Pictured (L-R): Nashville Chapter President Trey Fanjoy, Jimmie Allen, Trisha Yearwood, Nashville Chapter Executive Director Alicia Warwick. Photo: Courtesy The Recording Academy
BOBBY KARL WORKS THE ROOM
Chapter 619
What a lovely way to start the week.
Monday’s revival of the Grammy Block Party (April 29) notched up another victory for Nashville music diversity. Apart from host Jimmie Allen’s acoustic performance of “Best Shot,” the event was notable for its near-absence of country music, Nashville’s most famous genre.
Trisha Yearwood sang the classics of Frank Sinatra. T-Pain offered hip-hop. Gavin DeGraw performed modern pop. Francesca Battistelli did Christian rock. And MAJOR. just about stole the show with his brand of contemporary r&b.
The evening was balmy and mellow as we arrived at the courtyard plaza of War Memorial Auditorium. New Nashville DJ/remix artist Dave Aude was spinning sizzling sounds. And the fabulons were schmoozing mightily.
Jed Hilly, Benita Hill, Dan Hill, Dan Rogers, LB Rogers, Dave Pacula, David Malloy, Dave Brainard, Bil VornDick, Billy Burnette, Eddie Perez, Edie Emery, Chris Farren, Chris Keaton, Jon Loba, John Briggs and Regulus were noshing, imbibing and working the room.
The noshing, by the way, was dandy. The food station featured deviled eggs, hot-chicken sliders with dill pickles, tomato-and-mozzarella skewers, cheesy stuffed potato morsels, pimento cheese toast points with cucumber and tomato slices, roast-beef-and-horseradish sliders and pudding cups.
We were urged to enter War Memorial. Which made this “block party” unusual in that it was staged indoors. The venue’s interior was decorated with large, pale blue, glowing stars as well as multiple strings of golden party lights. There were indirect “up” lights on the classical columns, and the perimeter was bordered with black drapes.
Trisha Yearwood performs. Photo: Courtesy The Recording Academy
Opener DeGraw offered oldies like “Easy” and “Cupid” before favoring the crowd with his tuneful hit “Chariot,” which drew big applause. He performed solo at the piano with just an acoustic guitarist as additional accompaniment.
Yearwood was up next. She was backed by a 10-piece band including strings and horns as she showered us with a swinging set of Sinatra standards. She paused to introduce pianist/bandleader Alan Pasqua. He plays on her Let’s Be Frank collection, which was recorded live in Sinatra’s old stomping grounds at Capitol Records in Hollywood. She sang its love ballad “For the Last Time,” which she co-wrote about and with Garth Brooks, before raising the roof with a breath-taking “Over the Rainbow.” This drew shouts, whistles and cheers.
“I want to say how honored I am to be part of the Grammys,” she said. “So thank you for inviting me tonight.”
DJ Dave Audé entertained the crowd in between the performers by spinning everything from “Old Town Road” to “Islands In the Stream” with club-remix precision.
“My mom named me Major,” said the next act, MAJOR. (Major R. Johnson Finley). “So I made a commitment to honor my name.”
That he did, with a groovy, rhythm-drenched set that showcased his pitch-perfect, mellifluous, octave-leaping voice. His performances included hits “Better With You In It” and “Honest,” plus the soaring, anthemic “Shine Bright” as well as the introduction of his new single titled, I think, “Til the Sun Comes Up.”
“I thank you for this welcome to the Recording Academy,” he said. “I’ve dreamed of moments like this. It’s a dream come true….Nashville, I love you! Together, we can change-over the world.”
Gavin DeGraw performs. Photo: Courtesy The Recording Academy
Allen sang solo with his own guitar accompaniment. Then Battistelli came out rocking. She has seven No. 1 CCM hits and six Dove Awards. Grammy-winning rapper/producer T-Pain (Faheem Rasheed Najm) was the finale. Alas, by the time he performed, the crowd had thinned considerably.
Spotted gabbing and grooving were Frank Liddell, George Flanigen, Chuck Ainlay, Victoria Shaw, Beverly Keel, new Opry hire Audrey McGrady, Pat McMakin, Ben Fowler, Jessica Nicholson, Karen Clark, Mike Wrucke, Martha Moore, Todd Cassetty, Irene Kelley (who has a new bluegrass album), Jenny Tolman (who also has some new country music), Garth Fundis, Terry Hemmings, Clay Myers, Gary Kraen, Steve O’Brien, Earle Simmons, Sherry Bond, Sherod Robertson and Nashville NARAS board prez Trey Fanjoy.
Kudos to the committee who planned this bash, as well as the sponsors who made it possible. Not to mention erstwhile Recording Academy staffers Alicia Warwick, Bri Buchanan, Ashley Ernst, Susan Stewart, Nathan Pyle, Debbie Carroll, Laura Crawford, Courtney White and Lyn Aurelius.
The Grammy Block party has been a mainstay of the Nashville music community’s social calendar since 1999. The event took a year off in 2018. Now it is back, with a merry and melodic vengeance.
Pictured: Chapter ED Alicia Warwick, Gavin DeGraw, Jimmie Allen, Chapter President Trey Fanjoy. Photo: Courtesy The Recording Academy
Trisha Yearwood. Photo Courtesy The Recording Academy
MAJOR. performs. Photo by Frederick Breedon/WireImage; Courtesy The Recording Academy
T-Pain performs at the 2019 Grammy Block Party at War Memorial Auditorium on April 29, 2019 in Nashville, Tennessee. Photo by Frederick Breedon/WireImage/Courtesy of The Recording Academy
Pictured (L-R): Nashville Chapter Board member Phil Thornton, Alicia Warwick, Claude Kelly, host/performer Jimmie Allen, Susan Stewart and Nashville Chapter Board member Chuck Harmony. Photo: Courtesy The Recording Academy
Pictured: T-Pain, Francesca Battistelli, Gavin DeGraw, Jimmie Allen. Photo: Courtesy The Recording Academy
iHeartMedia Completes Restructuring
/by Jessica NicholsoniHeartMedia has completed its restructuring process, and reduced its debt from $16.1 billion to $5.75 billion.
In conjunction with the completion of the restructuring, iHeartMedia and Clear Channel Outdoor Holdings have fully separated, forming two independently-traded companies. Clear Channel Outdoor Holdings shares will continue to be traded on the New York Stock Exchange, under the ticker symbol “CCO.”
“We are pleased that iHeartMedia now has a capital structure that matches our exciting operating business. The focused dedication of our employees and the unwavering support of our new owners and advertising partners enabled iHeartMedia to seamlessly complete the restructuring process and reach this final milestone,” said Bob Pittman, Chairman and Chief Executive Officer of iHeartMedia, Inc. “iHeartMedia enters this next phase of growth as a multi-platform audio company with a vastly improved financial profile. We are well-positioned to continue to innovate and offer cutting-edge technologies, products and services to our audiences and advertisers.”
Pittman continued: “As the only major multi-platform audio company, iHeartMedia’s reach extends across more than 250 platforms and 2,000 different connected devices, from smart speakers to tablets, wearables, gaming consoles and much more. Over the past year, we have further cemented our position as the number one commercial podcaster globally—by a strong margin—through building new capabilities and content, including the Ron Burgundy Podcast, season two of the true crime podcast Atlanta Monster and many more, including Stuff You Should Know, the first podcast ever to surpass one billion downloads. We continued to invest in key areas of the business with the acquisitions of Stuff Media, LLC—which further solidified our leading podcasting position—as well as technology companies like Jelli, Inc., which is the advertising technology platform that brings to life our SmartAudio data and analytics offerings. We continue to technologically transform our offerings for both consumers, with whom we are interacting more broadly across platforms, and advertisers, to whom we are offering data and analytics solutions previously available only from key digital players. In addition, we have continued to host our renowned and highly-anticipated live events, from the iHeartRadio Music Awards to iHeartRadio ALTer Ego. This is a very exciting time for audio, and iHeartMedia will continue to break new ground and unlock new opportunities across all platforms to reach audiences everywhere.”
As previously announced, pursuant to the Plan, Pittman continues to serve as Chairman and Chief Executive Officer of iHeartMedia, Inc., and Rich Bressler continues to serve as President, Chief Operating Officer and Chief Financial Officer of iHeartMedia, Inc. In addition, a new Board of Directors has been appointed, including Pittman, Bressler, and the following members: Jay Rasulo, Gary Barber, Brad Gerstner, Sean Mahoney and Kamakshi Sivaramakrishnan. Upon iHeartMedia’s emergence, the new Board of Directors has assumed its responsibilities.
Kirkland & Ellis LLP served as legal counsel to iHeartMedia, Moelis & Company served as the Company’s investment banker, and Alvarez & Marsal served as the company’s financial advisor.
Sandbox Entertainment Promotes Leslie Cohea To General Manager
/by Jessica NicholsonLeslie Cohea
Sandbox Entertainment has promoted Leslie Cohea to the role of General Manager. In this new position, Cohea will oversee strategy, touring, finance, and operations for all Sandbox clients, including Faith Hill, Little Big Town, Kacey Musgraves, Dan+Shay, Kelsea Ballerini, Midland, and more.
Cohea joined Sandbox in 2015 as the Head of Touring, where she managed all aspects of touring for the company, including ticketing, routing and budgeting. In her time at Sandbox, Cohea has been at helm of launching Tim McGraw and Faith Hill’s Soul2Soul World Tour and a driving force in developing Little Big Town’s sold-out, year-long Ryman Auditorium Residency. She has overseen multiple headlining tours, including Kacey Musgraves’ international, sold-out Oh What A World Tour, Dan+Shay’s sold-out DAN+SHAY THE TOUR, and Kelsea Ballerini’s first ever headlining arena tour.
Prior to Sandbox, Cohea spent nearly a decade at AEG Live/The Messina Group working in touring and concert promotion, as well as producing tours and shows nationally for artists ranging from Ed Sheeran, to Dave Matthews, to The Eagles.
“Having Leslie’s expertise over the last four years has been vital to the growth of Sandbox and our clients. She’s the salt to my pepper, the bread to my butter, and the Tom to my Ford.” says Sandbox President and CEO Jason Owen.
Cohea adds, “I feel incredibly grateful to get to work with such an amazing group of people at Sandbox. Jason is a genius and continues to inspire each of us daily. It’s a dream come true to work at this company, and with this roster of such talented artists. I am very excited and honored to continue to support the operations here in bigger ways.”
Sandbox Entertainment Promotes Leslie Cohea To General Manager
/by Jessica NicholsonLeslie Cohea
Sandbox Entertainment has promoted Leslie Cohea to the role of General Manager. In this new position, Cohea will oversee strategy, touring, finance, and operations for all Sandbox clients, including Faith Hill, Little Big Town, Kacey Musgraves, Dan+Shay, Kelsea Ballerini, Midland, and more.
Cohea joined Sandbox in 2015 as the Head of Touring, where she managed all aspects of touring for the company, including ticketing, routing and budgeting. In her time at Sandbox, Cohea has been at helm of launching Tim McGraw and Faith Hill’s Soul2Soul World Tour and a driving force in developing Little Big Town’s sold-out, year-long Ryman Auditorium Residency. She has overseen multiple headlining tours, including Kacey Musgraves’ international, sold-out Oh What A World Tour, Dan+Shay’s sold-out DAN+SHAY THE TOUR, and Kelsea Ballerini’s first ever headlining arena tour.
Prior to Sandbox, Cohea spent nearly a decade at AEG Live/The Messina Group working in touring and concert promotion, as well as producing tours and shows nationally for artists ranging from Ed Sheeran, to Dave Matthews, to The Eagles.
“Having Leslie’s expertise over the last four years has been vital to the growth of Sandbox and our clients. She’s the salt to my pepper, the bread to my butter, and the Tom to my Ford.” says Sandbox President and CEO Jason Owen.
Cohea adds, “I feel incredibly grateful to get to work with such an amazing group of people at Sandbox. Jason is a genius and continues to inspire each of us daily. It’s a dream come true to work at this company, and with this roster of such talented artists. I am very excited and honored to continue to support the operations here in bigger ways.”
Bobby Karl Works The Room: Nashville’s Musical Diversity Shines For Grammy Block Party
/by Bobby KarlPictured (L-R): Nashville Chapter President Trey Fanjoy, Jimmie Allen, Trisha Yearwood, Nashville Chapter Executive Director Alicia Warwick. Photo: Courtesy The Recording Academy
BOBBY KARL WORKS THE ROOM
Chapter 619
What a lovely way to start the week.
Monday’s revival of the Grammy Block Party (April 29) notched up another victory for Nashville music diversity. Apart from host Jimmie Allen’s acoustic performance of “Best Shot,” the event was notable for its near-absence of country music, Nashville’s most famous genre.
Trisha Yearwood sang the classics of Frank Sinatra. T-Pain offered hip-hop. Gavin DeGraw performed modern pop. Francesca Battistelli did Christian rock. And MAJOR. just about stole the show with his brand of contemporary r&b.
The evening was balmy and mellow as we arrived at the courtyard plaza of War Memorial Auditorium. New Nashville DJ/remix artist Dave Aude was spinning sizzling sounds. And the fabulons were schmoozing mightily.
Jed Hilly, Benita Hill, Dan Hill, Dan Rogers, LB Rogers, Dave Pacula, David Malloy, Dave Brainard, Bil VornDick, Billy Burnette, Eddie Perez, Edie Emery, Chris Farren, Chris Keaton, Jon Loba, John Briggs and Regulus were noshing, imbibing and working the room.
The noshing, by the way, was dandy. The food station featured deviled eggs, hot-chicken sliders with dill pickles, tomato-and-mozzarella skewers, cheesy stuffed potato morsels, pimento cheese toast points with cucumber and tomato slices, roast-beef-and-horseradish sliders and pudding cups.
We were urged to enter War Memorial. Which made this “block party” unusual in that it was staged indoors. The venue’s interior was decorated with large, pale blue, glowing stars as well as multiple strings of golden party lights. There were indirect “up” lights on the classical columns, and the perimeter was bordered with black drapes.
Trisha Yearwood performs. Photo: Courtesy The Recording Academy
Opener DeGraw offered oldies like “Easy” and “Cupid” before favoring the crowd with his tuneful hit “Chariot,” which drew big applause. He performed solo at the piano with just an acoustic guitarist as additional accompaniment.
Yearwood was up next. She was backed by a 10-piece band including strings and horns as she showered us with a swinging set of Sinatra standards. She paused to introduce pianist/bandleader Alan Pasqua. He plays on her Let’s Be Frank collection, which was recorded live in Sinatra’s old stomping grounds at Capitol Records in Hollywood. She sang its love ballad “For the Last Time,” which she co-wrote about and with Garth Brooks, before raising the roof with a breath-taking “Over the Rainbow.” This drew shouts, whistles and cheers.
“I want to say how honored I am to be part of the Grammys,” she said. “So thank you for inviting me tonight.”
DJ Dave Audé entertained the crowd in between the performers by spinning everything from “Old Town Road” to “Islands In the Stream” with club-remix precision.
“My mom named me Major,” said the next act, MAJOR. (Major R. Johnson Finley). “So I made a commitment to honor my name.”
That he did, with a groovy, rhythm-drenched set that showcased his pitch-perfect, mellifluous, octave-leaping voice. His performances included hits “Better With You In It” and “Honest,” plus the soaring, anthemic “Shine Bright” as well as the introduction of his new single titled, I think, “Til the Sun Comes Up.”
“I thank you for this welcome to the Recording Academy,” he said. “I’ve dreamed of moments like this. It’s a dream come true….Nashville, I love you! Together, we can change-over the world.”
Gavin DeGraw performs. Photo: Courtesy The Recording Academy
Allen sang solo with his own guitar accompaniment. Then Battistelli came out rocking. She has seven No. 1 CCM hits and six Dove Awards. Grammy-winning rapper/producer T-Pain (Faheem Rasheed Najm) was the finale. Alas, by the time he performed, the crowd had thinned considerably.
Spotted gabbing and grooving were Frank Liddell, George Flanigen, Chuck Ainlay, Victoria Shaw, Beverly Keel, new Opry hire Audrey McGrady, Pat McMakin, Ben Fowler, Jessica Nicholson, Karen Clark, Mike Wrucke, Martha Moore, Todd Cassetty, Irene Kelley (who has a new bluegrass album), Jenny Tolman (who also has some new country music), Garth Fundis, Terry Hemmings, Clay Myers, Gary Kraen, Steve O’Brien, Earle Simmons, Sherry Bond, Sherod Robertson and Nashville NARAS board prez Trey Fanjoy.
Kudos to the committee who planned this bash, as well as the sponsors who made it possible. Not to mention erstwhile Recording Academy staffers Alicia Warwick, Bri Buchanan, Ashley Ernst, Susan Stewart, Nathan Pyle, Debbie Carroll, Laura Crawford, Courtney White and Lyn Aurelius.
The Grammy Block party has been a mainstay of the Nashville music community’s social calendar since 1999. The event took a year off in 2018. Now it is back, with a merry and melodic vengeance.
Pictured: Chapter ED Alicia Warwick, Gavin DeGraw, Jimmie Allen, Chapter President Trey Fanjoy. Photo: Courtesy The Recording Academy
Trisha Yearwood. Photo Courtesy The Recording Academy
MAJOR. performs. Photo by Frederick Breedon/WireImage; Courtesy The Recording Academy
T-Pain performs at the 2019 Grammy Block Party at War Memorial Auditorium on April 29, 2019 in Nashville, Tennessee. Photo by Frederick Breedon/WireImage/Courtesy of The Recording Academy
Pictured (L-R): Nashville Chapter Board member Phil Thornton, Alicia Warwick, Claude Kelly, host/performer Jimmie Allen, Susan Stewart and Nashville Chapter Board member Chuck Harmony. Photo: Courtesy The Recording Academy
Pictured: T-Pain, Francesca Battistelli, Gavin DeGraw, Jimmie Allen. Photo: Courtesy The Recording Academy
Twitter Debuts New Slate Of Premium Content
/by Lorie HollabaughTwitter debuted an expanded lineup of new live and on-demand premium video programming at the Digital Content NewFronts, offering advertisers new opportunities to connect with audiences throughout the world’s most influential cultural moments. Among the new offerings are a concert and festival series from Live Nation which will feature 10 concerts in 10 weeks. Live Nation will also capture moments from festivals like Lollapalooza, Bonnaroo, and more to share with fans. New collaborations and renewals were announced across news, sports, gaming and entertainment, reflecting the conversations and interests people are passionate about on Twitter.
“When you collaborate with the top publishers in the world, you can develop incredibly innovative ways to elevate premium content and bring new dimensions to the conversations that are already happening on Twitter,” said Twitter Global VP and Head of Content Partnerships Kay Madati. “Together with our partners, we developed this new slate of programming specifically for our audiences, and designed the content to fuel even more robust conversation on Twitter.”
Among the new premium content:
Kacey Musgraves, The Raconteurs, Lauren Daigle To Play Austin City Limits Music Festival
/by Lorie HollabaughThe 2019 Austin City Limits Music Festival features a powerhouse lineup this year that includes Guns N’ Roses, Mumford & Sons, Childish Gambino, The Cure, Cardi B (Weekend One), Billie Eilish, Tame Impala, and Robyn (Weekend Two), Kacey Musgraves, The Raconteurs, Gary Clark Jr., Lizzo, Thom Yorke, Tomorrow’s Modern Boxes, James Blake, Lil Uzi Vert, 21 Savage, Tyler Childers, Third Eye Blind (Weekend Two), Rebelution, GRiZ, RL Grime, Jenny Lewis, BANKS, The Kooks (Weekend One), Bruce Hornsby & The Noisemakers, Chris Shiflett and many more. The 18th annual festival takes place Oct. 4-6 and Oct. 11-13 at Zilker Park in Austin, Texas.
The diverse bill will also include a wide range of new and established female artists from around the world, including Lizzo, King Princess, Kali Uchis, Rosalía (Spain), Lauren Daigle, Jenny Lewis, BANKS, Sigrid (Norway), Natalia Lafourcade (Mexico), K.Flay, Bea Miller, Joseph, Koffee (Jamaica), The Aces, Cherry Glazerr, Men I Trust (Canada), Monsieur Periné (Colombia), Weyes Blood (Weekend One), Yola (England – Weekend Two), Karol Conka (Brazil – Weekend Two), Delacey (England – Weekend One), and many more.
Austin City Limits Music Festival has a proud tradition of celebrating Texan artists as well. This year’s crop of homegrown talent includes Kacey Musgraves, Gary Clark Jr., Asleep at the Wheel (Weekend One), Black Pistol Fire, Megan Thee Stallion (Weekend Two), Pike and Sutton (Weekend Two), Blackillac (Weekend Two), Night Cap (Weekend One), Otis the Destroyer (Weekend One), Abhi The Nomad (Weekend Two), Jane Ellen Bryant (Weekend Two), Alesia Lani (Weekend One), Kady Rain (Weekend Two), Stone Wheels (Weekend One) and more.
Tickets are available at aclfestival.com.
For KING & COUNTRY Reveal North American Tour Dates For 2019
/by Jessica Nicholsonfor KING & COUNTRY has announced their burn the ships | world tour: North America. The run will feature a new stage and lighting setup, and will hit major markets including Nashville (Ascend Amphitheater), Chicago (Sears Centre Arena), Atlanta (Fox Theatre), San Diego (Viejas Arena), and Houston (Berry Center) with more to follow.
Joel and Luke Smallbone stated, “For the first time since we started the band, we’re going to be able to share the music and the heart behind it in the most inspirational and theatrical way we’ve been able to date. We cannot wait to embark on this voyage with you!”
for KING & COUNTRY released their third studio album, burn the ships, in 2018 and earned their fourth and fifth No. 1 hits with “joy.” and “God Only Knows.” They have sold out 22 shows on their burn the ships | world tour thus far, including the Sydney Opera House in their homeland of Australia, and are currently nominated for three 2019 Billboard Music Awards.
9.26 CURE Insurance Arena Trenton, NJ
9.27 EMU Convocation Center Ypsilanti, MI
9.28 Sears Centre Arena Chicago, IL
9.29 Ascend Amphitheater Nashville, TN
10.03 L.C. Walker Arena Muskegon, MI
10.04 Bankers Life Fieldhouse Indianapolis, IN
10.05 The Family Arena St. Louis, MO
10.06 Verizon Arena Little Rock, AR
10.10 Fox Theatre Atlanta, GA
10.11 Bay Center Pensacola, FL
10.12 Addition Financial Arena Orlando, FL
10.13 Amalie Arena Tampa, FL
10.18 Maverik Center Salt Lake City, UT
10.19 Tingley Coliseum Albuquerque, NM
10.20 Tucson Arena Tucson, AZ
10.22 Reno Events Center Reno, NV
10.24 Viejas Arena San Diego, CA
10.25 Bren Events Center Irvine, CA
10.26 Memorial Auditorium Sacramento, CA
10.27 The Pavilion at Oregon State Fair Salem, OR
11.01 Taco Bell Arena Boise, ID
11.02 Abbotsford Centre Abbotsford, B.C.
11.03 Angel of the Winds Arena Seattle, WA
11.05 Casper Events Center Casper, WY
11.09 Target Center Minneapolis, MN
11.14 State Farm Hidalgo Arena Hidalgo, TX
11.16 Berry Center Houston, TX
11.17 UNO Lakefront Arena New Orleans, LA
11.22 UMBC Event Center Baltimore, MD
11.24 Bon Secours Wellness Arena Greenville, SC
U.S. Music Groups Demonstrate Impact Of Recording Industry In Each State With “50 States Of Music” Project
/by Jessica NicholsonIn Tennessee, the music industry contributes $4.92 billion to the state GDP, supporting 61,769 music-related jobs, 5,846 music businesses, and 55,066 songwriters. Meanwhile, Illinois supports 57,523 music-related jobs, along with 4,553 music businesses and 43,285 songwriters.
A new interactive website, titled 50 States Of Music, aggregates datapoints to display each state’s music industry contribution to the U.S. GDP, as well as the number of jobs, music businesses, royalty recipients, and songwriters (ASCAP/BMI) supported in each state. The site also lists music festivals and conferences, as well as schools that offer music instruction.
The project is the brainchild of the American Association of Independent Music (A2IM), ASCAP, BMI, the Recording Industry Association of America, and SoundExchange.
“Music is a uniting force—a beloved cultural asset that speaks to each and every one of us in our lives,” said Mitch Glazier, Chairman and CEO, RIAA. “We know this, but what is less known is the enormous economic value music provides in hometowns throughout the USA—from the local music store and concert venue to the music festival and hard-working songwriters and musicians in each and every state. Music is America, and America is music. This new site finally paints a proper picture of the U.S. music industry as one that is truly local, growing, and more important than ever. We hope that the entire music business, fans, and policymakers find this a useful resource as we continue our work toward a bright future for U.S. music.”
“Everybody loves music and the influence of American music is in evidence almost anywhere we go in the world,” said Richard Burgess, President and CEO, A2IM. “So much so that it has been an unofficial cultural ambassador for this country since the invention of the phonograph. Despite the ubiquitous of our music, it is not common knowledge how much creators, labels, and other music industry players contribute to the U.S. and our individual State economies. Finally, we have a site that gathers this information together in a fun and easily digestible way.”
“Songwriters are the lifeblood of the music industry; small businesses who operate in every state across the country making great music and driving American culture,” said Elizabeth Matthews, CEO, ASCAP. “ASCAP is happy to be a part of this new site that shines a light on the importance of music throughout the USA—from the smallest town to the biggest city—and notes the iconic contributions of songwriters.”
“The power of music is undeniable, both from a cultural and economic standpoint,” said Mike O’Neill, President & CEO, BMI. “Many talented people across the nation are essential to the American music industry, and of course, it all starts with the songwriters and composers who provide the foundation for our business. Bringing this picture to life is the 50 States of Music site, an incredible new resource that highlights music’s cultural and economic impact across the U.S., state by state. BMI is proud to partner with the RIAA and other music organizations on this important project that showcases all that goes into the success of the American music industry.”
“50 States of Music captures the tremendous positive economic impact of our industry—one that extends far beyond music’s creators and is enjoyed by hundreds of thousands of professionals in communities across the country,” said Michael Huppe, President and CEO, SoundExchange. “We are proud to support these creators by providing them with the accurate and timely revenue needed to advance their work.”
Chris Young Celebrates 11th No. 1 Single With “Hangin’ On”
/by Jessica NicholsonPictured (L-R): ASCAP songwriter Corey Crowder, BMI songwriter Chris Young and SESAC songwriter Josh Hoge celebrate their No. 1 song, “Hangin’ On.” (Photo: Steve Lowry)
When Chris Young and a throng of industry well-wishers gathered to celebrate his 11th No. 1 single, “Hangin’ On,” in the lobby of BMI’s Nashville office on April 29, the location was especially meaningful for the two-time Grammy-nominated singer.
“I don’t think you guys realize this is the first building I wrote a song in,” Young told the crowd, pointing to a hallway just off the building’s main foyer. “Right down that hallway, I came up with something that might have been pretty terrible at the time but it was my first one.”
Young, a BMI writer, co-wrote “Hangin’ On” with Corey Crowder (ASCAP) and Josh Hoge (SESAC); the trio has proved a winning combination, have co-written some of Young’s most memorable hits including “I’m Coming Over” and “Think Of You.”
“Standing on this stage with both of these guys, Corey Crowder and Josh Hoge, until the day we die, I’ll love y’all,” Young said. “You are my brothers as well as my writing partners. Ups, downs, whatever. If you need me, you call me. I’m so honored to have a song with two guys who are as talented as the both of you.”
ASCAP’s Mike Sistad feted Crowder, while BMI’s MaryAnn Keen celebrated Young and SESAC’s Shannan Hatch honored Hoge.
Publishers celebrating the chart-topper included Liz Rose (Liz Rose Music), Josh Van Valkenburg (Sony/ATV Music Publishing) and Kent Earls (Universal Music Publishing Group). Pinnacle Bank’s David Smith stated the company would be making a donation to St. Jude Children’s Research Hospital on behalf of the songwriters.
Young also thanked Sony Music and RCA Nashville for their support.
“Thank you so very much for believing in this song and getting it out there. People don’t realize how many hours you spend, with me texting you at 8 p.m. going ‘Hey Dennis [Reese], are we down a spin at After Midnite?’ which I probably shouldn’t be texting you about but I do. I’ve been told, ‘It’s really cool that you understand that and it really sucks that you understand that.’ Thank you for fighting for this song and making it a No. 1.”
“Hangin’ On” marks the second single from Young’s 2017 album Losing Sleep and Young’s fifth consecutive chart-topping song.
“I don’t always bring this up a whole lot, but there have been multiple times in my life where I’ve almost died, and you really have to understand that these moments are special. We do this a lot on Music Row, we come and stand in a room, and talk about a song being No. 1,” he said, growing emotional and pausing to compose himself as the crowd clapped.
“You don’t know how many of those moments you’re going to get. There’s no guarantees. This one took a long time to get to, to celebrate this…and there’s probably someone out there right now who’s like, ‘I wish I could step into this building and write a song with somebody and have a song go No. 1 on the charts.’ It’s thanks to you guys that the three of us got the chance to do that.”
(Top Row L-R): RCA Nashville’s Dennis Reese, Sony Music Nashville’s Steve Hodges, ASCAP’s Mike Sistad, Sony ATV’s Josh Van Valkenburg, BMI’s MaryAnn Keen, SESAC’s Shannan Hatch, Universal Music Publishing Group’s Kent Earls and Fitzgerald Hartley’s Larry Fitzgerald. (Bottom Row L-R): Fitzgerald Hartley’s Bill Simmons, Liz Rose Music’s Liz Rose, ASCAP songwriter Corey Crowder, BMI songwriter and RCA Nashville recording artist Chris Young and SESAC songwriter Josh Hoge. (Photo: Steve Lowry)
Eric Paslay Joins Big Machine Music
/by Jessica NicholsonPictured (L-R, back row): Big Machine Music’s Michelle Attardi, Flood, Bumstead, McCready & McCarthy’s David Boyer, Milom Horsnell’s Mike Milom, Big Machine Music’s Alex Heddle, WME’s Lane Wilson, Big Machine Music’s Lizzy Gallatin; (L-R, front row): Paslay’s Manager Steve Emley, Eric Paslay, Big Machine Music’s Mike Molinar
Big Machine Music has signed singer-songwriter Eric Paslay to an exclusive songwriting agreement. Paslay has penned five No. 1 songs to date, including “Even If It Breaks Your Heart” (Eli Young Band), “Barefoot Blue Jean Night” (Jake Owen), and “Angel Eyes” (Love & Theft), as well as “Rewind” (Rascal Flatts) and “Friday Night,” the hit lead single from his debut album. The two-time Grammy nominee officially joins BMM’s roster, which includes Brett Young, Luke Combs, Brandy Clark, Jonathan Singleton, Laura Veltz, Josh Thompson, Jessie Jo Dillon, and more.
“I first met Eric more than a dozen years ago and even back then, the depth, warmth and commerciality of his songs made him special,” commented BMM General Manager Mike Molinar. “Now, with five No.1’s and Grammy nominations under his belt, Eric’s hit sense and ability to move people with his music has only grown. We are excited and honored that he has chosen Big Machine Music as his partner for this next chapter of his career.”
“The Big Machine Music team is tireless, hard-working and fierce when it comes to the songs they love,” shared Paslay. “Mike, Alex, Michelle, Lizzy and their whole roster of writers are badasses. I’m excited to be joining them.”
Paslay is currently working on new music and is making plans to tour Europe this year.