MusicRow welcomed several of Nashville’s top A&R executives to discuss the intense competition to sign new artists, the role of artist development, signing female talent, and more.
BBR Music Group’s Sara Knabe, Big Machine Label Group’s Allison Jones, Warner Music Nashville’s Cris Lacy, and UMG Nashville’s Stephanie Wright visited the MusicRow office for a discussion on the biggest opportunities and challenges labels face in the A&R arena.
For more from this A&R Roundtable, pick up a print copy of MusicRow’s Artist Roster issue, or subscribe here.
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MusicRow: Nashville has such a tight-knit A&R community, and yet there is so much competition to sign new artists. If an artist doesn’t fit with your label for some reason, do you make a call to other potential labels?
Cris Lacy: The way it’s done now, if a manager calls one of us, they call all of us. An email introduction turns into, “This artist has heat.” All of a sudden we are all jumping around to try to sign them. It’s so rapid now.
Stephanie Wright: Early on Brett [Eldredge] came in and played for us and I was so in love with him and I couldn’t get everybody else as fired up…
Lacy: We were at a show, and Stephanie had been about Sam Hunt for forever, before anyone and that was one of those emails that came through. I remember being at a show and saying to Stephanie, ‘I don’t know why he doesn’t just sign with you guys. You offered him a great deal, but we have to get in this because it is awesome. And obviously he did sign with UMG and rightfully so. She put in the time and effort and was there from the beginning.
Allison Jones: We look at these artists and we always want to sign them, but our worlds are always going to intersect. With Cole [Swindell], he’s been a co-writer for some of our artists and he’s been on tour with our artists. I believe in music karma.
Sara Knabe: [Recent Warner Music Nashville signee] Cody Johnson is another one, and ultimately we both have the same passion level for it, but she’s [motions to Lacy] known him longer.
Lacy: I had been after Cody Johnson for eight years…
Knabe: I had been after him for about nine months. They had this relationship and even when Cody would talk with us about it, I would be like, “Cris is amazing and would be amazing for you.” That’s the part where you are competitive. I wanted that deal. I wanted it bad. But, I am really excited for him. You guys have that relationship and I understood it. But was I bummed? Absolutely.
MR: It is well known that female country artists have trouble getting radio airplay. Does that make you hesitant to sign female talent?
[All]: No. Not at all.
Wright: Being the hopeful A&R people that we are, we want to sign that girl who will break through. There’s a plethora of talent in the female space, too.
Jones: When I look back in my elementary school days, I literally wanted to be Crystal Gayle, and then one of the Mandrell Sisters, and then of course, Dolly and Reba and Trisha and Lee Ann Womack. Some of my favorites of any genre have been our iconic country women. Good Lord, I hope Carly Pearce joins those ranks, and everyone in our [BMLG] building feels the same way. It’s just about great music. I hope everyone at this table can find the next Reba or Trisha, because music needs it.
Wright: These new artists coming in are all supporting one another, too. They show up at one another’s shows when they have a day off. They are not afraid to talk about how great another artist is. I think there was a time period when females felt there was a scarcity—“If I’ve got this attention, it don’t want to share it.” But now, I feel they all support one another.
MR: Females make up the majority of top A&R executives at the main country labels. Does being a female executive affect how you approach A&R?
Jones: I have nothing but respect for my male counterparts, but I feel that women as a whole do well at this job because we’ve allowed ourselves to become immersed in their personal lives. We all live and breathe these artists. Tali [Canterbury] and Laurel [Kittleson] talk to their artists every day. I feel like not only do we do A&R, we live the lives of our artists, whether it’s getting married or having children or breaking up with a boyfriend or girlfriend. I’m best at my job when I know what is going on in their lives and their families, to know what they want to say and what they don’t want to say with their music. I think women have an innate ability to be more perceptive.
Lacy: Women are nurturing and that’s a natural fit for A&R.
Knabe: All three of these women have been mentors and friends even when I was a publisher. I have a huge list of women in the industry that had my back and taught me how to handle career issues. At Broken Bow, the majority of the staff are women. Looking at my career, I’ve been surrounded by people who support me, including Jon Loba and Kos Weaver.
Jones: Scott [Borchetta] always wants the most qualified person for the job, and we have quite a few female executives at Big Machine.
MR: Talk about the development work that labels do versus what publishers do.
Lacy: I think there is commentary out there that “Labels don’t do development.” The problem is when we do development, publishers are like, “Well, that’s been over here for a few years and nothing has happened with it,” and they move on instead of saying, “The label is doing development and this could be a two-, three-, or four-year process.”
The hard part is all the new artists are watching all the other artists on social media. So whether or not they are making smart decisions, and whether or not all this music is ready—and that only plays out in the years to come—they are watching all this and it makes them anxious because every artist wants to come out [with music] the moment they are signed.
MR: With such intense competition to sign one artist, does that hasten or delay the overall signing process?
Lacy: My joke on Cody [Johnson], and I said this to Cody and [his manager Howie Edelman] was, “Just get married.” I don’t care who you marry at this point but please get married because at this point I’m chasing you so hard I feel like…
Knabe: It’s almost like a relationship or going to prom, where you are like, “Please love me. I know there is another really good looking girl over there, but please pick me.”
Lacy: At some point, prom just needs to happen so everyone can move on.
MR: Any final thoughts?
Jones: I am really excited and positive abut this crop of new artists—and we’ve all worked together on them in some capacity. You guys [motions to Knabe and Lacy] pitched me great songs when you worked in publishing and we couldn’t do what we do without great publishers, so the two of you helped my career.
Knabe: And every time I got a cut, that helped my career…
Lacy: It’s all symbiotic.
Jones: We are competitors and we all want to win, but I am really protective and really proud of our community, because it doesn’t exist in other genres.
Kelly Bolton Named VP/Creative At Tape Room Music
/by Lorie HollabaughKelly Bolton
Kelly Bolton has joined Tape Room Music as VP of Creative. The Lexington, Kentucky native joins the Tape Room staff after previous stops at Big Deal Music and Black River Publishing, where she served as Creative Director.
“I’m so excited to have Kelly on board. She’s the perfect fit for our roster and our staff and I look forward to watching her help our company grow. Go Big Blue!”, says Tape Room Founder Ashley Gorley.
“We are pumped to add Kelly to the family! Her A&R abilities and passion for working with creatives made her an obvious choice as we continue building Tape Room Music,” says Blain Rhodes, Tape Room GM.
“I am excited to begin my next chapter at Tape Room Music, joining this innovative team created by Ashley and Blain. I can’t wait to get to work with the extremely talented writers.” says Bolton.
Gorley launched Tape Room Music in 2011 and since then, Tape Room writers have accounted for 16 No. 1 songs and numerous top ten singles by artists such as Florida Georgia Line, Sam Hunt, Keith Urban, Dustin Lynch and many more.
Bolton can be reached at kelly@taperoommusic.com
Clarence Spalding Bonus Q&A: On Launching Brooks & Dunn, Management Philosophy
/by Eric T. ParkerMusicRow featured Maverick manager Clarence Spalding in its latest Artist Roster print magazine, an industry directory detailing the team members behind Nashville artists.
In this bonus web Q&A Spalding discusses his 40-year career in the music business, currently managing Jason Aldean, Rascal Flatts, Reba McEntire, Brooks and Dunn, Terri Clark, Darius Rucker, Rachel Wammack, and more. For more from Spalding’s interview, pick up a print copy of MusicRow’s Artist Roster issue, or subscribe here.
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On Launching Brooks & Dunn:
Bob Titley signed Brooks & Dunn in 1991. I had been working for Stan Moress. We managed Eddie Rabbitt, K.T. Oslin, Lorrie Morgan, Don Williams, Clint Black, Ronnie Milsap and more. Kix and Ronnie were the third act on the Reba tour, and I got a call that Bob was looking for someone. We partnered for 10 years until Bob decided he didn’t want to be in the business. So I formed Spalding Entertainment with [my first artists] Kix Brooks, Ronnie Dunn and Terri Clark. Marne McLyman has been the longest-standing employee. She’s been here 13 years, since she graduated Belmont. She currently handles Reba and Brooks & Dunn.
On Incorporating Big Loud In To The Maverick Fold:
I think Chief and Seth [England] are the type of managers that will benefit most from Maverick. They’re young, aggressive and have acts that love playing in the pop world. If you’re interested in that, there’s no better place to be than with the managers who have the biggest pop acts in the world.
I try to keep my door open because different staff members will come in and lay on the couch with their computers, and ask questions—feeding off each other. A Jason Aldean question can educate you on a lot of subjects because he’s playing at such a high level.
I always stress, every morning you get to wake up and play in a major league ballpark. We should be grateful, but with that comes a responsibility to bust your ass every day…to pay attention, listen and focus—all the things it takes to be a great manager. Then it takes luck. You need a kiss every now and then to break through.
On Ex-employee And Now CEO/Chairman, Sony Records Nashville Randy Goodman:
Randy is a forward, critical thinker. He was great when he was here. I’m not sure he enjoyed management as much as we enjoyed having him here. You see him now…He’s cut out to be a great label person, and I’m damn sure ecstatic he’s running Sony and they’re on top of their game.
On A Together In Vegas Extension:
[Caesars] talking to us about a [2019 extension. Reba, Kix and Ronnie] love doing it. I would have bet a lot of money that we would have done it for one term and they would say, ‘We’ve had enough of Vegas….’ They don’t even leave! They go for two weeks—fly on Wednesday and come home on Sunday—taking advantage of being on the west coast. They eat, golf, run, Ronnie’s always taking the bus out to shoot photos. All of them invite family, friends. It’s like a family reunion back stage. They’ve approached it from the right way, which kind of surprised me.
Africa wasn’t on my bucket list, but Reba had been twice. She was the only one who had—so she put it together. She called my wife and I think Ann had it in her head it was going to be in tents. Reba said, ‘We’re gonna be in lodges!” There were nine total. It was Mike Dungan and his wife Jane, Shane Tarleton, Joe Galante and his wife Fran and then Reba’s boyfriend Skeeter. They said it was during [CMA] music fest, and I said, ‘I’ll do that.’ I called Dungan and used that as a selling point. That’s when you find out if you’re really needed.
But Africa was phenomenal. I’d go back.
T-Mobile To Offer Free Pandora Plus, Live Nation Concert Perks For Customers
/by Eric T. ParkerT-Mobile Pres./COO, Mike Sievert. Photo: Sean Rayford/AP Images for T-Mobile
T-Mobile customers will now receive a free, one year Pandora Plus subscription and exclusive magenta benefits at Live Nation concerts.
The announcement, made Wednesday (Aug. 15), is part of the provider’s “Un-carrier” campaign, which eliminated contracts, subsidized phones and many fees for customers after the 2013 roll-out.
Courtesy of T-Mobile, affiliates receive one year of Pandora Plus streaming service in the U.S. In another first for the Un-carrier, T-Mobile announced an exclusive multi-year partnership with Live Nation, giving Un-carrier customers access to last-minute reserve seats in sold-out sections and discounted tickets at Live Nation amphitheater and arena concerts.
“Our customers get treated like rock stars with Team of Experts, and we believe they ought to be treated like that everywhere they go,” said Mike Sievert, President and COO at T-Mobile. “Music connects us, so we’re connecting our rock star customers with exclusive magenta extras at Live Nation events and with Pandora. Now, when they turn on their tunes or head to a show, they’ll get an elevated experience, just for being with T-Mobile. We’re always looking to thank our customers in bigger, bolder ways…this latest move is no exception – and we won’t stop!”
Industry Ink: Brett Eldredge, Sony Music Nashville, Grin Like A Dog Songs
/by Jessica NicholsonBrett Eldredge Enjoys Platinum Certifications
While Edgar enjoys the dog days of summer, country star Brett Eldredge celebrates the Platinum certifications of his No. 1 hits “Mean To Me” and “Lose My Mind.” Eldredge is currently climbing the singles and sales charts with “Love Someone,” a song he recently performed on Jimmy Kimmel Live! He is prepping for the second leg of his The Long Way Tour, which kicks off Sept. 13 in Denver, Colorado.
Sony Music Nashville Promotes Liz Cost
Liz Cost
Sony Music Nashville EVP of Marketing and New Business John Zarling announces the promotion of Liz Cost to Associate Director, Marketing, Sony Music Nashville. Cost is responsible for the strategy, development and execution of marketing plans for her portion of the label group’s roster.
Grin Like A Dog Songs Signs Emily Minor
Leslie Mitchell, Emily Minor
Grin Like A Dog Songs has signed North Carolina native Emily Minor for management representation.
“I first saw Emily perform in a writer’s round at a venue in town and was immediately captivated,” says Grin Like A Dog Songs’ Leslie Mitchell. “I could not believe that someone with her voice, songs, talent and beauty had not been signed. As it turns out, Emily was so busy touring that she rarely played in Nashville. I was lucky to walk in and see her on one of those nights.”
Grin Like A Dog is an independent music publishing and artist management company based in Nashville. Leslie Mitchell has worked in the music industry for over 10 years in various roles including publishing, A&R, and artist management.
Badflower To Open Tour Dates For From Ashes To New
/by Lorie HollabaughBadflower are set to tour with From Ashes To New on their The Future Is Now Tour 2018. The Fall dates kick off Sept. 16 in Spartanburg, South Carolina, and tickets for all shows are on sale now at badflowermusic.com.
The band, the first act signed to Big Machine/John Varvatos Records, had their single “Ghost” hit Top 10 at Rock radio, and the video for the song surpassed one million views on YouTube. The track is currently on playlists like Apple Music’s A-list Rock, Spotify’s Rock Hard and Amazon’s Introducing Rock.
Badflower has also been added to the lineup for iHeartRadio Music Festival in Vegas on Sept. 22, the Louder Than Life Festival in Louisville, Kentucky, on Sept. 28 and Rock Allegiance in Camden, New Jersey on Oct. 6.
Badflower Tour Dates
September 2 – Tucson, AZ – The Rock
September 5 – Lubbock, TX – Jake’s Backroom
September 7 – Baton Rouge, LA – The Texas Club
September 10 – St. Louis, MO – The Ready Room
September 13 – St. Paul, MN – Amsterdam Bar & Hall
September 15 – Chicago, IL – Riot Fest Chicago**
September 16 – Spartanburg, SC – Ground Zero*
September 17 – Huntsville, AL – Sidetracks*
September 19 – Tampa, FL – The Orpheum*
September 20 – Destin, FL – Club LA*
September 22 – Paradise, NV – Toshiba Plaza**
September 25 – Columbia, MO – The Blue Note*
September 27 – Ringle, WI – Q & Z Expo Center*
September 28 – Louisville, KY – Louder Than Life at Champions Park**
September 30 – Ft. Wayne, IN – Piere’s Entertainment Center*
October 02 – Joliet, IL – The Forge*
October 03 – Belvidere, IL – The Apollo Theatre*
October 04 – Detroit, MI – Shelter*
October 06 – Camden, NJ – Monster Energy Rock Allegiance**
October 09 – Watertown, NY – Exhibition Hall*
October 10 – Rochester, NY – Montage Music Hall*
October 11 – Sturgis, MI – Nikki’s*
October 12 – Madison, WI – High Noon Saloon*
October 14 – Springfield, MO – The Complex*
October 25 – Grand Prairie – Freaker’s Ball**
October 26 – Amarillo, TX – XR Club
* From Ashes To New Tour
** Festival Dates
California Country Music Venue The Palomino Club To Ride Again For Benefit Concert
/by Jessica NicholsonRevered California music venue The Palomino Club, which closed in 1995, will re-open on Oct. 8 for a one-night benefit concert.
The event aims to raise funds for the Valley Relics Museum, and will welcome artists including Palomino veterans Jim Lauderdale, Rosie Flores, James Intveld and his Honky Tonk Palominos, as well as members from the original Palomino Riders house band. Original Barn Dance founder Ronnie Mack, who hosted a monthly showcase there until it closed, will help to MC the event.
“The Palomino was the most important music venue for country music after the Ryman Auditorium,” Intveld says. “Country music stars from Buck Owens to Merle Haggard and Gram Parsons to Dwight Yoakam recognized the difference in the freedom, lifestyle and the California upbeat sound that originated out here where the Palomino was its headquarters.”
Located in a working class area of Los Angeles, The Palomino Club welcomed artists including Johnny Cash, Rose Maddox, Buck Owens, Glen Campbell, Emmylou Harris, Merle Haggard, Willie Nelson, Waylon Jennings, and Linda Ronstadt. Other artists including Bob Dylan, Elvis Costello, George Harrison, and John Fogerty also gave impromptu performances.
Flores adds, “The Palomino was an integral part of my social and musical life. I saw some of my biggest Honky Tonk influences there; owner Tommy Thomas gave me my first break after I won the talent contest four time in a row. I’m thrilled to be part of a special evening with my fellow songwriters and musicians from the best times in my life.”
In addition to the concert performances, the Palomino Rides Again fundraiser will feature a BBQ dinner, as well as numerous artifacts from the museum’s collection of country music and Hollywood history including original pieces from the Palomino, Nudie Cohen items, and one of the famous “Nudie Mobile” cars. Music memorabilia and specially donated items will also be available for auction.
“The roots of California’s country music scene were first planted in Los Angeles and the San Fernando Valley,” said museum founder Tommy Gelinas. “No place represented that more closely than the legendary Palomino Club so we’re thrilled to show off memorabilia that hasn’t been seen in almost 40 years.”
Other Palomino Club-themed events, to celebrate the venue’s 70th anniversary and California’s country music legacy, will be announced in the coming months including a panel discussion during AmericanaFest® 2018 with artists who played at The Palomino.
For more, visit thepalominoclub.com.
Dan+Shay Welcome 10,000 Fans For “Tequila Tuesday” Nashville Street Concert
/by Jessica NicholsonWarner Music Nashville’s John Esposito with Dan+Shay. Photo: Jeremy Harris
Warner Music Nashville duo Dan+Shay welcomed 10,000 fans to the heart of Nashville’s Music Row area Tuesday night (Aug. 14) for “Tequila Tuesday,” a 17-song outdoor concert that included their recent smash “Tequila,” as well as signature songs like “19 You + Me,” “Nothin’ Like You,” “How Not To,” and “From The Ground Up.” Fans began lining up in the early morning hours yesterday, with the line spanning several blocks before the door opened at 6 p.m. The street between BMI and Warner Music Nashville was blocked off as fans crowded the street to support their favorite duo.
“This is one of the craziest things I’ve ever seen,” Mooney said onstage. “This is my favorite show we’ve played in my career.”
Welcoming a massive crowd for a concert at the epicenter of Nashville’s music industry is only the latest milestone the duo has reached this year. Warner Music Nashville Chairman & CEO John Esposito surprised the duo with plaques honoring “Tequila” for sales surpassing one million track equivalents. During “Tequila” Dan + Shay also welcomed co-writers Nicolle Galyon and Jordan Reynolds to the stage, with whom they celebrated the single’s success at a No. 1 party earlier in the afternoon.
Dan+Shay. Photo: Jeremy Harris.
“Tequila” is the No. 4 most-streamed country song of the year, with an estimated 200 million on-demand streams. More than a month following its peak, “Tequila” is still the No. 1 most-played recurrent on country radio. Their latest single “Speechless” has already earned more than 42 million on-demand streams. Additionally, Dan+Shay’s self-titled album debuted at No. 1 on the country albums sales chart earlier this year.
Presented by Citi National Bank, the street party featured Music City food trucks, festive beverages, assorted street games and more. The event also allowed guests to donate on-site to Musicians On Call, and Dan + Shay, in conjunction with Warner Music Nashville and Warner/Chappell Music, kicked off the evening with a $5,000 donation to the organization.
The duo is currently in an opening slot on Rascal Flatts’ Back To Us Tour, and will join Chris Young’s Losing Sleep Tour in October. They will launch 2019 with a UK tour.
Pictured (L-R): John Esposito (WMN), Dan Smyers, Shay Mooney, Pete Griffin (MoC), Shane Tarleton (WMN)
Carlton Anderson Signs With Morris Higham Management
/by Jessica NicholsonPictured: Arista Nashville singer/songwriter Carlton Anderson (seated), and Morris Higham Management’s Will Hitchcock, Rob Filhart, Clint Higham, Nick Morris and Dale Morris (standing left to right).
On the heels of releasing his Arista Nashville debut single, “Drop Everything,” singer/songwriter Carlton Anderson has signed with Morris Higham Management for global representation.
“I have worked my whole life to be in a position like this and to have years of hard work be noticed by such a prestigious company means more than I can I say,” Anderson says. “I’ve been told a long time that my music is ‘too country’ so I’m truly grateful to have a team at Morris Higham that understands who I am as a person and supports my visions as an artist and songwriter.”
Clint Higham says, “Carlton is one of the rare young artists who understands why country music matters, and he makes it as compelling and as current as anything on radio. When you find an artist who’s so grounded in the roots, who can sing, write and connect with fans across ages, places and everything that country music now contains, that’s like finding a unicorn.”
Higham continues, “When you find an artist like that, and they have a work ethic that matches the team at Morris Higham, that’s when special things happen. Everyone here believes in his music, and there’s no young artist I’ve seen like this.”
A graduate of Belmont University’s music business program, Anderson later joined ASCAP and was signed to a publishing deal with Warner/Chappell Music. Morris Higham Management also represents Kenny Chesney, Ryan Griffin, Brandon Lay, Old Dominion, Michael Ray, and Walker County.
‘CMT Headliners With Cody Alan’ Launches With Jason Aldean As Inaugural Guest
/by Lorie HollabaughPictured (L-R): Jackie Jones, Director, Talent, CMT; Ashlee McDonald, Executive Producer, Radio Content/Programming Partnerships & Operations, CMT; Jason Aldean; Leslie Fram, SVP, Music & Talent, CMT; CMT’s Cody Alan
CMT recently launched “CMT Headliners with Cody Alan,” a new multi-platform, live event series hosted by CMT’s Cody Alan, where fans can submit questions to their favorite country stars and watch them perform from some of the hottest spots in Nashville. To kick-off the inaugural event, Alan welcomed Jason Aldean as his first guest last week where they broadcast live from Jason Aldean’s Kitchen + Rooftop Bar in downtown Nashville.
In addition to chatting about Aldean’s favorite menu items from his new restaurant and how he likes to spend time with his family, the superstar also performed songs from his catalogue of hits including “My Kinda Party,” “Dirt Road Anthem,” and his latest single, “Drowns the Whiskey.”
Highlights from “CMT Headliners” will be featured across CMT’s linear, radio and digital spaces including “CMT Hot 20 Countdown,” “CMT After MidNite” and “CMT Radio Live” with Cody Alan, CMT.com and CMT’s social platforms. “CMT Headliners” will be featured on “CMT After MidNite” and “CMT Radio Live” this Friday, Aug. 17, and on “CMT Hot 20 Countdown,” which will be co-hosted by Aldean, this Saturday, Aug. 18 at 9 a.m. ET/PT (encore presentation Sunday, Aug. 19 at 9 a.m. ET/PT).
Cody Alan and Jason Aldean
Bonus Q&A: Nashville A&R Execs Discuss Artist Development, Signing Female Artists
/by Jessica NicholsonMusicRow welcomed several of Nashville’s top A&R executives to discuss the intense competition to sign new artists, the role of artist development, signing female talent, and more.
BBR Music Group’s Sara Knabe, Big Machine Label Group’s Allison Jones, Warner Music Nashville’s Cris Lacy, and UMG Nashville’s Stephanie Wright visited the MusicRow office for a discussion on the biggest opportunities and challenges labels face in the A&R arena.
For more from this A&R Roundtable, pick up a print copy of MusicRow’s Artist Roster issue, or subscribe here.
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MusicRow: Nashville has such a tight-knit A&R community, and yet there is so much competition to sign new artists. If an artist doesn’t fit with your label for some reason, do you make a call to other potential labels?
Cris Lacy: The way it’s done now, if a manager calls one of us, they call all of us. An email introduction turns into, “This artist has heat.” All of a sudden we are all jumping around to try to sign them. It’s so rapid now.
Stephanie Wright: Early on Brett [Eldredge] came in and played for us and I was so in love with him and I couldn’t get everybody else as fired up…
Lacy: We were at a show, and Stephanie had been about Sam Hunt for forever, before anyone and that was one of those emails that came through. I remember being at a show and saying to Stephanie, ‘I don’t know why he doesn’t just sign with you guys. You offered him a great deal, but we have to get in this because it is awesome. And obviously he did sign with UMG and rightfully so. She put in the time and effort and was there from the beginning.
Allison Jones: We look at these artists and we always want to sign them, but our worlds are always going to intersect. With Cole [Swindell], he’s been a co-writer for some of our artists and he’s been on tour with our artists. I believe in music karma.
Sara Knabe: [Recent Warner Music Nashville signee] Cody Johnson is another one, and ultimately we both have the same passion level for it, but she’s [motions to Lacy] known him longer.
Lacy: I had been after Cody Johnson for eight years…
Knabe: I had been after him for about nine months. They had this relationship and even when Cody would talk with us about it, I would be like, “Cris is amazing and would be amazing for you.” That’s the part where you are competitive. I wanted that deal. I wanted it bad. But, I am really excited for him. You guys have that relationship and I understood it. But was I bummed? Absolutely.
MR: It is well known that female country artists have trouble getting radio airplay. Does that make you hesitant to sign female talent?
[All]: No. Not at all.
Wright: Being the hopeful A&R people that we are, we want to sign that girl who will break through. There’s a plethora of talent in the female space, too.
Jones: When I look back in my elementary school days, I literally wanted to be Crystal Gayle, and then one of the Mandrell Sisters, and then of course, Dolly and Reba and Trisha and Lee Ann Womack. Some of my favorites of any genre have been our iconic country women. Good Lord, I hope Carly Pearce joins those ranks, and everyone in our [BMLG] building feels the same way. It’s just about great music. I hope everyone at this table can find the next Reba or Trisha, because music needs it.
Wright: These new artists coming in are all supporting one another, too. They show up at one another’s shows when they have a day off. They are not afraid to talk about how great another artist is. I think there was a time period when females felt there was a scarcity—“If I’ve got this attention, it don’t want to share it.” But now, I feel they all support one another.
Jones: I have nothing but respect for my male counterparts, but I feel that women as a whole do well at this job because we’ve allowed ourselves to become immersed in their personal lives. We all live and breathe these artists. Tali [Canterbury] and Laurel [Kittleson] talk to their artists every day. I feel like not only do we do A&R, we live the lives of our artists, whether it’s getting married or having children or breaking up with a boyfriend or girlfriend. I’m best at my job when I know what is going on in their lives and their families, to know what they want to say and what they don’t want to say with their music. I think women have an innate ability to be more perceptive.
Lacy: Women are nurturing and that’s a natural fit for A&R.
Knabe: All three of these women have been mentors and friends even when I was a publisher. I have a huge list of women in the industry that had my back and taught me how to handle career issues. At Broken Bow, the majority of the staff are women. Looking at my career, I’ve been surrounded by people who support me, including Jon Loba and Kos Weaver.
Jones: Scott [Borchetta] always wants the most qualified person for the job, and we have quite a few female executives at Big Machine.
MR: Talk about the development work that labels do versus what publishers do.
Lacy: I think there is commentary out there that “Labels don’t do development.” The problem is when we do development, publishers are like, “Well, that’s been over here for a few years and nothing has happened with it,” and they move on instead of saying, “The label is doing development and this could be a two-, three-, or four-year process.”
The hard part is all the new artists are watching all the other artists on social media. So whether or not they are making smart decisions, and whether or not all this music is ready—and that only plays out in the years to come—they are watching all this and it makes them anxious because every artist wants to come out [with music] the moment they are signed.
MR: With such intense competition to sign one artist, does that hasten or delay the overall signing process?
Lacy: My joke on Cody [Johnson], and I said this to Cody and [his manager Howie Edelman] was, “Just get married.” I don’t care who you marry at this point but please get married because at this point I’m chasing you so hard I feel like…
Knabe: It’s almost like a relationship or going to prom, where you are like, “Please love me. I know there is another really good looking girl over there, but please pick me.”
Lacy: At some point, prom just needs to happen so everyone can move on.
MR: Any final thoughts?
Jones: I am really excited and positive abut this crop of new artists—and we’ve all worked together on them in some capacity. You guys [motions to Knabe and Lacy] pitched me great songs when you worked in publishing and we couldn’t do what we do without great publishers, so the two of you helped my career.
Knabe: And every time I got a cut, that helped my career…
Lacy: It’s all symbiotic.
Jones: We are competitors and we all want to win, but I am really protective and really proud of our community, because it doesn’t exist in other genres.