Downtown Music Publishing’s Nashville office recently held a week-long songwriters’ retreat at Camp Wayfarer, near Asheville, North Carolina.  The retreat focused specifically on songwriting for synchronizations and the goal for the week was to create at least eight 100 percent Downtown-controlled compositions, specific to current themes for the creative team to actively pitch.

Each day the global sync team supplied the group with specific briefs from their advertising clients from various markets including New York, London, Los Angeles, and Sydney, to tackle the needs of various brands and trends from around the globe. At the end of the week, Downtown earned ten 100 percent controlled songs for the global sync team to pitch and work with.

The songwriters that took place in the Downtown retreat were Tony Esterly, Paige Blue, Luke Arens, Fancy Hagood, Justin Donahue (Jung Youth), and The Brummies’ John Davidson and Jacob Bryant. They were guided by Downtown staff members, Steve Markland, Natalie Osborne, Katie Roth and Cabrea Casey, as well as Dave Hopper, Esterly’s manager at Hard 8 Working Group.

“It was amazing joining our writers and worldwide sync team for a very intimate, hands on experience,” said Steve Markland, Senior Vice President, A&R. “Each day we sent newly written songs to our worldwide sync team and later connected via video conference for direct critiques with the writers. We also gathered immediate feedback from advertising clients and music supervisors to directly meet their needs for specific briefs. So proud that Downtown could provide impactful opportunities as well as a fun bonding experience between writers and staff.

“I enjoy getting into a different space that forces you to create differently,” said Tony Esterly. “The limitations of a mobile studio help bring out new aspects of songs and recordings that you normally wouldn’t find in an everyday workspace. The camp atmosphere and feedback from the sync team helped everyone get some great songs.”

“Beyond the fun that was had, what I loved about the camp was the chance to witness daily purpose-driven collaboration between the global sync team and our writers, all working together to create music that we know will be used for future syncs,” said Jedd Katrancha, Executive Vice President. “The writers are as earnest as they are talented, and they approached each assignment with the goal to simply write something great, and the sync team worked to offer feedback without distilling the creative process in any way. What we ended up with were great songs that served as the backdrop for nightly dance parties, and are still on rotation now that the smoke has cleared and we’re back at our desks and studios.”

Ashley Gorley is at No. 1 again this week on the MusicRow Top Songwriter Chart, with Kevin Welch following him at No. 2. Shane McAnally comes in at No. 3 this week, Brett James at No. 4, and the chart-champion of the week, Luke Combs at No. 5.

David Garcia moves into the top 10 at No. 8 with songs including Florida Georgia Line’s “Meant To Be” and “Women,” as well as Carrie Underwood’s “Love Wins.” Josh Osborne is at No. 9 with “Burn Out” (Midland) and “One That Got Away” (Michael Ray) propelling him.

Jordan Davis (No. 16), Jacob Davis (No. 15) and Jason Gantt (No. 14) all leap more than ten spots up on the MusicRow Songwriter Chart with the rise of Jordan’s “Take It From Me.”

The first female to appear on the Chart is Kelsea Ballerini at No. 40. Ballerini is one of six female songwriters on the chart, along with Carrie Underwood (No. 42), Maren Morris (No. 47), Laura Veltz (No. 53), Nicolle Galyon (No. 55) and Heather Morgan (No. 60).

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.

It was reported last week that Spotify, along with Google, Amazon and Pandora, had filed a notice of appeal for the ruling that formally issued the final rates and terms for songwriter mechanical royalties, determining the amount labels and digital services are to pay music publishers.

Since this announcement, the streaming service has faced backlash from the songwriting community. Well-known songwriters like Natalie Hemby, Lee Thomas Miller and Luke Laird have since shared their feelings about the appeal on social media.

Spotify responded to the backlash today in a blog post titled: You Might Have Heard about the Streaming Industry’s CRB Appeal—Here’s What You Need to Know. The blog post opens with:

“In the U.S., the royalty rates for publishing rights for digital music services are determined by a panel of judges, the Copyright Royalty Board (CRB). The rates also create a reference point for services that don’t rely on these government-set rates, and they indirectly influence the ways that publishing license rates work around the world. The CRB recently came to a conclusion about how these rights and rates would work for the next few years. And we appealed the outcome.”

Further, the post rejects that Spotify is ‘suing’ songwriters, and that songwriters do deserve to be paid more, but that the industry needs to “to continue evolving to ensure that the people who create the music we all love…can earn a living.” While Spotify does claim to support the U.S. effective rates rising to 15 percent between now and 2022,  they write that “the CRB’s 15% rate doesn’t account for all these rights,” like for music videos and lyrics. To address the streaming service’s reasoning behind their appeal, they write:

“The CRB rate structure is complex and there were significant flaws in how it was set. A key area of focus in our appeal will be the fact that the CRB’s decision makes it very difficult for music services to offer “bundles” of music and non-music offerings. This will hurt consumers who will lose access to them. These bundles are key to attracting first-time music subscribers so we can keep growing the revenue pie for everyone.

Music services, artists, songwriters and all other rightsholders share the same revenue stream, and it’s natural for everyone to want a bigger piece of that pie. But that cannot come at the expense of continuing to grow the industry via streaming. The CRB judges set the new publishing rates by assuming that record labels would react by reducing their licensing rates, but their assumption is incorrect. However, we are willing to support an increase in songwriter royalties provided the license encompasses the right scope of publishing rights.”

Read the blog post in its entity here.

 

Conner Sweet Signs With Given Music Publishing

Conner Sweet has signed a publishing deal with Given Music.

Sweet was raised in Hendersonville, TN and by age 16 began playing regular gigs in Nashville, splitting his high school years between Goodpasture Christian School and clubs on Nashville’s Lower Broadway. At the same time, he also began honing his songwriting skills, working closely with veteran songwriter/mentor Marty Dodson.

“I knew when I first heard Conner’s voice on a demo that he was someone we wanted to join the Given team,” said Michael Hollandsworth, Given VP/GM. “From his years performing on lower Broad, he knows exactly who he is and the type of music he wants to make. Although he’s only 21 years old, he has a love and respect for the music that brought the country market to where it is today. We are all excited that Conner has chosen Given to be the jumping off point to what promises to be a long and illustrious career.”

“I am so excited to join the Given team,” Sweet said. “I’ve grown up in Nashville and since I was a kid, all I’ve wanted to do is make country music. God has blessed me with this opportunity to do just that.”

 

Green Hills Music Group Signs Emily Minor

Singer-songwriter Emily Minor has signed a publishing deal with Green Hills Music Group, as she focuses on writing for her upcoming project. Minor has performed at CMA Fest, The Opry City Stage in New York City, WSM Radio and has shared the stage with Maddie & Tae, Scotty McCreery, Dustin Lynch, Parmalee, Lee Brice and many others. Following her American Idol experience, the Wilmington, NC native headed to Nashville to pursue music.

“Emily is extremely talented, laser-focused on her style and has the energy of a SpaceX rocket,” said Woody Bomar, President/Owner, Green Hills Music Group. “This is going to be a fun journey. We are thankful to become part of her amazing team”

“I’m so happy to be on board with Woody Bomar and Green Hills Music Group,” said Minor. “I was thrilled when they said ‘yes’ to me, and that means more than I can say.”

Green Hills Music Group was founded in 2007 and is home to songs recorded by such artists as Luke Bryan, George Strait, Rascal Flatts, Jake Owen, Hunter Hayes and Hillary Scott and The Scott Family. Minor’s career is managed by Leslie Mitchell of Grin Like A Dog Management.

For more information visit www.EmilyMinor.net.

Collective Artist Management (CAM) has elevated industry professional Craig Dunn to Vice President of the company effective immediately. While continuing management duties for clients Sara Evans, Born To Fly Records and Grant Landis, his new position gives him an expanded role in the ongoing efforts of the company’s entire roster—adding Clint Black, Corey Smith, Edwin McCain and Steve Wariner to the list—and a key strategic voice in identifying opportunities for the growth and trajectory of Collective Artist Management.

“Craig’s expertise, creativity and experience have proven invaluable to our client roster and to Collective Artist Management,” says Brinson Strickland, President, Collective Artist Management. “Since joining our company, he has further grown Sara’s brand, including overseeing Born To Fly Records operations and adding co-A&R responsibilities for her acclaimed album Words, and signed and launched the first single from pop R&B artist Grant Landis (Timbaland). By expanding his role, I am confident that Craig will continue to be instrumental in CAM’s new business development and strategic growth.”

“I’m incredibly grateful to work alongside such an amazing, passionate, and focused team. Our artists truly are world class and I am committed to finding innovative ways for them to share their talent and music with their fans. I’m also so excited to help grow and expand both our roster and comprehensive management offerings,” says Dunn.

Dunn joined Collective Artist Management in 2012. Prior to joining the tenured firm, he was partnered with digital marketing & merchandise company Music City Networks (MCN) as Senior Vice President. In addition to his entertainment industry expertise, Dunn’s experience expands to politics, having worked with Larry Craig campaign for U.S. Senate as Deputy Assistant Campaign Manager in 2002. He also spent three years at PinnPointe Consulting Group as Director of IT and Marketing. He attended both the University of Portland and Boise State University majoring in Business Management and Marketing.

Dunn can be reached at cdunn@collectiveartistmgmt.com.