art would not outlive its creator. These two exemplary artists embody the spirit of this award. Furthermore, it is imperative to continue celebrating those who have made lasting impressions or have inspired art that recognizes the legacy of Americana music traditions, and this honor is a rightful step in the direction of preserving that history.”
A MacArthur “Genius” Grant recipient, Giddens has shared this dedication throughout her career by carrying on the underrepresented origins of African roots music. In the U.S., her work traces a lineage of string music back to the late Johnson, who was a traveling fiddle musician and brass band leader of the most well-known group in his home state of North Carolina during the 19th century. Yet, the formative fiddle musician and his contributions have largely been forgotten in the context of musical history after his passing in the late 1800s. The Legacy of Americana Award aims to shine a light on both of these musicians’ unparalleled influences on American roots music.
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The American Music Association’s Americana Honors & Awards serve as the premier event of the annual Americanafest, which will be held Sept. 10-15 in Nashville. Giddens is also scheduled to speak on a panel alongside writer John Jeremiah Sullivan during Americanafest’s music industry conference, which will be headquartered at The Westin Nashville on Wednesday, Sept. 11 through Friday, Sept. 13. On that Friday afternoon, the two will be discussing the erasure of American music history at the comprehensive music business forum.
Apple Music Brings Studio Quality Sound To Streaming With Apple Digital Masters
/by Lorie HollabaughApple Digital Masters aims to provide uncompromising studio sound, virtually indistinguishable from the original master recordings, with less noise and higher fidelity.
By encoding from high-resolution masters, Apple music engineers are able to capture all of the detail of a recording in a size that is convenient for streaming and downloading. Using 24-bit files means less noise and higher encoding efficiency, and Apple has distributed their industry-leading encoder for free to mastering engineers worldwide and by using these software tools engineers are able to create “test pressings” of exactly what the audience will hear. The result is music that is virtually indistinguishable from the original hi-res master recordings.
Apple Digital Masters provide premium quality audio without any additional cost on Apple Music and the iTunes Store. All former Mastered for iTunes songs will continue to be available under the Apple Digital Masters program.
On The Row: Trea Landon
/by Jessica NicholsonTrea Landon. Photo: Haley Crow/MusicRow
With a warm, endearing vocal and his earnest approach to songwriting, newcomer Trea Landon is the latest artist to take his cues more from ‘90s country traditionalists such as George Strait and Alan Jackson than from the more recent hip-hop and R&B-loving country crowd.
Landon is an alumnus of Georgia Southern University, the same alma mater that boasts Luke Bryan and Cole Swindell. Landon moved from his hometown of Daisy, Georgia, to Nashville in 2015; within weeks, he was signed to Dallas Davidson’s Play It Again Music.
Davidson heard Landon’s music through a mutual friend, an entertainment lawyer from Georgia.
“I played a writers round at Tin Roof and I had never played in Nashville, ever. My friend’s friend came and I sent him my demos the next day and he sent them to Dallas,” Landon recalls.
Landon is signed with Warner Music Nashville and aligned with G Major Management, management home to artists including Thomas Rhett.
Trea Landon with MusicRow Publisher/Owner Sherod Robertson. Photo: Haley Crow/MusicRow
Landon recently introduced the world to his music via the track “Get The Girl” (penned by Justin Wilson, Paul Jenkins, Brandon Ratcliff and Pete Good).
“The first day I heard it, it definitely spoke to me. It’s basically about like, somebody that’s been hurt and been through a lot of stuff and has a wall up. Every day, average pickup lines aren’t going to work on this person.” Landon says.
Landon penned another recently-released track, “Loved By A Country Boy,” alongside Davidson, Kyle Fishman, and Justin Wilson—though the group didn’t set out to write a song that day.
“Luke and Dallas own a boat down in Panama and we took a trip last year to get away from the music industry. We were like, ‘Let’s go catch some red fish, drink some beer, hang out.’ We got down there and ended up writing a song, which is what we intended not to do. And now it’s the first single.”
“Loved By A Country Boy” releases to country radio on Aug. 26.
Trea Landon with MusicRow staff. Photo: Victoria Chaitoff