Pictured (L-R): Buddy Cannon representing NaSHOF inductee Vern Gosdin; NaSHOF inductees Tim Nichols, Walt Aldridge and Jim McBride; Gentry Blackwell representing his father NaSHOF inductee Dewayne Blackwell and NaSHOF executive director Mark Ford.
This year’s Nashville Songwriters Hall of Fame induction ceremony was jumbo in every way.
A sold-out crowd of more than 1,000 filled the ballroom in the Music City Center on Monday evening (Oct. 23). Giant stars like Luke Bryan, Lee Ann Womack, Earl Thomas Conley and Alan Jackson were featured. The evening saluted a whopping five inductees – Jim McBride, Dewayne Blackwell, Walt Aldridge, Tim Nichols and the late Vern Gosdin. More than 25 current Hall of Fame members attended, adding to the evening’s luster.
These included (alphabetically) Tony Arata, Aaron Barker, Gary Burr, Beth Nielsen Chapman, Jerry Chesnut, Sonny Curtis, Mac Davis, Bob DiPiero, Tom Douglas, Jerry Foster, Wayland Holyfield, Mark James, Dickey Lee, Layng Martine Jr., Mac McAnally, Dennis Morgan, Bob Morrison, Roger Murrah, Paul Overstreet, Gretchen Peters, Mark D. Sanders, Thom Schuyler, Jeffrey Steele, Even Stevens, Ray Stevens and Craig Wiseman.
The crowd was so large, I only saw 18 of them. Event organizers assured us that the rest were on hand, plus such Hall of Fame relatives as Rita Allison, Sherry Bond, Melanie Howard, Lisa Sutton (check out her late mom Lynn Anderson’s new Country Music Hall of Fame display), Holly Williams, Erin Everly, Hilary Williams and Patti Everly.
“Welcome to Nashville songwriting’s biggest night,” said the Hall of Fame’s executive director Mark Ford. He noted the deaths of the Hall’s Norro Wilson and Curly Putman during the past year and proudly pointed out that all three of Sunday’s Country Music Hall of Fame inductees were already members of the Nashville Songwriters Hall of Fame – Jerry Reed, Don Schlitz and Alan Jackson.
Mac McAnally inducted Walt Aldridge, saying, “He can do everything there is to do in our business,” including producing, publishing, singing, arranging and teaching in addition to songwriting. “He’s a role model,” added Mac. “I’m grateful to know him.”
Pictured (L-R): Tim Wipperman CEO and Founding Partner, Rezonant Music; Hillary Lindsey; Kos Weaver, BMG EVP/Nashville. Photo: Bev Moser
Walt was saluted in song by James LeBlanc doing Walt’s 2002 Travis Tritt hit “Modern Day Bonnie and Clyde.” Earl Thomas Conley sang Walt’s “Holding Her and Loving You,” which in 1983 became Earl’s biggest hit.
“About six years ago, I decided to move back to Muscle Shoals [abruptly ending his Nashville songwriting],” said Walt in accepting. “I walked away in mid-sentence, without a punctuation mark. Tonight, you not only gave me a ‘period,’ you gave me an ‘exclamation point.’”
Buddy Cannon inducted his friend, neighbor and songwriting collaborator, the late Vern Gosdin (1934-2009). “It was really exciting hearing that voice singing songs that we had created in my living room,” recalled Buddy. “Vern was a great, unique songwriter.”
A video was screened of Vern Gosdin singing 1988’s “Chiseled in Stone” on the Opry stage. It stunned the crowd and stilled the very breathing in the room.
Luke Bryan had to follow that. He gamely ran through 1988’s toe-tapping honky tonker “Set ‘Em Up Joe.”
“That brought back a lot of memories,” said Buddy. “I’d like to accept this on Vern’s behalf.”
Pictured (L-R): NSAI Songwriter-Artist of the Year Luke Bryan receiving his award from NSAI Executive Director Bart Herbison, NSAI Director of Operations Jennifer Turnbow and NSAI President Lee Thomas Miller. Photo: Bev Moser
Jerry Salley inducted Jim McBride. Which is fitting, since they are both among the nicest and most generous-hearted people on the planet. “He has traveled down a road that was always leading him here tonight,” said Jerry of his friend Jim. “His songs have appeared on more than 70 million records.”
Jim McBride’s songs have been recorded by Conway Twitty, Johnny Cash, Alabama, Patty Loveless, Lorrie Morgan, Randy Travis, Charley Pride, Toby Keith, Diamond Rio, Reba McEntire, Lonestar, John Anderson, Aaron Tippin, Mark Chesnutt, Johnny Paycheck, Trace Adkins and Keith Whitley, among many others.
The Lonesome River Band turned in a superb bluegrass arrangement of Jim’s 1987 Waylon Jennings hit “Rose in Paradise.” Alan Jackson recalled that he was a complete unknown and Jim was an established writer when Jim kindly agreed to collaborate with him.
“The songs that Jim and I wrote helped me get down the road to last night [his Country Music Hall of Fame induction],” said the superstar. He and some of his Strayhorns band members then sang a medley of “Chasin’ That Neon Rainbow,” “Someday,” “Chattahoochie” and the 1994 stone-country ballad “Hole in the Wall.”
Addressing the many Nashville Songwriters Hall of Fame honorees, living and dead, Jim said, “Thank you for keeping this roller coaster rollin’ so that I might take a ride. Thank God for blessing me far beyond anything I ever deserved. I’ve never been more honored or proud to be a songwriter than on the greatest night of my career.”
Rusty Gaston inducted Tim Nichols, saying, “Tim’s best songs sound like they’ve always been around.” Lee Ann Womack serenaded the honoree with “I’m Over You,” which was originally popularized by Keith Whitley in 1990. Dustin Lynch did a mash-up of his 2012 hit “Cowboys and Angels” with 2004’s Tim McGraw smash “Live Like You Were Dying.”
“Wow…I’m just trying to hold it together up here,” said Tim. “This evening, I have been abundantly blessed. I’ve never been happier in my whole life. Thank you so much!”
Ashley Gorley. Photo: Bev Moser/Moments By Moser
Ken Paulson inducted Dewayne Blackwell, noting that the veteran tunesmith’s pop writing career included the standard “Mr. Blue,” originated by The Fleetwoods in 1959 and that it was Dewayne’s first recorded tune. Roy Orbison, Bobby Vee, The Ventures, The Everly Brothers, Pat Boone, Bobby Vinton, Sam the Sham & The Pharoahs and Gary Lewis & The Playboys all recorded his early songs.
Dewayne’s second songwriting career was in country music and included such hits as David Frizzell’s “I’m Gonna Hire a Wino” (1982), Sammy Kershaw’s “Yard Sale” (1992), Conway Twitty’s “Saturday Night Special” (1988), Frizzell’s “A Million Light Beers Ago” (1983) and Marty Robbins’s “Honkytonk Man” (1982).
The harmonizing trio The Bundys performed a beautifully arranged version of “Mr. Blue.” Then Craig Campbell led the audience in a sing-along of Dewayne’s giant 1990 Garth Brooks hit “Friends in Low Places.”
Dewayne Blackwell is 81 and was not well enough to travel to Nashville for the ceremony from his home in Mexico. Son Gentry Blackwell accepted on his behalf.
“I know a lot of you were looking forward to seeing him,” said Gentry. “A lot of you know him. He’s very honored. I want to thank you for my father for the honor and the privilege of being in the Nashville Songwriters Hall of Fame.”
The evening began with The Nashville Songwriters Association International (NSAI) awards. Bart Herbison, Lee Thomas Miller and Jennifer Turnbow presided.
Pictured (L-R): Clint Lagerberg, Hillary Lindsey and Steven Lee Olsen, writers of NSAI Song of the Year “Blue Ain’t Your Color.” Photo: Bev Moser/Moments By Moser
This year’s “10 songs I wish I’d written,” as voted on by the membership, were 1. “Better Man” by non-attending Taylor Swift; 2.“Body Like a Back Road” by Josh Osborne, Shane McAnally, Zach Crowell and an absent Sam Hunt; 3. “Different for Girls” by Shane with J.T. Harding; 4. “Dirt on My Boots” by Ashley Gorley, Jesse Frasure and an absent Rhett Akins and 5. “Drinkin’ Problem” by Shane and Josh with the non-attending members of Midland. Also 6. “H.O.L.Y.” by busbee, Nate Cyphert and William Larsen; 7. “Kill a Word” by Jeff Hyde, Luke Dick and non-attending Eric Church; 8. “Peter Pan” by Kelsea Ballerini, Jesse Lee and an absent Forest Glen Whitehead; 9. “Vice” by Josh, Shane and non-attendee Miranda Lambert and 10. “80s Mercedes” by busbee and Maren Morris.
Luke Bryan was named the NSAI’s Artist-Songwriter of the Year. “What an unbelievable room to be in,” he said. “It’s inspiring. For all you young writers out there, take this night as fuel. What an honor.”
Ashley Gorley picked up his third NSAI Songwriter of the Year prize. He said, “I want to thank NSAI for all that they do. I want to thank you guys for being the ‘first stop’ in town for aspiring songwriters.”
“Blue Ain’t Your Color” became yet another organization’s Song of the Year for cowriters Steven Lee Olsen, Clint Lagerberg and Hillary Lindsey. Hillary has now tied Kris Kristofferson as the writer with the most NSAI Song of the Year prizes.
“This award is so extremely special because it’s voted on by your peers,” she said. “It’s The One award. Your friendship means so much to me. This is a community that doesn’t exist anyplace but here.” The three writers sang “Blue Ain’t Your Color,” harmonizing beautifully.
The 1,000+ attendees included such creative folks as Marcus Hummon, Levi Hummon, Tim DuBois, Chris DuBois, Steve Bogard, Steve O’Brien, Bob Regan, Bobby Tomberlin, David Malloy, Dave Pomeroy, Bernie Nelson, Liz Hengber, Rory Feek, Jan Howard, Brandon Rickman, Buddy Kalb, Doug Johnson, Barry Walsh, Webb Wilder, Bill Lloyd, Frank Liddell, Justin Duke, Georgia Middleman, Scott Hendricks and Mark Alan Springer.
We dined on salads, beef medallions, cheesy potatoes, prawns, squash and chocolate desserts. The wine flowed freely.
Making merry were Pat Collins, Pat Higdon, Patrick Clifford, Mike Hollandsworth, Mike Dungan, Mike Vaden, Becky Harris, Judy Harris, Preshias Harris, John Esposito, John Stein, Bob Doyle, Bobby Brantley, Dale Bobo, Jason Morris & Jewel Coburn, Terry Wakefield, Allison Jones, Martha Moore, Walter Campbell, Linda Edell Howard, Stacy Widelitz, Carla Wallace, Sherrill Blackmon, Lisa Harless, Tim Wipperman, Dennis Banka, Bill Cody, Ben Vaughn, B.J. Hill and Amy Kurland.
Let’s do it again next year.
Bobby Karl Works The Nashville Songwriters Hall Of Fame Induction Ceremony
/by Bobby KarlPictured (L-R): Buddy Cannon representing NaSHOF inductee Vern Gosdin; NaSHOF inductees Tim Nichols, Walt Aldridge and Jim McBride; Gentry Blackwell representing his father NaSHOF inductee Dewayne Blackwell and NaSHOF executive director Mark Ford.
This year’s Nashville Songwriters Hall of Fame induction ceremony was jumbo in every way.
A sold-out crowd of more than 1,000 filled the ballroom in the Music City Center on Monday evening (Oct. 23). Giant stars like Luke Bryan, Lee Ann Womack, Earl Thomas Conley and Alan Jackson were featured. The evening saluted a whopping five inductees – Jim McBride, Dewayne Blackwell, Walt Aldridge, Tim Nichols and the late Vern Gosdin. More than 25 current Hall of Fame members attended, adding to the evening’s luster.
These included (alphabetically) Tony Arata, Aaron Barker, Gary Burr, Beth Nielsen Chapman, Jerry Chesnut, Sonny Curtis, Mac Davis, Bob DiPiero, Tom Douglas, Jerry Foster, Wayland Holyfield, Mark James, Dickey Lee, Layng Martine Jr., Mac McAnally, Dennis Morgan, Bob Morrison, Roger Murrah, Paul Overstreet, Gretchen Peters, Mark D. Sanders, Thom Schuyler, Jeffrey Steele, Even Stevens, Ray Stevens and Craig Wiseman.
The crowd was so large, I only saw 18 of them. Event organizers assured us that the rest were on hand, plus such Hall of Fame relatives as Rita Allison, Sherry Bond, Melanie Howard, Lisa Sutton (check out her late mom Lynn Anderson’s new Country Music Hall of Fame display), Holly Williams, Erin Everly, Hilary Williams and Patti Everly.
“Welcome to Nashville songwriting’s biggest night,” said the Hall of Fame’s executive director Mark Ford. He noted the deaths of the Hall’s Norro Wilson and Curly Putman during the past year and proudly pointed out that all three of Sunday’s Country Music Hall of Fame inductees were already members of the Nashville Songwriters Hall of Fame – Jerry Reed, Don Schlitz and Alan Jackson.
Mac McAnally inducted Walt Aldridge, saying, “He can do everything there is to do in our business,” including producing, publishing, singing, arranging and teaching in addition to songwriting. “He’s a role model,” added Mac. “I’m grateful to know him.”
Pictured (L-R): Tim Wipperman CEO and Founding Partner, Rezonant Music; Hillary Lindsey; Kos Weaver, BMG EVP/Nashville. Photo: Bev Moser
Walt was saluted in song by James LeBlanc doing Walt’s 2002 Travis Tritt hit “Modern Day Bonnie and Clyde.” Earl Thomas Conley sang Walt’s “Holding Her and Loving You,” which in 1983 became Earl’s biggest hit.
“About six years ago, I decided to move back to Muscle Shoals [abruptly ending his Nashville songwriting],” said Walt in accepting. “I walked away in mid-sentence, without a punctuation mark. Tonight, you not only gave me a ‘period,’ you gave me an ‘exclamation point.’”
Buddy Cannon inducted his friend, neighbor and songwriting collaborator, the late Vern Gosdin (1934-2009). “It was really exciting hearing that voice singing songs that we had created in my living room,” recalled Buddy. “Vern was a great, unique songwriter.”
A video was screened of Vern Gosdin singing 1988’s “Chiseled in Stone” on the Opry stage. It stunned the crowd and stilled the very breathing in the room.
Luke Bryan had to follow that. He gamely ran through 1988’s toe-tapping honky tonker “Set ‘Em Up Joe.”
“That brought back a lot of memories,” said Buddy. “I’d like to accept this on Vern’s behalf.”
Pictured (L-R): NSAI Songwriter-Artist of the Year Luke Bryan receiving his award from NSAI Executive Director Bart Herbison, NSAI Director of Operations Jennifer Turnbow and NSAI President Lee Thomas Miller. Photo: Bev Moser
Jerry Salley inducted Jim McBride. Which is fitting, since they are both among the nicest and most generous-hearted people on the planet. “He has traveled down a road that was always leading him here tonight,” said Jerry of his friend Jim. “His songs have appeared on more than 70 million records.”
Jim McBride’s songs have been recorded by Conway Twitty, Johnny Cash, Alabama, Patty Loveless, Lorrie Morgan, Randy Travis, Charley Pride, Toby Keith, Diamond Rio, Reba McEntire, Lonestar, John Anderson, Aaron Tippin, Mark Chesnutt, Johnny Paycheck, Trace Adkins and Keith Whitley, among many others.
The Lonesome River Band turned in a superb bluegrass arrangement of Jim’s 1987 Waylon Jennings hit “Rose in Paradise.” Alan Jackson recalled that he was a complete unknown and Jim was an established writer when Jim kindly agreed to collaborate with him.
“The songs that Jim and I wrote helped me get down the road to last night [his Country Music Hall of Fame induction],” said the superstar. He and some of his Strayhorns band members then sang a medley of “Chasin’ That Neon Rainbow,” “Someday,” “Chattahoochie” and the 1994 stone-country ballad “Hole in the Wall.”
Addressing the many Nashville Songwriters Hall of Fame honorees, living and dead, Jim said, “Thank you for keeping this roller coaster rollin’ so that I might take a ride. Thank God for blessing me far beyond anything I ever deserved. I’ve never been more honored or proud to be a songwriter than on the greatest night of my career.”
Rusty Gaston inducted Tim Nichols, saying, “Tim’s best songs sound like they’ve always been around.” Lee Ann Womack serenaded the honoree with “I’m Over You,” which was originally popularized by Keith Whitley in 1990. Dustin Lynch did a mash-up of his 2012 hit “Cowboys and Angels” with 2004’s Tim McGraw smash “Live Like You Were Dying.”
“Wow…I’m just trying to hold it together up here,” said Tim. “This evening, I have been abundantly blessed. I’ve never been happier in my whole life. Thank you so much!”
Ashley Gorley. Photo: Bev Moser/Moments By Moser
Ken Paulson inducted Dewayne Blackwell, noting that the veteran tunesmith’s pop writing career included the standard “Mr. Blue,” originated by The Fleetwoods in 1959 and that it was Dewayne’s first recorded tune. Roy Orbison, Bobby Vee, The Ventures, The Everly Brothers, Pat Boone, Bobby Vinton, Sam the Sham & The Pharoahs and Gary Lewis & The Playboys all recorded his early songs.
Dewayne’s second songwriting career was in country music and included such hits as David Frizzell’s “I’m Gonna Hire a Wino” (1982), Sammy Kershaw’s “Yard Sale” (1992), Conway Twitty’s “Saturday Night Special” (1988), Frizzell’s “A Million Light Beers Ago” (1983) and Marty Robbins’s “Honkytonk Man” (1982).
The harmonizing trio The Bundys performed a beautifully arranged version of “Mr. Blue.” Then Craig Campbell led the audience in a sing-along of Dewayne’s giant 1990 Garth Brooks hit “Friends in Low Places.”
Dewayne Blackwell is 81 and was not well enough to travel to Nashville for the ceremony from his home in Mexico. Son Gentry Blackwell accepted on his behalf.
“I know a lot of you were looking forward to seeing him,” said Gentry. “A lot of you know him. He’s very honored. I want to thank you for my father for the honor and the privilege of being in the Nashville Songwriters Hall of Fame.”
The evening began with The Nashville Songwriters Association International (NSAI) awards. Bart Herbison, Lee Thomas Miller and Jennifer Turnbow presided.
Pictured (L-R): Clint Lagerberg, Hillary Lindsey and Steven Lee Olsen, writers of NSAI Song of the Year “Blue Ain’t Your Color.” Photo: Bev Moser/Moments By Moser
This year’s “10 songs I wish I’d written,” as voted on by the membership, were 1. “Better Man” by non-attending Taylor Swift; 2.“Body Like a Back Road” by Josh Osborne, Shane McAnally, Zach Crowell and an absent Sam Hunt; 3. “Different for Girls” by Shane with J.T. Harding; 4. “Dirt on My Boots” by Ashley Gorley, Jesse Frasure and an absent Rhett Akins and 5. “Drinkin’ Problem” by Shane and Josh with the non-attending members of Midland. Also 6. “H.O.L.Y.” by busbee, Nate Cyphert and William Larsen; 7. “Kill a Word” by Jeff Hyde, Luke Dick and non-attending Eric Church; 8. “Peter Pan” by Kelsea Ballerini, Jesse Lee and an absent Forest Glen Whitehead; 9. “Vice” by Josh, Shane and non-attendee Miranda Lambert and 10. “80s Mercedes” by busbee and Maren Morris.
Luke Bryan was named the NSAI’s Artist-Songwriter of the Year. “What an unbelievable room to be in,” he said. “It’s inspiring. For all you young writers out there, take this night as fuel. What an honor.”
Ashley Gorley picked up his third NSAI Songwriter of the Year prize. He said, “I want to thank NSAI for all that they do. I want to thank you guys for being the ‘first stop’ in town for aspiring songwriters.”
“Blue Ain’t Your Color” became yet another organization’s Song of the Year for cowriters Steven Lee Olsen, Clint Lagerberg and Hillary Lindsey. Hillary has now tied Kris Kristofferson as the writer with the most NSAI Song of the Year prizes.
“This award is so extremely special because it’s voted on by your peers,” she said. “It’s The One award. Your friendship means so much to me. This is a community that doesn’t exist anyplace but here.” The three writers sang “Blue Ain’t Your Color,” harmonizing beautifully.
The 1,000+ attendees included such creative folks as Marcus Hummon, Levi Hummon, Tim DuBois, Chris DuBois, Steve Bogard, Steve O’Brien, Bob Regan, Bobby Tomberlin, David Malloy, Dave Pomeroy, Bernie Nelson, Liz Hengber, Rory Feek, Jan Howard, Brandon Rickman, Buddy Kalb, Doug Johnson, Barry Walsh, Webb Wilder, Bill Lloyd, Frank Liddell, Justin Duke, Georgia Middleman, Scott Hendricks and Mark Alan Springer.
We dined on salads, beef medallions, cheesy potatoes, prawns, squash and chocolate desserts. The wine flowed freely.
Making merry were Pat Collins, Pat Higdon, Patrick Clifford, Mike Hollandsworth, Mike Dungan, Mike Vaden, Becky Harris, Judy Harris, Preshias Harris, John Esposito, John Stein, Bob Doyle, Bobby Brantley, Dale Bobo, Jason Morris & Jewel Coburn, Terry Wakefield, Allison Jones, Martha Moore, Walter Campbell, Linda Edell Howard, Stacy Widelitz, Carla Wallace, Sherrill Blackmon, Lisa Harless, Tim Wipperman, Dennis Banka, Bill Cody, Ben Vaughn, B.J. Hill and Amy Kurland.
Let’s do it again next year.
Meghan Linsey Signs With Agency33, Announces New Album
/by Alex ParryAgency33 Public Relations has added singer-songwriter Meghan Linsey to its roster. A finalist on The Voice, and former member of duo Steel Magnolia, Linsey will release her latest album, Bold Like A Lion, on Nov. 3. The album, produced by Tyler Cain, features collaborations with Fred Schneider of The B-52’s as well as Aloe Blacc.
“I am so honored to welcome Meghan to the agency,” states Joey Amato, owner of Agency33. “She and I connect not only musically but on many social issues as well. It’s so great to work with an artist who fights for what she believes in and speaks out for those who may not have the ability to do so.”
“I am so excited to work with Joey and Agency33,” states Linsey. “I have watched Joey work his way up in the industry and have always been impressed with his amazing work ethic. I feel like we are a perfect match in so many ways!”
Bold Like A Lion Track Listing:
Bold Like A Lion (Meghan Linsey, Tyler Cain Julie Moriva)
Ride Or Die (Linsey, Cain, Stephen Barker Liles, Nolan Neal and Tristan Jackson)
Freak 4 The Beat feat. Fred Schneider of the B-52’s (Linsey, Cain, Moriva, Fred Schneider)
Permanent Marker (Linsey, Cain)
Mr. Homewrecker (Linsey, Cain, Phillip LaRue)
Say It To My Face feat. Aloe Blacc (Linsey, Cain, Aloe Blacc)
Exes and Friends (Linsey, Cain, Moriva)
Lover (Linsey, Cain, Brad Stella)
Let It Go (Linsey, Cain, Moriva)
Neon Sky (Linsey, Cain, Dave Kuncio)
Made Me This Way (Linsey, Cain)
Hearts Against The Wall (Linsey, Cain, J.T. Hodges)
Save Me From Myself (Linsey, Cain, Aloe Blacc)
Kip Moore, Randy Rogers, Wade Bowen Set To Share Tall Tales On New Mini-Tour
/by Lorie HollabaughThe limited-run, special solo acoustic tour will feature all three writers taking the stage together each night and performing and sharing the intimate stories behind their songs. Along with Denver, the tour will hit Lincoln, Nebraska (Dec. 8), Washington D.C. (Dec. 13) and wrap in New York City on Dec. 14.
“This is something Randy and I have been cooking up for a while,” says Moore. “We’ve always had a great camaraderie, and a similar mantra, and so we thought it might be a cool way to share our stories in a more intimate setting with our fans. We did a show with Wade and mentioned the idea and then it all fell into place.”
“This tour with Kip is long overdue,” says Rogers. “We were label mates for years and have been talking about doing a tour together for a while. Adding lil’ buddy Wade Bowen to the mix just seemed like a natural fit. Guaranteed good times — both on stage and off.”
Tickets will go on sale this Friday, Oct. 27.
Skillet To Headline Winter Jam 2018
/by Lorie HollabaughIn addition, the Pre-Jam Party will feature Dan Bremnes and singer/songwriter Mallary Hope, along with new Baby Syndrome Records artist Westover.
“We are so excited to be back on Winter Jam in 2018,” said Skillet’s John Cooper. “I’m looking forward to playing with great artists, talking about faith with great friends, and playing for the legendary crowds that attend Winter Jam!”
Kicking-off Jan. 5 at the Charleston Civic Center in Charleston, West Virginia, the tour will visit numerous venues across the country, including Chicago’s Allstate Arena, Lakefront Arena in New Orleans, Bridgestone Arena in Nashville, the PPG Paints Arena in Pittsburgh, and Charlotte, North Carolina’s Spectrum Center, among others, before concluding March 31 at Lexington, Kentucky’s Rupp Arena.
“I can’t wait to see what God is going to do on Winter Jam 2018,” said tour creator/NewSong co-founder, Eddie Carswell. “Every year He amazes us with His presence and the people He draws to each venue to hear the Gospel. We hope everyone can make it out this year. It’s going to be a show to remember.”
Music Biz Conference To Continue In Nashville Through 2020
/by Jessica NicholsonThe Music Business Association (Music Biz) Conference will remain in Nashville through 2020.
“The Music Biz conference has grown steadily over the three years we have hosted it in Nashville, topping 2,000 attendees last year for the first time since 2001,” said James Donio, President of Music Biz. “The music business sensibility of Nashville and its Music City Music Council aligns so well with our efforts on behalf of music services, stores, labels, artists, songwriters, managers, publishers, entrepreneurs, startups, educators, students, and everyone else in or looking to break into the industry. We’re thrilled to make it our flagship conference’s home base for at least another three years, and look forward to exposing more music companies to Nashville and the many opportunities it provides.”
The previously announced dates for Music Biz 2018 will be May 14-17, 2018 at Omni Hotel Nashville. Future dates include:
May 5-8, 2019 at JW Marriott Nashville (slated to open in July 2018)
May 11-14, 2020 at JW Marriott Nashville
Music Biz was first held in Nashville in 2015 and has grown in attendance since then.
“When people think of music, they think of Nashville, which means there’s no better place for the Music Biz conference than right here in Music City,” said Nashville Mayor Megan Barry. “We are committed to supporting the thriving music industry in Nashville while nurturing its growth by attracting top talent to our city. The Music Biz conference has proven its ability to bring in major executives, not only from the U.S. but also from around the world, to see what we offer and establish or expand their presence here. We could not be more pleased to hear that Music Biz has booked an extended stay.”
“The Music Biz conference has been a benefit for our city, and we’re excited to have them back for the next three years,” said Music City Music Council co-chair Joe Galante. “Music is a global industry, but there’s no city in the world quite like Nashville with its mix of high-level creative and business talent. Having Music Biz here helps us spread that message by bringing in elite new visitors to experience it first-hand. We can’t wait to continue to show Music Biz’s attendees what Music City is all about.”
Registration for Music Biz 2018 is open now at musicbiz2018.eventbrite.com, with special early bird rates available through March 2, 2018.
Big Machine Label Group Names Erin Parker As VP, Strategic Partnerships
/by Jessica NicholsonErin Parker
Big Machine Label Group has added Erin Parker has VP, Strategic Partnerships. Parker was previously with Red Light Management’s Brand Partnership arm, New Era, where she headed endorsement deals, sponsorships, content creation and licensing for artists including Luke Bryan, Dierks Bentley, Kip Moore, and Jon Pardi.
Parker began her career at Billboard’s conference and events team in New York City before relocating to Nashville in 2008, with a stint at MAC Presents.
“We are thrilled to have Erin join the team here at Big Machine,” said Mike Rittberg, BMLG Chief Marketing Officer. “Her experience and determination in this space will be a valuable asset to our artists”.
“Music is the most impactful way for brands to tell their story,” said Parker. “I am eager to partner my experience with Scott Borchetta’s innovative vision for the Big Machine Label Group and amazing artists.”
Corey Crowder Lands New Publishing Home
/by Jessica NicholsonPictured (Front row, L-R): Tree Vibez Co-Founder Tyler Hubbard; Corey Crowder; Tree Vibez Co-Founder Brian Kelley. (Back row, L-R): Tree Vibez Creative Director/Tour Manager Adam Romaine and General Manager Leslie DiPiero; ASCAP Vice President of Membership Michael Martin. Photo: Ed Rode
Songwriter/producer Corey Crowder, known for co-writing songs including Chris Young’s “I’m Comin’ Over” and “Think Of You,” has landed a new publishing home at Tree Vibez Music, founded by duo Florida Georgia Line.
“Corey is the complete package: a singer’s singer, a writer’s writer and a musician’s musician. He’s a perfect fit for Tree Vibez Music and on top of it all he’s a joy to be around,” says Tree Vibez Music General Manager Leslie DiPiero.
Crowder comments, “What many may not know is Tyler, BK [Brian Kelley] and I go back long before any of us came to Nashville. So I am beyond excited to officially be a part of their family after all of these years!”
Crowder also co-produced Chris Young’s I’m Comin’ Over album, as well as Young’s recently released Losing Sleep project and the holiday album This Must Be Christmas.
Crowder’s songs have been recorded by A Thousand Horses, Chris Janson, Justin Moore, Jon Pardi, Cole Swindell, Michael Ray, Kenny Rogers, and more. Meanwhile, his work has appeared on hit TV shows like Nashville, One Tree Hill, The Biggest Loser, The Real World, and Gainesville, and he has produced projects for Cale Dodds, Seth Ennis, James Otto, Eric Paslay, and Jamie Lynn Spears, among others.
Warner/Chappell Nashville Inks Deal With River House Artists
/by Jessica NicholsonFront: Alicia Pruitt (WC), Drew Parker (RH), Lynn Oliver-Cline (RH), Rob Williford (RH)
Back: Phil May (WC), Ben Vaughn (WC), Zebb Luster (RH), Will Overton (WC)
Nashville-based independent publishing company River House Artists has entered into a worldwide publishing agreement with Warner/Chappell Nashville. River House Artists, which also includes label and artist management services, launched in 2016 under the leadership of Lynn Oliver-Cline.
River House Artist’s writers include Ray Fulcher, Rob Williford and Drew Parker. Fulcher co-wrote Luke Comb’s single “When It Rains It Pours,” while Fulcher, Williford and Parker share co-writes on all 12 tracks on Combs’ debut album.
Prior to launching River House Artists, Oliver-Cline served as VP of Marketing at Thirty Tigers. Prior to that, she worked with Hootie and the Blowfish, Zac Brown’s Southern Ground Artists, Wyatt Durrette, BMI, and Virgin Records.
“It’s been great to see River House Artists accomplish so much in such a short amount of time,” said Ben Vaughn, President, Warner/Chappell Nashville. “Their success stems from Lynn’s adept entrepreneurship and ear for quality music. We’re all thrilled to start working with Lynn and her roster at such a critical point in the development of River House and its songwriters.”
Oliver-Cline added, “Everyone at Warner/Chappell has been so encouraging. With their support and resources, this partnership will undoubtedly be an exciting step forward for the future of River House Artists and our wonderfully talented songwriters.”
Kelsea Ballerini, Reba, Maren Morris, Naill Horan Set For CMA Awards Collaborations
/by Jessica NicholsonThe CMA has announced four musical collaborations for the upcoming 51st Annual CMA Awards on Nov. 8.
Five-time CMA Awards nominee Kelsea Ballerini will team with six-time CMA winner (and 50-time nominee) Reba McEntire. Both are nominated for Female Vocalist of the Year this year, with Reba having earned the honor four consecutive times (1984-87).
Male Vocalist of the Year nominee Dierks Bentley will collaborate with Vocal Group of the Year nominee Rascal Flatts, while Brad Paisley will team with Kane Brown for a performance of Paisley’s new single, “Heaven South.” Paisley will also co-host the show with Carrie Underwood for the 10th consecutive year.
Reigning New Artist of the Year Maren Morris will collaborate with pop star Naill Horan.
Winners of The 51st Annual CMA Awards are determined in a final round of voting by eligible voting CMA members. The third and final ballot closes Wednesday, Oct. 25 (6 p.m. CT). Ballots are tabulated by the professional services organization Deloitte & Touche LLP.
The 51st Annual CMA Awards is a production of the Country Music Association. Robert Deaton serves as the Executive Producer for the 11th year, and Gary Halvorson as the Director for the first time.
Bandtwango’s John Alexander Has Sights On The Evolving Music Industry
/by Sherod RobertsonBandtwango co-founder John Alexander
Bandtwango co-founders John Alexander and Carl Allocco have their sights on being disrupters in a changing music industry landscape. They are currently funding campaigns on their platform for artists utilizing their fan bases. Whether it’s for an EP, a full-length CD, video or other need, the platform helps the artist move forward. The company also assists with tour support, radio promotion, and publicity.
Allocco recounts when he first starting thinking about creating this new platform, “I knew an artist who raised money and made a CD, but then it was like, ‘What now?’ Since money is a starting point, we decided to help artists do the most with that money to get to the next phase of their career.” Alexander adds, “Our main emphasis is to develop artists in a non-traditional way and empower them. It’s kind of showing them that they can be their own CEOs, that this is their business, and this is their careers.”
MusicRow: John, Why did you and Carl decide to create the new company, Bandtwango?
John Alexander: With the relationships I’ve developed over the years, it was a way for us to open doors for the artists. That can mean introducing them to tastemakers, getting their songs on playlists, or introducing them to a video director and getting their videos placed. We are country music–centric and that’s what differentiates us from the other crowdfunding platforms. They’re kind of a listing services [platform]. We’re not that. We’re going to work with you on your career from day one.
What are some of your successful campaigns?
Alexander: We beta tested with an act called Hadley Park. They funded an EP and we were able to help them get on a playlist with John Marks at Spotify. They had gotten on SiriusXM with a song called “Another Bottle of Wine” and spent 13 weeks there. We’re still helping them. We also put them on a show in New York with Danielle Bradbery and RaeLynn. For Jeneve Rose Mitchell, we fully funded her campaign and she recorded an album. Now we’re in negotiations with Dollywood about a residency for her in 2018. We got her on a show in New York opening for Scotty McCreery and we’re going to do some media for her. We introduced Christina Taylor to a video director and to CMT, who has been playing her video.
Every artist has a different story and different needs. We go out there and try to find the right fit for the artist and educate them and then give them opportunity.
What advice do you give those artists?
Alexander: Basically the advice that we’re giving them, first and foremost, is that this is your life and this is your career. You have to understand that this career is in your hands– so take it seriously. If you’re looking to ask your fans to partner with you and to help you fund your next project or video, you need to engage with those fans every day. Everything’s a relationship in this town and in this industry. If we can help you open a door, you have to solidify that relationship. Use the things that Bandtwango can do for you and then expand upon it.
What about a brand new artist without much of a following?
Alexander: If they don’t have much of a fan base yet, like only several hundred followers, we do a starter-campaign called Ignite. Let’s get a website set up for you, take some photos, and look to only raise $1,000 or less. Let’s try to help you build that fan base and show you what to do, and how to get promoted on YouTube and other platforms. Then you can start attracting fans. Three months down the road, perhaps you can fund a single or a couple of songs and get you in the studio.
Tell me about the different divisions of Bandtwango, like Special Projects and Bandtwango Presents?
Alexander: Special Projects is for an artist who wants to raise money for a cause, like a natural disaster or someone with a medical emergency. For example, in the show we did on Long Island, Todd O’Neill opened up for Rascal Flatts. We were donating money to Long Island Cares. In return for that, we were able to get Todd O’Neill on that show. O’Neill was the Nash Next Winner and a Big Machine artist.
Bandtwango Presents, through our relationship in New York with a radio group, we are able to present their concerts for them. We are sponsoring a summer concert series. We are then able to grow our brand, get people attracted to Bandtwango and give our acts the opportunity to open up for others.
How do you decide what incentives an artist should offer and how do you set the goal amount?
Alexander: The formula for how much money an artist should raise is always based upon their social media following. For every ‘like’ or ‘follower’ that an artist has, it typically averages out to be a dollar they’ll get in a campaign. We want incentives that are true to that artist. Examples include, if an artist is into house concerts or if there are special things like personal paintings, Skype calls, etc.
What are some of the different opportunities artists use crowdfunding to achieve?
Alexander: Radio promotion, video promotion, publicity… Artists need publicists once they get up and running and a lot of them can’t afford it. Those are a couple of things and some artists want to be able to go on tour. Everybody has their own needs and wants.
John, you’ve been in the music business more than 30 years. How will you define success with this venture?
Alexander: If I’m going to leave a legacy in this town, it’s really going to be the ability to help artists and take them to the next level. Although I’m hoping we can take an artist across the finish line with Bandtwango, even if I don’t and get an artist half way across the finish line and then tag someone else to take them the rest of the way, then I will feel like mission accomplished.