Brad Belanger
Artist manager Brad Belanger parlayed experience in concert booking and doing photography/video work into managing star acts such as Sam Hunt and Dustin Lynch.
Growing up in Virginia in the early ‘90s, Belanger was immersed in the DIY music culture embraced by teen punk rock bands in the area. In addition to handling lead vocals and guitar for a local band, Belanger started his own indie label at age 15.
“I liked booking the shows, making the fliers, designing the T-shirts and how the invites looked,” Belanger tells MusicRow. “I was way more into that than writing great songs or practicing. It was very much a mentality of having your own label, booking your own shows, and tapes and mailing lists,” he recalls. “I was very lucky to grow up with that mentality in Virginia because it’s kind of the template that I’m doing now, almost 30 years later, just with the internet now.”
After attending Middle Tennessee State University, he began working with APA’s Steve Lassiter, before transitioning into doing photography and video work. That strategic move would bring a host of career opportunities, including his management role with Sam Hunt, the artist behind the 5x Platinum-selling single “Body Like A Back Road” and 3x Platinum-selling album Montevallo.
For more on artist management and the teams behind some of Nashville’s biggest artists, pick up a copy of MusicRow’s current Artist Roster print issue.
MusicRow: How did you transition from concert booking into doing photography and video work?
Belanger: I wanted to be a little more hands on with music. Right around that time the internet was popping up with YouTube and MySpace and everything. Marketing music digitally was just starting to form and I thought, “That encompasses everything I love.” I quit the booking agent job and picked up a video camera and some video editing and graphic design software. I taught myself in my late 20s how to do that. I knew that would be a major part of marketing music.
MR: What was your first job doing video?
Belanger: The very first person who ever hired me was a 17-year-old Taylor Swift. They hired me to make a behind-the-scenes video clip for “Teardrops On My Guitar,” and soon after that Keith Urban and his team hired me. They were one of the first to hire a full-time photographer and videographer on staff, and I did that for Keith for about five years.
MR: Is that how you were introduced to Sam Hunt?
Belanger: Yeah, that introduced me to Sam, through [the Hunt-penned hit for Urban] “Cop Car.” I loved his music and this was back before he had a record deal, and he’d never played a live show. He had no photos taken, and he was just coming up on the idea of being an artist when he and I met. He said, “I need some headshots and I want to do some video stuff.” He sent me some demos of “House Party” and “Take Your Time” and everything, and I loved it so much I said I would do it. We hung out and talked about things we loved and after about a month, he was like, “Man, you’d be a great manager. I’m looking for a manager.” So I quit working with Keith and began working with Sam.
Sam Hunt and Brad Belanger. Photo: Courtesy Brad Belanger
MR: You first began managing Sam when he had no label, no previous manager. How does what he needed from you then as a manager differ from what he needs from you now as a manager?
Belanger: When we first started, I took every photo and directed probably the first five music videos—shot and directed and edited. Designed the cover for Montevallo. The first few years I as very hands-on with building the brand. As his career grew, people I was inspired by visually, we were able to call on those people and bring in big directors from England. They came to Nashville for the first time and began shooting the videos. We transitioned from doing the creative to now overseeing and becoming more of a traditional manager.
In the beginning there was just five of us and a van. We did everything on the cheap because we didn’t have any money. Now there are 50 employees and it’s a huge company and I’ve transferred into managing that whole company. It’s a lot more 9 a.m. to 5 p.m. and a lot less 7 p.m. – 2 a.m.
MR: Sam Hunt is a songwriter at heart. As a manager, how do you balance his need for time and space to be creative, with a music cycle that now constantly demands new music?
Belanger: I don’t balance that. I look at it the same way [Red Light Management’s] Coran Capshaw looks at it. We go play the poker game and Sam gives us the cards to play. The cards are the songs. For me, I absolutely respect his process and how he wants to do it and how long he wants to take.
From day one when we were living on credit cards and driving in a van and dead broke, we always said, “We will leave money on the table. We will not think about money first or chase it, and we will not feel bad for taking time off for being with our families.” This year he’s playing 25 shows. Last year he played 45 shows. With [Belanger’s management client] Dustin Lynch, he plays 100 shows. But the number of shows doesn’t matter to us.
MR: How does it differ working with Dustin, who had an image and career already built before you started working with him, versus working with Sam, whose career you helped build from the ground up?
Belanger: I’m just such a fan of Dustin as a person. He’s one of those people you love to be around. He has a great work ethic. Everybody wants to see him succeed. He just needs a few more pieces put together to really step to that next level. That’s what really attracted me to work with him. I am just interested to come in at this point in his career—six or seven years in—and see how I can help and refine a few things.
MR: Can you elaborate on what things you want to refine?
Belanger: My team is able to help define his brand a little more. He had started doing that already right before I came along, with his daily video blogs. Everybody knows he has five No. 1s and he has hits, but when you ask someone, “Who is he?” they have a little more of an ambiguous answer. My goal is to really define who Dustin Lynch is as an individual. Then as a fan, you are not only a fan of the songs, but you are a fan of him as a person. Luke Bryan fans are fans of Luke Bryan. Same thing with Sam Hunt or Carrie Underwood. They love Carrie, not just a group of songs. They love her. So I’m just trying to shine more light on who he is.
MR: Is the album format dead?
Belanger: No, I think it is still alive and well. When it is needed, it’s needed. It’s not needed all the time. Some people I look at and go, “Dude, no one was waiting on another album. Don’t put one out. Just put four good songs out.” There is a time and a place. Obviously, Sam Hunt last year, where he was at in his life and career, just putting one enormous song out did just fine. We sold every concert ticket and every piece of merch. But it was coming off Montevallo.
MR: Will The Nashional Music Festival still happen?
Belanger: Absolutely. We just ran into some hiccups as far as licensing. We’ve still got it on the dashboard and ready to pull at any time, but we all decided the next most important thing is a record. Let’s focus on finishing the record and then jumping off of that might be the best time to do this festival.
The best thing we can do right now is follow up Montevallo with a great 10-song record with a bunch of hits on it.
MR: When will the album come out?
Belanger: Probably not this year. Next year would be the goal.
MR: Who have been your biggest mentors, and what has been the best advice they haven given you?
Belanger: Coran Capshaw and [CAA’s] Darin Murphy as well. He was the first person I called when I thought about quitting work with Keith to go work for Sam. They give big-picture, long-term advice. In the first few years coming up, everything was a desperate struggle to keep our vision true and to make people in love with it. This is a long-term business and you don’t have to fight every day. Not every battle needs to be a blood-and-guts battle.
Belmont University To Add 1,700-Seat Performing Arts Center
/by Lorie HollabaughNashville’s Belmont University is adding a world-class performing arts center to its ever-growing campus. The new project was announced Wednesday (Aug. 22) and will house a 1,700-seat multi-purpose theatre, a grand lobby and two contiguous event spaces that can hold more than 900 guests when combined with the lobby. The venue, which will be located between Bernard and Compton Avenue on Belmont Boulevard, is slated to open Fall 2021.
Classical concerts, operas, musical theatre performances, dance recitals, commercial showcases and more will be held in the Center’s Performance Hall to accommodate the diverse musical interests and talents of Belmont students. The facility will include a full fly space, wing space, orchestra pit, two forestage lifts, a trap room under the stage, and TV broadcast capabilities.
In addition to its on-stage features, the facility will have a warm-up room for dance or choral use, various sized dressing rooms, a green room, a scene dock, a loading dock and a green roof to assist with water quality filtration, among other sustainable components, as the project will pursue LEED certification.
“Our goal is to build the finest music performance hall on any college campus in the world, and I couldn’t be more pleased,” said Belmont President Dr. Bob Fisher. “I have dreamed of the creation of this facility since I first came to Belmont in 2000. Along with the Massey Performing Arts Center, Troutt Theater & McAfee Concert Hall, the addition of this venue completes our campus’s performance facilities, creating the most extensive suite of venues of any other institution of higher education.”
Loretta Lynn To Release New Album Sept. 28
/by Lorie HollabaughLoretta Lynn
Loretta Lynn is releasing a new studio album, Wouldn’t It Be Great, on Sept. 28. Produced by her daughter Patsy Lynn Russell and John Carter Cash and recorded at the Cash Cabin Studio in Hendersonville, Tennessee, the new album is comprised entirely of songs written or co-written by Lynn. The album positions new compositions alongside soulful reinterpretations of enduring classics from her catalog. The Legacy Recordings project includes three tracks co-penned by Lynn and Shawn Camp. The collection was set to release in 2017, but was postponed after health issues.
“This new record means so much to me, but this last year I had to focus on my health and I decided to hold up the release,” said Loretta. “I’m feelin’ good and look forward to it comin’ out. It was really important to me to be a part of it being released and I’m excited to celebrate with everybody!”
“Wouldn’t It Be Great?” is the last song Loretta wrote for her late husband Oliver “Doolittle” Lynn. “That song just always meant so much to me,” said Russell, “because of the lyrics, you know, ‘when my fancy lace couldn’t turn your face,’ it was just so powerful and was a song that needed to be recorded for this album with Loretta. It shows just how masterful my mom is with writing down her feelings.”
Lynn will also be featured with track on King of the Road,’ a two-disc tribute LP for Roger Miller, set for release Aug. 31. Lynn will sing “Half A Mind.”
Loretta Lynn Wouldn’t It Be Great Track Listing:
1. Wouldn’t It Be Great? (written by Loretta Lynn)
2. Ruby’s Stool (written by Loretta Lynn, Shawn Camp)
3. I’m Dying for Someone to Live For (written by Loretta Lynn, Shawn Camp)
4. Another Bridge to Burn (written by Loretta Lynn, Lola Jean Dillon)
5. Ain’t No Time to Go (written by Loretta Lynn, Patsy Lynn Russell)
6. God Makes No Mistakes (written by Loretta Lynn)
7. These Ole Blues (written by Loretta Lynn, Patsy Lynn Russell)
8. My Angel Mother (written by Loretta Lynn)
9. Don’t Come Home a Drinkin’ (written by Loretta Lynn, Peggy Sue Wells)
10. The Big Man (written by Loretta Lynn, Shawn Camp)
11. Lulie Vars (Traditional, arrangement by Loretta Lynn)
12. Darkest Day (written by Loretta Lynn)
13. Coal Miner’s Daughter (written by Loretta Lynn)
Exclusive: Brad Belanger Talks Building Careers For Sam Hunt, Dustin Lynch
/by Jessica NicholsonBrad Belanger
Artist manager Brad Belanger parlayed experience in concert booking and doing photography/video work into managing star acts such as Sam Hunt and Dustin Lynch.
Growing up in Virginia in the early ‘90s, Belanger was immersed in the DIY music culture embraced by teen punk rock bands in the area. In addition to handling lead vocals and guitar for a local band, Belanger started his own indie label at age 15.
“I liked booking the shows, making the fliers, designing the T-shirts and how the invites looked,” Belanger tells MusicRow. “I was way more into that than writing great songs or practicing. It was very much a mentality of having your own label, booking your own shows, and tapes and mailing lists,” he recalls. “I was very lucky to grow up with that mentality in Virginia because it’s kind of the template that I’m doing now, almost 30 years later, just with the internet now.”
After attending Middle Tennessee State University, he began working with APA’s Steve Lassiter, before transitioning into doing photography and video work. That strategic move would bring a host of career opportunities, including his management role with Sam Hunt, the artist behind the 5x Platinum-selling single “Body Like A Back Road” and 3x Platinum-selling album Montevallo.
For more on artist management and the teams behind some of Nashville’s biggest artists, pick up a copy of MusicRow’s current Artist Roster print issue.
MusicRow: How did you transition from concert booking into doing photography and video work?
Belanger: I wanted to be a little more hands on with music. Right around that time the internet was popping up with YouTube and MySpace and everything. Marketing music digitally was just starting to form and I thought, “That encompasses everything I love.” I quit the booking agent job and picked up a video camera and some video editing and graphic design software. I taught myself in my late 20s how to do that. I knew that would be a major part of marketing music.
MR: What was your first job doing video?
Belanger: The very first person who ever hired me was a 17-year-old Taylor Swift. They hired me to make a behind-the-scenes video clip for “Teardrops On My Guitar,” and soon after that Keith Urban and his team hired me. They were one of the first to hire a full-time photographer and videographer on staff, and I did that for Keith for about five years.
MR: Is that how you were introduced to Sam Hunt?
Belanger: Yeah, that introduced me to Sam, through [the Hunt-penned hit for Urban] “Cop Car.” I loved his music and this was back before he had a record deal, and he’d never played a live show. He had no photos taken, and he was just coming up on the idea of being an artist when he and I met. He said, “I need some headshots and I want to do some video stuff.” He sent me some demos of “House Party” and “Take Your Time” and everything, and I loved it so much I said I would do it. We hung out and talked about things we loved and after about a month, he was like, “Man, you’d be a great manager. I’m looking for a manager.” So I quit working with Keith and began working with Sam.
Sam Hunt and Brad Belanger. Photo: Courtesy Brad Belanger
MR: You first began managing Sam when he had no label, no previous manager. How does what he needed from you then as a manager differ from what he needs from you now as a manager?
Belanger: When we first started, I took every photo and directed probably the first five music videos—shot and directed and edited. Designed the cover for Montevallo. The first few years I as very hands-on with building the brand. As his career grew, people I was inspired by visually, we were able to call on those people and bring in big directors from England. They came to Nashville for the first time and began shooting the videos. We transitioned from doing the creative to now overseeing and becoming more of a traditional manager.
In the beginning there was just five of us and a van. We did everything on the cheap because we didn’t have any money. Now there are 50 employees and it’s a huge company and I’ve transferred into managing that whole company. It’s a lot more 9 a.m. to 5 p.m. and a lot less 7 p.m. – 2 a.m.
MR: Sam Hunt is a songwriter at heart. As a manager, how do you balance his need for time and space to be creative, with a music cycle that now constantly demands new music?
Belanger: I don’t balance that. I look at it the same way [Red Light Management’s] Coran Capshaw looks at it. We go play the poker game and Sam gives us the cards to play. The cards are the songs. For me, I absolutely respect his process and how he wants to do it and how long he wants to take.
From day one when we were living on credit cards and driving in a van and dead broke, we always said, “We will leave money on the table. We will not think about money first or chase it, and we will not feel bad for taking time off for being with our families.” This year he’s playing 25 shows. Last year he played 45 shows. With [Belanger’s management client] Dustin Lynch, he plays 100 shows. But the number of shows doesn’t matter to us.
MR: How does it differ working with Dustin, who had an image and career already built before you started working with him, versus working with Sam, whose career you helped build from the ground up?
Belanger: I’m just such a fan of Dustin as a person. He’s one of those people you love to be around. He has a great work ethic. Everybody wants to see him succeed. He just needs a few more pieces put together to really step to that next level. That’s what really attracted me to work with him. I am just interested to come in at this point in his career—six or seven years in—and see how I can help and refine a few things.
MR: Can you elaborate on what things you want to refine?
Belanger: My team is able to help define his brand a little more. He had started doing that already right before I came along, with his daily video blogs. Everybody knows he has five No. 1s and he has hits, but when you ask someone, “Who is he?” they have a little more of an ambiguous answer. My goal is to really define who Dustin Lynch is as an individual. Then as a fan, you are not only a fan of the songs, but you are a fan of him as a person. Luke Bryan fans are fans of Luke Bryan. Same thing with Sam Hunt or Carrie Underwood. They love Carrie, not just a group of songs. They love her. So I’m just trying to shine more light on who he is.
MR: Is the album format dead?
Belanger: No, I think it is still alive and well. When it is needed, it’s needed. It’s not needed all the time. Some people I look at and go, “Dude, no one was waiting on another album. Don’t put one out. Just put four good songs out.” There is a time and a place. Obviously, Sam Hunt last year, where he was at in his life and career, just putting one enormous song out did just fine. We sold every concert ticket and every piece of merch. But it was coming off Montevallo.
MR: Will The Nashional Music Festival still happen?
Belanger: Absolutely. We just ran into some hiccups as far as licensing. We’ve still got it on the dashboard and ready to pull at any time, but we all decided the next most important thing is a record. Let’s focus on finishing the record and then jumping off of that might be the best time to do this festival.
The best thing we can do right now is follow up Montevallo with a great 10-song record with a bunch of hits on it.
MR: When will the album come out?
Belanger: Probably not this year. Next year would be the goal.
MR: Who have been your biggest mentors, and what has been the best advice they haven given you?
Belanger: Coran Capshaw and [CAA’s] Darin Murphy as well. He was the first person I called when I thought about quitting work with Keith to go work for Sam. They give big-picture, long-term advice. In the first few years coming up, everything was a desperate struggle to keep our vision true and to make people in love with it. This is a long-term business and you don’t have to fight every day. Not every battle needs to be a blood-and-guts battle.
Special Opry Evening Filled With Milestones For Dustin Lynch, Trace Adkins, Dillon Carmichael
/by Lorie HollabaughTrace Adkins with Dustin Lynch. Photo by Chris Hollo for Grand Ole Opry
Dustin Lynch became the latest artist invited to join the Grand Ole Opry family Tuesday night (Aug. 21) during a momentous set of Opry shows that also saw Trace Adkins celebrating his 15-year Opry anniversary and Dillon Carmichael making his debut on the revered stage.
Adkins invited Lynch to become an official part of the Opry family, remarking, “Being a member of the Grand Ole Opry is at the top of my list of achievements in my career and always will be. We want people to be members of the Grand Ole Opry that will have a respect for this institution that it deserves, that it has earned for 92 years. We think that Dustin Lynch is going to carry on in that proud tradition.”
“Thank you! I wish you weren’t so big. I wanted to pick you up, but I couldn’t!” responded a thrilled Lynch, who will officially be inducted as an Opry member on Sept. 18.
Earlier in the evening Opry member Eddie Montgomery introduced his nephew Dillon Carmichael for his Opry debut appearance, with Carmichael’s mom Becky Montgomery performing backing vocals during his performance. The night was doubly special for Carmichael, who had once worked in security at the Opry but had not allowed himself to step inside the Opry’s famed circle of wood center stage until his official debut.
Longtime Opry Entertainment Group President Steve Buchanan also celebrated his retirement during the evening with remarks by Opry member Vince Gill along with friends, family and Opry members during a backstage reception.
Pictured: Trace Adkins with UMG Nashville ‘s Mike Dungan. Photos by Chris Hollo and Rachael Black for Grand Ole Opry
Pictured (L-R): Garth Brooks, Jeannie Seely,Steve Buchanan, Sally Williams & Trisha Yearwood. Photos by Chris Hollo and Rachael Black for Grand Ole Opry.
ASCAP Christian Awards To Honor Twila Paris, Gospel Music Association
/by Jessica Nicholson“Twila has a gift for creating beautiful music and words that can inspire people to dance and rejoice or bring comfort to them in trying times. She has composed a moving body of work that resonates deeply with her listeners,” said ASCAP President Paul Williams. “We are delighted to present Twila Paris with this richly deserved ASCAP Golden Note Award.”
With 33 No. 1 singles from 22 albums, songwriter-artist Twila Paris has made a lasting mark on Christian music, paving the way for many Christian female vocalists and worship leaders. Paris released her first full-length album in 1981 and since then has written books, recorded children’s music, and created timeless worship songs. In the span of a decade, Paris was the recipient of 10 Dove Awards, including the 1995 GMA Song of the Year for “God Is In Control” and the 1992 GMA Praise and Worship Album of the Year for Sanctuary. Churches across America have recognized several of Paris’s songs in hymnals, and congregations can be heard singing her works such as “He Is Exalted,” “We Bow Down,” “Lamb of God” and “How Beautiful.”
The ASCAP Golden Note Award is presented to songwriters, composers and artists who have achieved extraordinary career milestones. Past recipients include Mark Lowry, Michael W. Smith, Bob McDill, Don Williams, Mary Mary, Reba McEntire and many more.
The Gospel Music Association takes home the ASCAP Partners in Music Award for playing a key role in bringing attention to the music of Christian songwriters. Founded in 1964, the organization aims to preserve the legacies of those that have blazed the trail for gospel music through the GMA Foundation and the GMA Gospel Music Hall of Fame. The GMA’s annual Dove Awards promotes and brings awareness to the best and brightest in the Christian and Gospel music industry. The ASCAP Partners in Music Award recognizes an ASCAP-licensed organization which has shown exceptional dedication in presenting ASCAP members’ music to the public.
“ASCAP has always been able to count on the Gospel Music Association for its commitment to exposing the endless variety of Christian music to audiences everywhere,” said Williams. “Through its awards shows and many other programs, the GMA is a touchstone for the Christian and gospel music industry.”
The 2018 ASCAP Christian Music Awards will recognize the writers and publishers of the most-performed songs in Christian music, and features special performances by today’s most popular artists and songwriters in the genre. Top awards go to ASCAP Christian Music Songwriter of the Year, Song of the Year and Publisher of the Year. Recent ASCAP Christian Music Awards honorees include Amy Grant, Michael W. Smith, Matthew West, Joel Smallbone (For King & Country), David Garcia, Ben Glover, Colby Wedgeworth, Brown Bannister and many others.
IEBA Announces 2018 Industry Award Nominees
/by Lorie HollabaughThe International Entertainment Buyers Association has announced the nominees for its 2018 Industry Awards. Among the nominees are Nashville’s Marathon Music Works for Club of the Year and Bonnaroo for Festival of the Year. Winners will be announced at the Honors & Awards Ceremony of IEBA’s 48th Annual Conference on Tuesday, Oct. 2, beginning at 5:30 p.m. at JW Marriott in Nashville.
Club of the Year
• 9:30 Club – Washington, DC
• Marathon Music Works – Nashville, TN
• The Paramount – Huntington, NY
• The Rave / Eagles Club – Milwaukee, WI
• Starland Ballroom – Sayreville, NJ
• Stubb’s Bar-B-Q – Austin, TX
• Troubadour – West Hollywood, CA
Casino of the Year
• Agua Caliente Casino Resort – Rancho Mirage, CA
• Chinook Winds Casino Resort – Lincoln City, OR
• Choctaw Casino & Resort – Durant, OK
• Foxwoods Resort Casino – Mashantucket, CT
• Grand Casino Resort – Shawnee, OK
• Mystic Lake Casino Hotel – Prior Lake, MN
• Nugget Casino Resort – Sparks, NV
• Talking Stick Resort and Casino – Scottsdale, AZ
Ryman Auditorium Theater of the Year
• The Anthem – Washington, DC
• Beacon Theatre – New York, NY
• The Chicago Theatre – Chicago, IL
• Durham Performing Arts Center – Durham, NC
• Microsoft Theater – Los Angeles, CA
• Orpheum Theatre – Minneapolis, MN
• Smart Financial Centre – Sugar Land, TX
Arena of the Year
• Allstate Arena – Rosemont, IL
• BOK Center – Tulsa, OK
• Golden 1 Center – Sacramento, CA
• Madison Square Garden – New York, NY
• The O2 – London, UK
• Prudential Center – Newark, NJ
• T-Mobile Arena – Las Vegas, NV
Amphitheater of the Year
• Austin360 Amphitheater – Austin, TX
• Filene Center at Wolf Trap – Vienna, VA
• The Greek Theatre – Los Angeles, CA
• Hollywood Bowl – Los Angeles, CA
• Merriweather Post Pavilion – Columbia, MD
• The Pavilion at Toyota Music Factory – Irving, TX
• The Saint Augustine Amphitheatre – Saint Augustine, FL
• Vina Robles Amphitheatre – Paso Robles, CA
Fair of the Year
• California Mid-State Fair – Paso Robles, CA
• Delaware State Fair – Harrington, DE
• Great Jones County Fair – Monticello, IA
• Minnesota State Fair – St. Paul, MN
• OC Fair – Costa Mesa, CA
• Pacific National Exhibition – Vancouver, BC
• Wisconsin State Fair – West Allis, WI
Festival of the Year
• Austin City Limits Music Festival – Austin, TX
• Bonnaroo Music & Arts Festival – Manchester, TN
• BottleRock Napa Valley – Napa Valley, CA
• Electric Forest – Rothbury, MI
• KAABOO Del Mar – Del Mar, CA
• Lollapalooza – Chicago, IL
• New Orleans Jazz & Heritage Festival – New Orleans, LA
• Stagecoach Festival – Indio, CA
Club Buyer of the Year
• Margaret Galton – C3 Presents
• Sonia Grover – First Avenue
• Jim Mallonee – House of Blues
• Max McAndrew – AEG Presents
• Scott Orvold – Zero Mile
• Alan Presley – Coyote Joe’s
• Trevor Starnes – Red Mountain Entertainment
Casino Buyer of the Year
• Frank Deal – Choctaw Casino & Resort
• Leslie Goodwin – C3 Presents
• Kell Houston – Houston Productions
• Tammy Kite – Golden Nugget Casino
• Robyn Smith Levi – Boyd Gaming
• Mike Moloney – Mike Moloney Entertainment, LLC
• Joe Soper – Mohegan Sun
• Randy Wright – Integrity Events
Corporate Buyer of the Year
• Michael Boltzman – AEG Presents
• Paul Creighton – T. Skorman Productions
• Denise Kirk – Brattle Entertainment
• Mark Letson – EastCoast Entertainment
• Michelle Trosclair – National Entertainment Database, Inc.
• Rick Whetsel – G7 Entertainment Marketing
• Kevin White – OnStage Talent Group
International Buyer of the Year
• Mike Anderson – Trixstar (Canada)
• Dion Brandt – Frontier Touring (Australia)
• Denis Desmond – MCD Productions (Ireland)
• Toby Leighton-Pope & Steve Homer – AEG Presents (UK)
• Riley O’Connor – Live Nation (Canada)
• Ron Sakamoto – Gold & Gold Productions (Canada)
• James Smith – Live Nation (Japan)
Fair Buyer of the Year
• Casey Blakeley – Inked Entertainment
• Bill Magann – Variety Attractions
• Cathy Mordente – San Diego County Fair
• R.J. Romeo – Romeo Entertainment Group
• Sara Shelton Novak – Triangle Talent
• Greg Walton – Fun, Fairs, & Festivals
• Suzanne Wilson – Wilson Events
Festival Buyer of the Year
• Amy Corbin – C3 Presents
• Tom Hoppa & Dave Graham – BottleRock Napa Valley
• Alicia Karlin – Madison House Presents
• Roger LeBlanc – Madison Entertainment
• Mark Monahan – Ottawa Bluesfest
• Jay Sweet – Newport Festivals Foundation
• Tim Sweetwood – C3 Presents
Venue Executive of the Year
• Kim Bedier – Tacoma Dome, Cheney Stadium, Pantages and Rialto Theaters, & Theater on the Square
• Donna Julian – Spectrum Center
• Geni Lincoln – The Forum
• Beth Paul – Bon Secours Wellness Arena
• Michele Powell – Capital One Arena
• Kristin Ropp – U.S. Bank Arena
• Tricia Silliphant – Scotiabank Arena, Coca-Cola Coliseum, & BMO Field
Young Professional of the Year
• Sabrina Butera – CAA
• Brooke Ivey – APA
• Louisa Leiser – Outback Concerts
• Emily Mayer – AEG Presents
• Paige Ryan – Paradigm Talent Agency
• Ryan Soroka – UTA
• Bobby Weglarz – Live Nation
Talent Agent of the Year
• Dennis Arfa – Artist Group International
• Joe Atamian – Paradigm Talent Agency
• Marc Dennis – CAA
• Cara Lewis – Cara Lewis Group
• Cheryl Paglierani – UTA
• Brent Smith – WME
• Mario Tirado – CAA
• Jay Williams – WME
Promoter of the Year
• Russell Doussan – Live Nation
• Don Fox – Beaver Productions
• Larry & Fred Frank – Frank Productions
• Geoff Gordon – Live Nation
• Ali Harnell – AEG Presents
• Darin Lashinsky – NS2
• Gregg Perloff – Another Planet Entertainment
• Mike Smardak – Outback Concerts
Courtney Beebe Joins Sony Music Nashville
/by Jessica NicholsonCourtney Beebe
Sony Music Nashville has hired Courtney Beebe to the position of Manager, Media. Beebe will start on Sept. 4, and will report to Sr. VP Media & Corporate Communications Allen Brown. Beebe previously joined Sweet Talk Publicity in 2017. Her career also includes time at CMA as Communications Manager and Managing Editor of CMA Close Up Magazine.
The news follows the recent departure of Sony’s Mary Catherine Kinney, who has joined Spotify. Sony Music Nashville also recently hired PR veteran Wendy Pearl as VP, Media for Sony Music Nashville. Beebe can be reached at courtney.beebe@sonymusic.com.
RG Jones Departs Sony Music Nashville After 22 Years
/by Eric T. ParkerRG Jones. MusicRow/Haley Crow
Sony Music Nashville’s Dir./Promotion Strategy & Analysis RG Jones has left the label after 22 years.
“It’s been an amazing run with the Sony labels and the future is limitless,” Jones told MusicRow.
Jones was responsible for Indicator, Activator and MusicRow reporting stations at the label. He noted those responsibilities have been assigned among other members of the promotion team. Prior to joining then-RCA Label Group, Jones worked at WQBE/Charleston, West Virginia.
Reach him at 615-496-6350 or RGJones615@gmail.com.
Weekly Register: Cody Johnson Debuts Atop Country Digital Sales Chart With “On My Way To You”
/by Jessica NicholsonCody Johnson
New Warner Music Nashville artist Cody Johnson tops the Country Digital Sales Songs Chart this week, as “On My Way To You” moves 18K in its debut week, according to Nielsen Soundscan.
That feat breaks Florida Georgia Line‘s stronghold on the chart, as their song “Simple” is at No. 2 with 16K. Brett Young‘s “Mercy” lands at No. 3 with 15K, followed by Dan+Shay‘s “Tequila” at No. 4 with 11K. Kane Brown‘s “Weekend” rounds out the Top 5 with 11K.
Meanwhile, Brown holds the top spot on the country streaming songs chart this week, as another track, “Heaven,” brings in 9.5 million streams. Dan+Shay’s “Tequila” is at No. 2 with 8.4 million streams, followed by Young’s “Mercy” with 7.1 million. FGL’s “Simple” is at No. 4 with 6.3 million streams, while Chris Stapleton‘s “Tennessee Whiskey” is at No. 5 with 5.9 million streams.
On the albums sales chart, Luke Combs reigns at No. 1 with his album This One’s For You moving 25K. Jason Aldean‘s Rearview Town is at No. 2 with 16K, followed by Kenny Chesney‘s Songs For The Saints at No. 3 with 16K. Dan+Shay’s self-titled album is at No. 4 with 15K, while Kane Brown’s self-titled album is at No. 5 with 14K.
Bobby Karl Works The Room: A First Listen To Carrie Underwood’s ‘Cry Pretty’
/by Bobby KarlPictured (L-R): The HQ’s Ann Edelblute, Cry Pretty Co-Producer David Garcia, Carrie Underwood, UMG Nashville Chairman & CEO Mike Dungan, UMG Nashville President Cindy Mabe. Photo: Chris Hollo
BOBBY KARL WORKS THE ROOM
Chapter 600
When a superstar beckons, we answer.
“We,” in this case, was the throng that gathered on Monday evening (Aug. 20) to listen as Carrie Underwood’s forthcoming Cry Pretty album echoed in the polished, stone-and-cement interior of the Parthenon. Expectations were high, since this was her debut effort for her new label, Capitol Nashville.
John Tumminello, the vice president of the Pathenon conservancy, welcomed “we” with a history of the Nashville landmark and expressed how historic it was that the venue was hosting “new music from the incomparable Carrie Underwood.”
“To know Carrie Underwood is to respect her,” said UMG Nashville president Cindy Mabe. She added that the star is a “strong and brave and bold” role model for girls who is “one of the greatest voices we have ever known. This sets the basis for the rest of her career – Carrie’s most personal album yet.”
The diva took the stage with tears flowing. “The waterworks have already started,” she stammered. “She didn’t say anything about ‘poise,’” she added, referring to Cindy’s intro.
“Today is a big day. It’s a very emotional and nerve-wracking day. This journey has been one of chances taken, and I’m very proud of those steps. I hope what you’re hearing, you love, because it’s part of my heart,” she continued, now weeping openly. “Thank you from the bottom of my heart.”
Carrie sat at stage right. Her baby bump was showing in her sequined gold-and-black cocktail frock. Husband and expectant father Mike Fisher sat quietly beside her throughout the night.
Power ballads “Cry Pretty,” “Ghosts on the Stereo,” “Low” and “Backsliding” led up to the rocking “Southbound.” This, in turn, paved the way for the hooky, mid-tempo heartbreaker “That Song That We Used to Make Love To.”
“As you can hear, we covered a lot of ground,” said Underwood, at this halfway point in the listening session. “My partner in crime throughout this whole thing has been [co-writer and co-producer] David Garcia.” This is Underwood’s first venture as a co-producer.
“You guys like it so far?” asked David. “We ‘caught a vibe,’ I guess you could say….It was one of the most fun experiences I’ve ever had making music. We need to say a big thank-you to all the musicians….and all the songwriters.”
Of the latter, Allen Shamblin, Tom Douglas, Hillary Lindsey, Brett James, Josh Miller, Marc Beeson and Chris DeStefano were in the house. Carrie and David co-wrote six of the tunes with a number of them. Project engineer Joe Baldridge was also beaming in the crowd.
The bluesy “Drinking Alone,” the ballad weeper “The Bullet,” the quiet portrait of destruction “Spinning Bottles,” the driving and stormy “Love Wins,” a reggae-pop effort “End Up With You” and a home-and-hearth spiritual “Kingdom” were previewed next. The collection will also include a bonus track of her NFL anthem collaboration with Ludacris, “The Champion.”
“Thank you so much for coming and listening to what we’ve been doing for the past year,” said Carrie. “It means a lot to me.”
During the cocktail hour, we snacked on “East Nashville sliders,” which seemed to be mini burgers with pimento cheese. The wait staff also circulated with fried-avocado tacos and cilantro-tomato salsa on toast points. A tower of plates held a plethora of mini desserts.
“We” mutually schmoozed R.J. Curtis, B.J. Hill, Rod Essig, Sherod Robertson, Rondal Richardson, Fletcher Foster, Jon Freeman, Jody Williams, Joanna Carter, Jessica Nicholson, Ashley Eicher, Becca Walls, Chuck Aly, Deborah Evans Price, Eric T. Parker, Leslie Fram, George Flanigen, Hunter Kelly, Donna Hughes, host-with-the-most Mike Dungan, Nick DiFruscia, Tiffany Dunn, Bobby Young, Terry Wakefield, Mary Lauren Teague, Lisa Konicki, Lon Helton, Phyllis Stark, Steve Buchanan and Sally Williams.
Like I said, “we” all answered the call. That included the comely trio Runaway June, who will be an opening act on Carrie’s “Cry Pretty” tour.
We perched on Lucite banquet chairs. Pink-and-gold balloon garland encircled the hall’s classical Ionic columns. Yards of gold and black drapes flanked the walkways. Fuchsia-toned up lights cast shadows. The cocktail tables wore crimson skirts.
Looming above it all was the Parthenon’s massive, 42-foot, colossus-statue of a Greek goddess. She is embellished with – no foolin’ – 24-karat gold-leaf gilded helmet, sandals, shield, spear, bracelets, necklace and floor-length tunic
Shanna Strassberg had the guest quote of the night: “There’s only one woman who can upstage Carrie Underwood, and that’s Athena.”
Cry Pretty drops on September 14.