Mitch Barns. Photo: Nielsen
Two announcements today (July 26) from Nielsen revealed its Chief Executive Officer and Member of the Board, Mitch Barns, will retire from 20 years with company after net income for the second quarter of 2018 was reported to have decreased 45.0 percent.
Barns will remain through the end of the year to oversee the company and James Attwood, current Chairman of the Board and Managing Director at The Carlyle Group, has been named Executive Chairman and will assume a more active role and will direct the search for new leadership.
“Mitch has left an indelible mark on Nielsen—his commitment to integrity, openness, values and engagement will continue to be the heart of this company for years to come,” commented Attwood. “I, along with the rest of the Board of Directors, thank him for his service.”
Meanwhile, the board will be conducting an in-depth strategic review of its Buy segment, led by Attwood in conjunction with Nielsen’s senior management. The Board does not have a fixed timetable for completion of the review nor has it made any decisions at this time.
“In the second quarter, we continued to move forward on our multi-year transformations across Watch, Buy, and Operations. However, our progress was not reflected in our financial results, which are disappointing and came in below our expectations, and we are lowering our outlook for 2018,” said Jamere Jackson, Chief Financial Officer of Nielsen.
Jackson continued, “We are addressing the challenges we face with the greatest sense of urgency and remain sharply focused on our key initiatives to drive value in the long term. Our cost reduction efforts are ahead of schedule and we are accelerating cost-out targets. In Buy Developed Markets, we saw increased pressure in the fast moving consumer goods end markets; however, we made great progress with the Connected System, retailer initiatives, and Total Consumer Measurement. In Emerging Markets, weakness in multinational client spending was offset by growth with local clients. In Watch, ongoing adoption of Total Audience Measurement continued to drive growth. However, the General Data Protection Regulation and changes in the consumer data privacy landscape impacted our growth rates in the near-term as clients and partners grapple with the changes and work to ensure compliance.”
Revenues were relatively flat ($1,647 million for the second quarter of 2018) up 0.2 percent compared to the second quarter of 2017. Net income per share on a diluted basis was $0.20 per share in the second quarter of 2018, compared to $0.37 per share in the second quarter of 2017.
Nielsen delivers media and marketing information, analytics and industry expertise about what consumers buy (referred to as “Buy”) and what consumers read, watch and listen to (consumer interaction across the television, radio, digital and mobile viewing and listening platforms referred to as “Watch”) on a global and local basis. Measurement and analytical services help clients maintain and strengthen their market positions and identify opportunities for profitable growth.
Nielsen’s Second Quarter Results
Revenues within the Watch segment for the second quarter of 2018 increased 4.5 percent to $858 million compared to the second quarter of 2017. Audience Measurement of Video and Text revenues increased 7.4 percent, primarily due to ongoing investments, continued client adoption of our Total Audience Measurement system, and a strong contribution from Gracenote. Audio revenues were flat for the quarter. Marketing Effectiveness revenues increased 7.2 percent, driven by consistent investment in our product portfolio and strength in our product initiatives, partly offset by pressure on our clients and partners from the impact of the General Data Protection Regulation (GDPR) and other consumer data privacy considerations. Other Watch revenues decreased by $11 million, or 22.9 percent on a reported basis and 21.3 percent on a constant currency basis, due to continued portfolio pruning. Core Watch revenues grew 6.2 percent.
Revenues within the Buy segment for the second quarter 2018 decreased 4.1 percent to $789 million, compared to the second quarter of 2017. Buy Emerging Markets revenues decreased 1.0 percent, primarily driven by weakness in multinational client spending, particularly in markets in South East Asia and China, partly offset by strength in local client spending and solid growth in Eastern Europe, Africa, and some markets in Latin America. Buy revenues in Developed Markets decreased 4.3%, due to increased pressure on spending from large multinational clients. Revenues within Corporate Buy decreased by $9 million, or 55.6% on a constant currency basis, primarily due to continued portfolio pruning.
Net income for the second quarter of 2018 decreased 45.0 percent to $72 million, or 45.9 percent on a constant currency basis, compared to $131 million in the second quarter of 2017, as a result of softer revenues, higher restructuring charges, retailer investments, and other growth initiatives. During the second quarter of 2018, the company recorded restructuring charges of $65 million, or $0.12 per share. The restructuring charges reflect our continuing efforts to rightsize the business, the current market realities, and acceleration of our cost-out initiatives.
Adjusted EBITDA for the second quarter of 2018 decreased 8.1 percent to $468 million, compared to the second quarter of 2017. Adjusted EBITDA margins contracted 254 basis points to 28.4 percent, or 232 basis points on a constant currency basis, due to softer revenue and continued investments in Buy and Watch segments, partly offset by productivity initiatives.
Financial Position
As of June 30, 2018, Nielsen’s cash and cash equivalents were $394 million and gross debt was $8,664 million. Net debt (gross debt less cash and cash equivalents) was $8,270 million and Nielsen’s net debt leverage ratio was 4.16x at the end of the quarter. Net capital expenditures were $118 million for the second quarter of 2018, compared to $64 million for the second quarter of 2017. Cash taxes were $79 million for the second quarter of 2018, compared to $70 million for the second quarter of 2017.
Cash flow from operations increased to $242 million for the second quarter of 2018, from $226 million in the second quarter of 2017. Free cash flow for the second quarter of 2018 decreased to $124 million, compared to $162 million in the second quarter of 2017. Cash flow performance was driven by lower net income, higher net capital expenditures, higher interest, and tax payments, partially offset by the timing of vendor and client payments.
Capital Allocation
The company repurchased $40 million of its common stock during the second quarter of 2018. The company had a total of $238 million remaining for repurchase under the existing share repurchase program as of June 30, 2018.
On July 19, 2018, Nielsen’s Board of Directors declared a quarterly cash dividend of $0.35 per share of Nielsen’s common stock. The dividend is payable on September 5, 2018 to stockholders of record at the close of business on August 22, 2018.
Three New Country Music Festivals Arise: San Luis Obispo, New Orleans, Port St. Lucie
/by Eric T. ParkerBoots & Brews Country Music Festival Comes To San Luis Obispo, California, September 29
Headlined by Jake Owen, the afternoon-evening event will also include performances by Frankie Ballard, Carly Pearce, Tyler Rich and Faren Rachels.
For tickets or more information, visit bootsandbrews.com/slo.
Chillin’ On The Lucie Festival Comes To Port St. Lucie, Florida, October 3-7
The lineup will include Uncle Kracker, Cassadee Pope, Parmalee, Josh Gracin, Clare Dunn, Kalie Shorr, Hudson Moore, Lewis Brice, Twang and Round, Radio Romance, Julia Cole, Honey County, County Wide and Libby Switzer.
The festival is produced by Greg Everhart, Sunshine Tour and Travel, in association with 117 Live. VIP experiences will include acoustic sets, meet and greets, 4-star, all-inclusive Sandpiper Bay resort rooms, the Club Med. Room, and all-day food, drinks and alcohol.
Festival packages and more info can be found at chillinonthelucie.com.
Country Smooth Fest Comes To New Orleans, October 20-21
The two-day event will feature national and regional acts on two stages and family-friendly events like supercar driving experiences and go karting.
Tickets are available for purchase at countrysmoothfest.com.
Country Smooth American Premium Whiskey is distilled in Indiana, bottled in Nashville, Tennessee, and currently distributed in six states, including Louisiana and Texas.
Brett Young Celebrates Platinum Success
/by Jessica NicholsonBrett Young. Photo: Brooke Greenberg
Brett Young and numerous music industry colleagues celebrated his Platinum-selling success with a party held just outside of Nashville on Wednesday (July 25). Since his debut in 2016, Young has earned several Platinum accolades, including his debut, self-titled album and his current single “Mercy” both hitting the 1 million sales milestone, following Young’s first three singles “Sleep Without You” (certified Platinum), “In Case You Didn’t Know” (3x Platinum), and “Like I Loved You” (Platinum).
The celebration was hosted by BMLG President/CEO Scott Borchetta and BMLG Records President Jimmy Harnen at Harnen’s home. Young performed each of those honored songs, and previewed the first single from his upcoming second album, “Here Tonight” for industry guests.
“It was surreal being back where I first signed my record deal and seeing how much has happened since then,” Young said. “It’s crazy to think just three years ago I was in the same place just getting started with my team. I wrote this album from such a vulnerable and honest place, so it means the world that these songs have connected with people the way they have. The time has flown by, and I can’t wait to share the new music with fans soon.”
Pictured (L-R): Producer Dann Huff, BMLG Records President/BMLG EVP Jimmy Harnen, Brett Young, BMLG A&R Director Laurel Kittleson and BMLG President/CEO Scott Borchetta. Photo: Brooke Greenberg [CLICK TO ENLARGE]
Industry Ink: Kenny Chesney, Eli Young, Tyler Rich Bring Radio Promo To Chicago
/by Lorie HollabaughKenny Chats Saints Songs With Storme In Windy City
Chesney will join The Highway’s Storme Warren from Chicago’s Soldier Field to discuss why he is donating all the proceeds from the album to relief efforts from the U.S. and British Virgin Islands’ Hurricane Irma and Hurricane Maria.
“No Shoes Radio is the mojo wire for No Shoes Nation,” said Chesney, “and I wanted to share this record with them before anyone else. So much has gone into getting to this day and getting the music that happened in the moments of Hurricane Irma and Hurricane Maria. I wanted to share this record with the people who stepped up and helped us with the Love for Love City Fund, who’ve made – and continue to make such a difference. So what better place to do that than No Shoes Radio? And it’s great that SiriusXM is simulcasting it on The Highway as well.”
All proceeds from Songs for the Saints will go to Chesney’s Love for Love City Foundation, which has funded rescue and rebuilding projects.
Eli Young Band And Tyler Rich’s Pre-Show In Chicago Streamed With Big Machine Radio
Pictured (Top-Bottom): Eli Young Band, Tyler Rich
The Eli Young Band and Tyler Rich are headlining a show at Joe’s on Weed St. in Chicago this Friday (July 27) and Big Machine Radio’s Becca Walls and TuneIn’s Country Roads’ Kelly Sutton will co-host a pre-show live-stream at 7:00 p.m. CT, with the artists’ sets beginning an hour later. Fans worldwide can listen live on Big Machine Radio and TuneIn’s Country Roads.
Michael Martin Murphey Gives Fans Austin Music History Lesson On New CD
/by Lorie HollabaughMurphey had a front row ticket to the action as a part of the burgeoning Austin music scene back in those days, and for Austinology, he took a trip down Memory Lane and selected songs, including some by Guy Clark, Townes Van Zandt and Jerry Jeff Walker, that were important to that era when he lived in Austin and created the “Cosmic Cowboy” era.
Murphey is joined by plenty of special guests who were integral to that era on the project, as well as those influenced by the work they created, and the songs are given a fresh reading by Murphey and artists like Willie Nelson (on “Alleys of Austin” and “Cosmic Cowboy”), Steve Earle (on “Geronimo’s Cadillac”), Lyle Lovett (on “Alleys of Austin,” “Cosmic Cowboy” and “Drunken Lady of the Morning”), Kelly Willis and Bruce Robison (on “Little Bird”), Jerry Jeff Walker (on “Cosmic Cowboy”), Amy Grant (on “Wildfire”), Randy Rogers (“Backslider’s Wine”), The Last Bandoleros (on Guy Clark’s “LA Freeway”) and more.
Murphey also enlisted some top notch players for the project, including guitarist Kenny Greenberg, dobroist Rob Ickes, keyboardist Tim Akers and more. The album is co-produced with Christopher Harris and will be available for digital pre-order beginning Friday, July 27. The pre-order features both “Geronimo’s Cadillac” with special guest Steve Earle and “Outlaw Medley” as instant grat tracks.
Nielsen CEO To Retire, “Disappointing” Second Quarter Financials Revealed
/by Eric T. ParkerMitch Barns. Photo: Nielsen
Two announcements today (July 26) from Nielsen revealed its Chief Executive Officer and Member of the Board, Mitch Barns, will retire from 20 years with company after net income for the second quarter of 2018 was reported to have decreased 45.0 percent.
Barns will remain through the end of the year to oversee the company and James Attwood, current Chairman of the Board and Managing Director at The Carlyle Group, has been named Executive Chairman and will assume a more active role and will direct the search for new leadership.
“Mitch has left an indelible mark on Nielsen—his commitment to integrity, openness, values and engagement will continue to be the heart of this company for years to come,” commented Attwood. “I, along with the rest of the Board of Directors, thank him for his service.”
Meanwhile, the board will be conducting an in-depth strategic review of its Buy segment, led by Attwood in conjunction with Nielsen’s senior management. The Board does not have a fixed timetable for completion of the review nor has it made any decisions at this time.
“In the second quarter, we continued to move forward on our multi-year transformations across Watch, Buy, and Operations. However, our progress was not reflected in our financial results, which are disappointing and came in below our expectations, and we are lowering our outlook for 2018,” said Jamere Jackson, Chief Financial Officer of Nielsen.
Jackson continued, “We are addressing the challenges we face with the greatest sense of urgency and remain sharply focused on our key initiatives to drive value in the long term. Our cost reduction efforts are ahead of schedule and we are accelerating cost-out targets. In Buy Developed Markets, we saw increased pressure in the fast moving consumer goods end markets; however, we made great progress with the Connected System, retailer initiatives, and Total Consumer Measurement. In Emerging Markets, weakness in multinational client spending was offset by growth with local clients. In Watch, ongoing adoption of Total Audience Measurement continued to drive growth. However, the General Data Protection Regulation and changes in the consumer data privacy landscape impacted our growth rates in the near-term as clients and partners grapple with the changes and work to ensure compliance.”
Revenues were relatively flat ($1,647 million for the second quarter of 2018) up 0.2 percent compared to the second quarter of 2017. Net income per share on a diluted basis was $0.20 per share in the second quarter of 2018, compared to $0.37 per share in the second quarter of 2017.
Nielsen delivers media and marketing information, analytics and industry expertise about what consumers buy (referred to as “Buy”) and what consumers read, watch and listen to (consumer interaction across the television, radio, digital and mobile viewing and listening platforms referred to as “Watch”) on a global and local basis. Measurement and analytical services help clients maintain and strengthen their market positions and identify opportunities for profitable growth.
Nielsen’s Second Quarter Results
Revenues within the Watch segment for the second quarter of 2018 increased 4.5 percent to $858 million compared to the second quarter of 2017. Audience Measurement of Video and Text revenues increased 7.4 percent, primarily due to ongoing investments, continued client adoption of our Total Audience Measurement system, and a strong contribution from Gracenote. Audio revenues were flat for the quarter. Marketing Effectiveness revenues increased 7.2 percent, driven by consistent investment in our product portfolio and strength in our product initiatives, partly offset by pressure on our clients and partners from the impact of the General Data Protection Regulation (GDPR) and other consumer data privacy considerations. Other Watch revenues decreased by $11 million, or 22.9 percent on a reported basis and 21.3 percent on a constant currency basis, due to continued portfolio pruning. Core Watch revenues grew 6.2 percent.
Revenues within the Buy segment for the second quarter 2018 decreased 4.1 percent to $789 million, compared to the second quarter of 2017. Buy Emerging Markets revenues decreased 1.0 percent, primarily driven by weakness in multinational client spending, particularly in markets in South East Asia and China, partly offset by strength in local client spending and solid growth in Eastern Europe, Africa, and some markets in Latin America. Buy revenues in Developed Markets decreased 4.3%, due to increased pressure on spending from large multinational clients. Revenues within Corporate Buy decreased by $9 million, or 55.6% on a constant currency basis, primarily due to continued portfolio pruning.
Net income for the second quarter of 2018 decreased 45.0 percent to $72 million, or 45.9 percent on a constant currency basis, compared to $131 million in the second quarter of 2017, as a result of softer revenues, higher restructuring charges, retailer investments, and other growth initiatives. During the second quarter of 2018, the company recorded restructuring charges of $65 million, or $0.12 per share. The restructuring charges reflect our continuing efforts to rightsize the business, the current market realities, and acceleration of our cost-out initiatives.
Adjusted EBITDA for the second quarter of 2018 decreased 8.1 percent to $468 million, compared to the second quarter of 2017. Adjusted EBITDA margins contracted 254 basis points to 28.4 percent, or 232 basis points on a constant currency basis, due to softer revenue and continued investments in Buy and Watch segments, partly offset by productivity initiatives.
Financial Position
As of June 30, 2018, Nielsen’s cash and cash equivalents were $394 million and gross debt was $8,664 million. Net debt (gross debt less cash and cash equivalents) was $8,270 million and Nielsen’s net debt leverage ratio was 4.16x at the end of the quarter. Net capital expenditures were $118 million for the second quarter of 2018, compared to $64 million for the second quarter of 2017. Cash taxes were $79 million for the second quarter of 2018, compared to $70 million for the second quarter of 2017.
Cash flow from operations increased to $242 million for the second quarter of 2018, from $226 million in the second quarter of 2017. Free cash flow for the second quarter of 2018 decreased to $124 million, compared to $162 million in the second quarter of 2017. Cash flow performance was driven by lower net income, higher net capital expenditures, higher interest, and tax payments, partially offset by the timing of vendor and client payments.
Capital Allocation
The company repurchased $40 million of its common stock during the second quarter of 2018. The company had a total of $238 million remaining for repurchase under the existing share repurchase program as of June 30, 2018.
On July 19, 2018, Nielsen’s Board of Directors declared a quarterly cash dividend of $0.35 per share of Nielsen’s common stock. The dividend is payable on September 5, 2018 to stockholders of record at the close of business on August 22, 2018.
DISClaimer’s Day For New Beginnings: Mason Ramsey, Sarah Ross, Riley Green, Tenille Arts
/by Robert K OermannPictured (clockwise from bottom left): Riley Green, Mason Ramsey, Sarah Ross, Tenille Arts
This is a day for new beginnings.
Today, DISClaimer presents a flurry of deserving newcomers. Mason Ramsey, Sarah Ross, Riley Green and Tenille Arts are all staging worthy disc debuts. In a very, very tough competition, I’m giving a DISCovery Award to Riley Green.
Considering that it’s July, it is somewhat surprising to find that two of the three contestants for Disc of the Day are ballads. Morgan Evans has the day’s top uptempo tune, which leaves two blue-eyed soulmen seething in downbeat misery—Ryan Kinder and our winner, Randy Houser.
TENILLE ARTS/I Hate This
Writer: Tenille Arts/Adam Wheeler; Producer: none listed; Publisher: none listed; Reviver
—The shuffled-brush drumming and dobro embellishments are way cool. She harmonizes with herself throughout the performance, and since she’s such a strong singer, that’s double the pleasure. The lyric is about taking a break in a relationship and not enjoying that one little bit. A terrific debut disc.
CLEDUS T. JUDD/Weight’s Goin’ Up Down Up Down
CTJM
—He always makes me smile. This comeback single humorously addresses his eternal battle of the bulge. Just so you know: At his heaviest, he weighed 291, and he has dieted down to as low as 168. He’s somewhere in between, nowadays. Whatever the pounds, he’s out to have some goofy fun, this time at the expense of Morgan Wallen and FGL.
RAELYNN/Tailgate
Writer: RaeLynn/Canaan Smith/Corey Crowder/Tyler Hubbard; Producer: none listed; Publisher: none listed; Warner Bros.
—Sprightly, youthful and endearing. Teen fun, country style.
SARAH ROSS/Nervous Breakdown
Writer: Shane McAnally/Kacey Musgraves/Trevor Rosen/Brandy Clark; Producer: Jim Kaufman; Publisher: Little Blue Egg/Kobalt/Smack Songs/351/Warner-Tamerlane/Rehits/Smacktown, GMR/BMI/ASCAP; Average Joe’s
—Swirling and dizzy-sounding, featuring a production packed with dark rhythmic power, unexpected melodic twists and catch-’em-quick lyrics. Brilliantly written, frenetic and fascinating.
RANDY HOUSER/What Whiskey Does
Writer: none listed; Producer: none listed; Publisher: none listed; BBR/Stony Creek
—This is a searing barroom weeper from a man whose voice can turn a lyric inside out. Country music hallelujah amen.
RYAN KINDER/Stay
Writer: Ryan Kinder/Fred Wilhelm/Luke Sheets; Producer: Ryan Kinder & Luke Sheets; Publisher: none listed; Crimson Garden
—Ferociously soulful. He tears into this torrid ballad like his very life depends on it. The gal he is pleading to will surely succumb.
MASON RAMSEY/Famous
Writer: Corey Crowder/Canaan Smith/Sarah Buxton/Tyler Hubbard; Producer: none listed; Publisher: Warner-Chappell/BMG Rights; Atlantic/Big Loud
—In general, I hate kiddie acts. Unless they are/were Stevie Wonder or Brenda Lee or Judy Garland. Well, it turns out that the yodeling Walmart kid can really, really sing. So not only is this a wonderful Cinderfella story, it is accompanied by music with legs. His debut single is delivered in a solid, winning fashion and an uncomplicated directness that is marvelously refreshing.
MORGAN EVANS/American
Writer: Morgan Evans/Chris DeStefano/Josh Osborne; Warner Bros.
—Stirring and anthemic. You’ll shake your butt, bob your head, tap your toes, pump your fist and want to sing along. This man has the goods.
WILLIAM SHATNER & JEFF COOK/Friends Don’t Let Friends Drink Alone
Writer: Corey Lee Barker/Gary Hannan; Producer: Brian Curl, Jeff Cook & William Shatner; Publisher: Heartland/Never Forgotten; Heartland
—A throw-back honky tonker with barrelhouse piano, bouncing fiddle bow, woozy steel and thumped drums. Shatner recites the verses while Cook tries to salvage things by singing the choruses. An amusing diversion.
RILEY GREEN/There Was This Girl
BMLG
—Bubbling, boiling and shooting off steam. The rollicking rhythm, country-boy vocal delivery and unstoppable energy are a dynamite combination. Stardom awaits.
In Photos: ASCAP, Shenandoah, Meghan Trainor, John Michael Montgomery, Josh Brannon Band
/by Eric T. ParkerASCAP Benefits Room In The Inn
Pictured (L-R): Carnival Music songwriter Marla Cannon-Goodman, Room In The Inn Executive Director Rachel Hester, songwriter RL Castleman, Room In The Inn Founder Charlie Stroebel, songwriter Jason Sellers, ASCAP’s Robert Filhart and Peermusic songwriter Neil Thrasher at The Bluebird Cafe
ASCAP featured several showcases in July to spotlight songwriters and raise awareness for Nashville hospitality and shelter organization Room In The Inn. Inspired by Country Music Hall of Fame member and lifelong ASCAP songwriter Don Schlitz, who performs every week at Room In The Inn, ASCAP features songwriters to perform at the shelter once a month throughout 2018, while ASCAP staff volunteer to serve the guests. On July 17, the series featured HoriPro songwriter Sarah Allison Turner and Big Deal songwriter/producer Ben Goldsmith, ASCAP’s Robert Filhart and Mary Self. Earlier in the month Bonnie Baker and songwriters Benjamin Johnson, Ben Goldsmith and Aubrey Shamel were featured at the The Bluebird Cafe, and on July 18, ASCAP hosted its annual benefit with Marla Cannon-Goodman, RL Castleman, Jason Sellers and Neil Thrasher and was co-sponsored by City National Bank.
Pictured (L-R): ASCAP’s Robert Filhart, Room In The Inn’s Melanie Barnett, HoriPro songwriter-artist Sarah Allison Turner, Big Deal songwriter/producer Ben Goldsmith, Room In The Inn Executive Director Rachel Hester and ASCAP’s Mary Self at Room In The Inn
Pictured (L-R): ASCAP’s Suzanne Lee, songwriters Benjamin Johnson, Bonnie Baker, Aubrey Shamel and Ben Goldsmith, and ASCAP’s Robert Filhart at The Bluebird Cafe
Shenandoah Performs ’90s Country Night
Pictured (L-R): Easton Corbin, Travis Denning, Deana Carter, TJ Osborne (Brothers Osborne), Carly Pearce, Mike McGuire (Shenandoah), John Osborne (Brothers Osborne), Marty Raybon (Shenandoah), Tracy Lawrence, Adam Sanders
This past Monday (July 23), Shenandoah performed at Adam Sanders‘ “90s Night” showcase, held at Marathon Music Works in Nashville to benefit the T.J. Martell Foundation. The event featured young acts paired with their 90s idols. Shenandoah, with help from Brothers Osborne, Travis Denning, Sanders, Carly Pearce, Easton Corbin, Tracy Lawrence, and Deana Carter, closed out the show singing “Church on Cumberland Road.” CMT’s Hot Country Countdown was on-site to catch all the 90s-induced tributes that will air in a special episode later this year. The band will also be featured on an upcoming SiriusXM’s Prime Country event this Friday, July 27 at 12:00 p.m. ET with a slew of encore airings throughout the week.
Meghan Trainor Visits Grammy Camp
Pictured (L-R): Michael Sticka, GRAMMY Museum Executive Director; Meghan Trainor, GRAMMY-winning artist; and David R. Sears, GRAMMY Museum Executive Education Director. Courtesy of the Recording Academy/WireImage.com; Photo: Alison Buck
Singer/Songwriter Meghan Trainor appeared at the 2018 GRAMMY Museum’s GRAMMY Camp last week on July 20 for a Q&A event. The camp ran from July 17-21 at the University of Southern California’s Thornton School of Music.
Pictured (L-R): Josh Brannon, John Michael Montgomery, Worth King. Photo Josh Brannon Band
John Michael Montgomery and the Josh Brannon Band performed during the 22nd annual Saddle Up for St. Jude in Tuscumbia, Alabama for St. Jude Trail Ride and Festival on July 20-21. This year, the two-day event raised more than $150,000 for St. Jude, marking $1.8 million raised for St. Jude since 1996.
New Lefty Frizzell 20-CD Box Set Covers Entire Spectrum Of Frizzell’s Work
/by Lorie HollabaughLefty Frizzell
A massive new Lefty Frizzell box set, An Article From Life: The Complete Recordings, is set for release October 19 that will feature 20 CDs of Frizzell’s recordings. Likely the most definitive collection of the star’s material, the Bear Family Records retrospective delivers a complete assembling of Frizzell’s work, including many tracks not on prior Bear Family releases, and provides a fascinating, in-depth look at the country legend’s work.
An Article From Life’s CDs cover Frizzell’s 25-year recording career and 17 No. 1 hits, and include 361 songs like his 1950 breakout debut single, “I Love You a Thousand Ways” and signature numbers such as “If You’ve Got the Money, I’ve Got the Time,” “Always Late (With Your Kisses),” “Look What Thoughts Will Do,” “Forever (and Always),” “Long Black Veil,” “She’s Gone Gone Gone,” and the 1964 classic “Saginaw, Michigan.”
Also included in the collection is the tune “Life’s Like Poetry,” a Merle Haggard song from his last album, Classic Style, which released just months before Frizzell’s tragic death in 1975, when he was 47 years old. There are also rare radio recordings Frizzell did for the Navy and Air Force on Country Music Time and for the U.S. Army-produced Country Style USA, as well as an audio book version of the biography I Love You a Thousand Ways: The Lefty Frizzell Story read by its author, country artist David Frizzell, Lefty’s little brother.
The set also features an updated biography and discography as well as a newly-designed 264-page hardcover book and an array of previously unseen photos courtesy of the Frizzell family.
Chris Janson Receives BMI Million-Air Awards During Opry Appearance
/by Lorie HollabaughPictured: (L-R): John Ozier, ole; David Preston, BMI; Chris and Kelly Janson. Photo: Chris Hollo
Chris Janson was surprised at the Grand Ole Opry last night (July 25) with three BMI Million-Air certificates just minutes before taking the Opry stage for the 138th time.
Janson is the Grand Ole Opry’s newest and youngest living member, and he was recognized for his No. 1 single “Buy Me a Boat” (2 million), and two songs he wrote which were recorded by other artists: “How I’ll Always Be,” recorded by Tim McGraw (1 million), and “I Love This Life,” recorded by LOCASH (2 million). David Preston, BMI’s Senior Director/Creative, Nashville, presented Janson with the recognitions.
“It’s so great to watch a guy, who I consider my friend, go from playing honky tonks in Nashville to playing arenas in front of thousands of fans. Chris Janson loves what he does for a living, and it shows in the way his fans respond to his music. He continues to release songs that connect with people and it’s no surprise that these cuts have reached such a high level of success,” said Preston.
Following his performance Janson shared the exciting news with his fans on his socials. “I am so humbled to be a songwriter. Kelly, the kids and I are so thankful, and feel so blessed to be living this dream come true…I am 110 percent totally speechless. God is good.”
A Million-Air Award is given to songwriters, composers, and publishers whose songs accumulate over one million U.S. broadcast performances.
SESAC Responds To NSAI, SONA Assertions
/by Jessica Nicholson[Update, July 25]: SESAC has released the following statement in response to the calls to action from NSAI and SONA:
[Original post, July 24]:
Two songwriter groups have spoken out against private equity firm Blackstone (which acquired music rights organization SESAC in 2017) following a last-minute proposal from Blackstone to alter the Music Modernization Act (MMA).
A portion of the MMA, as currently drafted, calls for the creation of a single Music Licensing Collective (MLC). The collective would oversee digital mechanical licenses, collect money from digital services, track the digital usage of writers’ works and pay writers.
Blackstone and SESAC (which also owns licensing firm The Harry Fox Agency) contends that the creation of such a collective could render firms that handle administration for music licenses unnecessary. So, they have proposed changes to the MMA.
The Nashville Songwriters Association International (NSAI) and Songwriters of North America (SONA) have asked that Blackstone, SESAC and Harry Fox withdraw the proposal and support the MMA as currently drafted. NSAI and SONA contend that the Harry Fox Agency, SESAC, and Blackstone are “using their financial and political muscle for their own narrow corporate self interest.”
The MMA recently passed the House of Representatives with a unanimous favorable vote (415-0). The MMA represents years of negotiation among songwriters, publishers, streaming companies, record labels, performing rights organizations, and more.
Blackstone released the following statement:
“Blackstone strongly supports music modernization, and we are confident legislation will be signed into law this year as long as all parties continue working in the same cooperative spirit that has characterized the process so far.”
SESAC released the following statement:
“SESAC is committed to working towards a version of the Music Modernization Act that retains all of the benefits for writers, publishers and DSPs and which will move music licensing into the 21st Century while supporting a competitive market in music rights administration.”. “We expect that as the Senate continues to work through these issues with input from concerned and well-meaning stakeholders, an appropriate resolution will be reached and the MMA will be passed before the end of the year.”
BMI also released the following statement:
“The Music Modernization Act represents an historic opportunity to enact meaningful music licensing reform. The bill is the product of unprecedented collaboration among music stakeholders and passed unanimously through the House Judiciary Committee, the full House, and the Senate Judiciary Committee. BMI is disappointed that at this late stage, the MMA is being endangered by last minute asks. During the long process of drafting this bill, BMI, like many others, had to compromise on certain provisions in order to achieve a final result that benefits the industry as a whole. We hope that the parties currently in disagreement can work together to resolve their issues, allowing this important piece of legislation to move forward.”