Pictured (L-R): Bart Herbison, Lee Thomas Miller, Kris Kristofferson, Hillary Lindsey, Clint Lagerberg, Steven Lee Olsen. Photo: courtesy NSAI
Chapter 573
What better way to celebrate the 50th anniversary of the Nashville Songwriters Association International (NSAI) than with 50 years of songs?
Wait a minute. That would take all night long and more. To solve this dilemma, the organization mixed live performances with videotaped reminiscences at its anniversary show staged at the Ryman on Wednesday night (Sept. 20).
Amazingly, all 50 NSAI Song of the Year winners were saluted. The sold-out show lasted three hours, but there was so much entertainment in it that my butt never got sore sitting on those pews.
The party people were out in full force, including such top music creators as Bob DiPiero, Kathy Mattea, Gary Burr, Matraca Berg, Pat Alger, Bob Regan, Steve Diamond, Gary Baker, Frank J. Myers, Tom Shapiro, Casey Anderson, Steve Bogard, Wayland Holyfield, Johnny Scoggins and Don Von Tress, plus most of the folks who were in the tribute videos.
Without introduction, Dallas Frazier kicked the celebration off with a stunning rendition of “There Goes My Everything” (NSAI’s 1967 Song of the Year). At 78, he still can hit every one of those notes with finesse, feeling and phrasing.
“Songs and songwriters are what we’re all about,” said the NSAI’s current president Lee Thomas Miller. “Tonight, we’re going to walk you through history, one song at a time.” He wasn’t kidding. That’s exactly what transpired.
Kris Kristofferson strolled out on stage and received a standing ovation before he ever sang a note. He has three Song of the Year honors from the NSAI – “For the Good Times” (1970), “Sunday Morning Comin’ Down” (1971) and “Why Me” (with Marijohn Wilkin, 1973).
Pictured: Garth Brooks and Kent Blazy. Photo: Courtesy NSAI
Singing solo with his guitar, he brought down the house with “Sunday Morning Comin’ Down.” His second standing ovation was accompanied with cheers, whistles and shouts. Kris, by the way, is one of the founders of the NSAI and was also the first artist to sign up to sing at the golden-anniversary celebration.
On video were Jimmy Carter (“Honey,” 1968, by Bobby Russell), James Dean Hicks “Okie From Muskogee,” 1969, by Merle Haggard & Roy Edward Burris), Bart Herbison (“Country Bumpkin,” 1974, by Don Wayne) and Peter Cooper (“Old Dogs, Children and Watermelon Wine,” 1972, by Tom T. Hall).
Justin Peters ably sang the 1975 winner “Before the Next Teardrop Falls.” He is the son of its co-writer Ben Peters (with Vivian Keith).
Video’d Bob McDill (“Amanda,” 1976), Hal Bynum (“Lucille,” 1977, written with Roger Bowling) and Randy Goodrum (“You Needed Me,” 1978) ensued.
Live performances resumed with Bobby Braddock & Curly Putman’s “He Stopped Loving Her Today” (1980). Rising to the considerable challenge was Craig Campbell, who sang it at the piano superbly. Multi-instrumentalist Fats Kaplan was a big boost on steel guitar. This house-band utility player also contributed to others on fiddle, guitar, concertina and more.
Eric Paslay took on “Always on My Mind” (1982’s NSAI winner, by Johnny Christopher, Mark James & Wayne Carson). T.G. Sheppard (“She Believes in Me,” 1979, Steve Gibb) and Walt Aldridge (“Holding Her and Loving You,” 1983, written with Tommy Brasfield) were the next celebrants on screen.
“You’re the Reason God Made Oklahoma” (1981, by Larry Collins & Sandy Pinkard, plus the Byrants) was sung by its originators, Shelly West and the always-superb David Frizzell. This drew another S.O.
2017 Song of the Year winners Hillary Lindsey, Steven Lee Olsen, and Clint Lagerberg, writers of “Blue Ain’t Your Color.” Photo: Courtesy of NSAI
On screen, Kenny O’Dell (“Mama He’s Crazy,” 1984) and Bob McDill (“Baby’s Got Her Blue Jeans On,” 1985) entertained with anecdotes. Paul Overstreet masterfully performed “On the Other Hand” (1986, written with Don Schlitz) with Colin Linden on slide guitar.
Next was a lovely rendition of “Somewhere in My Broken Heart” by Billy Dean & Richard Leigh (1991). Overstreet returned with an audience sing-along on “Forever and Ever, Amen” (1987, written with Don Schlitz).
Max T. Barnes (“Chiseled in Stone,” 1988, by Vern Gosdin & Max D. Barnes) and Don Henry & Jon Vezner (“Where’ve You Been,” 1990) offered video nostalgia. This interlude was followed by standing ovations for Garth Brooks & Kent Blazy (“If Tomorrow Never Comes,” 1989).
Goddess Trisha Yearwood took the performance and song levels to a new high with Hugh Prestwood’s “The Song Remembers When” (1993). Everyone got up and danced as Billy Ray Cyrus and tambourine-smacking, boogie-dancing backup vocalist Bekka Bramlett ignited the house with “Achy Breaky Heart” (1992, Don Von Tress) mashed up with “Tulsa Time.”
With dynamite harmonizing, All-4-One brought a terrific r&b element to the show with “I Can Love You Like That” (1995, Jennifer Kimball/Maribeth Derry/Steve Diamond) and “I Swear” (1994, Frank J. Myers/Gary Baker). They were also rewarded with a standing ovation.
From roughly 1990 on, we were thoroughly into the era of co-writing and multiple co-writing. Clint Black (1997, “Something That We Do,” written with Skip Ewing), Allen Shamblin & Steve Seskin (1998, “Don’t Laugh at Me”) and Steve Wariner & Billy Kirsch (also 1998 [it was a tie] “Holes in the Floor of Heaven”) testified on video. So did Tia Sillers (2000 & 2001, “I Hope You Dance,” written with Mark D. Sanders), Phillip White & D. Vincent Williams (2002, “I’m Movin’ On”), Doug Johnson (2003, “Three Wooden Crosses,” written with Kim Williams) and Jeff Hanna/Marcus Hummon/Bobby Boyd (2007, “Bless the Broken Road”).
Music City native Deana Carter charmed the crowd by saluting Nashville’s sense of community. She sailed through “Strawberry Wine” (1996, Matraca Berg/Gary Harrison). Marv Green, Aimee Mayo & Chris Lindsey did “Amazed” (1999). Hillary Lindsey & Gordie Sampson earned a standing ovation for “Jesus Take the Wheel” (2006, written with Brett James).
All-4-One performs “I Swear” and “I Can Love You Like That.” Photo: courtesy NSAI
On video, Tim Nichols & Craig Wiseman recalled writing “Live Like You Were Dying” (2004), as did Don Sampson & Wynn Varble about their summer song (2009, “Waitin’ on a Woman”).
During this “home stretch,” Miller got a standing ovation by saying, “The technology that delivers the songs is not, nor has it ever been, more valuable than the songs, themselves.” He gave the NSAI President’s Award to Bart Herbison.
Commanding Trace Adkins sang “You’re Gonna Miss This” with Miller on mandolin (2008, co-written by Miller and Ashley Gorley). Alternating video tributes came via Tom Douglas & Allen Shamblin (2010, “The House That Built Me”) and Paul Worley (2011, “If I Die Young” written by Kimberly Perry).
Perry’s salute predicted that the eve’s end would be dominated by female songwriters. Lee Brice was ill and struggling to sing, so super Jessi Alexander came to his rescue. She co-wrote his “I Drive Your Truck” (2013, with Connie Harrington & Jimmy Yeary). Dolly Parton appeared on video to speak of “I Will Always Love You” (2012), as did Nicole Galyon/Natalie Hemby/Miranda Lambert (2014, “Automatic”) and Liz Rose/Hillary Lindsey/Lori McKenna (2015, “Girl Crush”).
McKenna broke into tears as she reached the end of “Humble and Kind “ (2016), which was so sweet and touching. Then Hillary Lindsey equaled Kristofferson’s three-time NSAI win as “Blue Ain’t Your Color” was announced as the organization’s 2017 Song of the Year. “If you want to know what heaven feels like, it feels like right now,” said her co-writer Clint Lagerberg.
The finale was Hillary, Clint and co-writer Steven Lee Olsen doing a fantastic trio vocal arrangement of their song with snappy electric-guitar solos by Clint.
NSAI Executive Director Bart Herbison is presented with the 2017 President’s Award. Photo: courtesy NSAI
If you’re still reading this, you might think we were numb as we reached the three-hour mark. Au contraire. Just ask Barry Coburn, Vernell Hackett, Dennis Lord, John Ozier, Lisa Sutton, Rick Diamond, Ralph Murphy, Aaron Hartley, Eric T. Parker, the NMPA’s David Israelite, Amy Kurland, Erika Wollam Nichols, Eddie Stubbs, Sherrill Blackmon, Tom Long, Del Bryant, Pat Rogers or Brandi Simms.
Songwriter-supportive Congress people included Marsha Blackburn, Doug Collins, Diane Black and Chuck Fleischmann.
Kris Kristofferson, winner of three NSAI Song of the Year honors, performs. Photo: courtesy NSAI
JoLivi Signs With C2 Media
/by Lorie HollabaughShe is managed by Jenn Littleton at Red 4 Music and produced by Mark McKee.
The C2 Media Relations roster also includes Ronnie Milsap, Smithfield, Fiona Culley, Jillian Cardarelli, Lucy Angel, Caroline Dare, Nashville Universe and more.
Bobby Karl Works The Room: Stars Abound For NSAI 50th Anniversary Concert
/by Bobby KarlPictured (L-R): Bart Herbison, Lee Thomas Miller, Kris Kristofferson, Hillary Lindsey, Clint Lagerberg, Steven Lee Olsen. Photo: courtesy NSAI
Chapter 573
What better way to celebrate the 50th anniversary of the Nashville Songwriters Association International (NSAI) than with 50 years of songs?
Wait a minute. That would take all night long and more. To solve this dilemma, the organization mixed live performances with videotaped reminiscences at its anniversary show staged at the Ryman on Wednesday night (Sept. 20).
Amazingly, all 50 NSAI Song of the Year winners were saluted. The sold-out show lasted three hours, but there was so much entertainment in it that my butt never got sore sitting on those pews.
The party people were out in full force, including such top music creators as Bob DiPiero, Kathy Mattea, Gary Burr, Matraca Berg, Pat Alger, Bob Regan, Steve Diamond, Gary Baker, Frank J. Myers, Tom Shapiro, Casey Anderson, Steve Bogard, Wayland Holyfield, Johnny Scoggins and Don Von Tress, plus most of the folks who were in the tribute videos.
Without introduction, Dallas Frazier kicked the celebration off with a stunning rendition of “There Goes My Everything” (NSAI’s 1967 Song of the Year). At 78, he still can hit every one of those notes with finesse, feeling and phrasing.
“Songs and songwriters are what we’re all about,” said the NSAI’s current president Lee Thomas Miller. “Tonight, we’re going to walk you through history, one song at a time.” He wasn’t kidding. That’s exactly what transpired.
Kris Kristofferson strolled out on stage and received a standing ovation before he ever sang a note. He has three Song of the Year honors from the NSAI – “For the Good Times” (1970), “Sunday Morning Comin’ Down” (1971) and “Why Me” (with Marijohn Wilkin, 1973).
Pictured: Garth Brooks and Kent Blazy. Photo: Courtesy NSAI
Singing solo with his guitar, he brought down the house with “Sunday Morning Comin’ Down.” His second standing ovation was accompanied with cheers, whistles and shouts. Kris, by the way, is one of the founders of the NSAI and was also the first artist to sign up to sing at the golden-anniversary celebration.
On video were Jimmy Carter (“Honey,” 1968, by Bobby Russell), James Dean Hicks “Okie From Muskogee,” 1969, by Merle Haggard & Roy Edward Burris), Bart Herbison (“Country Bumpkin,” 1974, by Don Wayne) and Peter Cooper (“Old Dogs, Children and Watermelon Wine,” 1972, by Tom T. Hall).
Justin Peters ably sang the 1975 winner “Before the Next Teardrop Falls.” He is the son of its co-writer Ben Peters (with Vivian Keith).
Video’d Bob McDill (“Amanda,” 1976), Hal Bynum (“Lucille,” 1977, written with Roger Bowling) and Randy Goodrum (“You Needed Me,” 1978) ensued.
Live performances resumed with Bobby Braddock & Curly Putman’s “He Stopped Loving Her Today” (1980). Rising to the considerable challenge was Craig Campbell, who sang it at the piano superbly. Multi-instrumentalist Fats Kaplan was a big boost on steel guitar. This house-band utility player also contributed to others on fiddle, guitar, concertina and more.
Eric Paslay took on “Always on My Mind” (1982’s NSAI winner, by Johnny Christopher, Mark James & Wayne Carson). T.G. Sheppard (“She Believes in Me,” 1979, Steve Gibb) and Walt Aldridge (“Holding Her and Loving You,” 1983, written with Tommy Brasfield) were the next celebrants on screen.
“You’re the Reason God Made Oklahoma” (1981, by Larry Collins & Sandy Pinkard, plus the Byrants) was sung by its originators, Shelly West and the always-superb David Frizzell. This drew another S.O.
2017 Song of the Year winners Hillary Lindsey, Steven Lee Olsen, and Clint Lagerberg, writers of “Blue Ain’t Your Color.” Photo: Courtesy of NSAI
On screen, Kenny O’Dell (“Mama He’s Crazy,” 1984) and Bob McDill (“Baby’s Got Her Blue Jeans On,” 1985) entertained with anecdotes. Paul Overstreet masterfully performed “On the Other Hand” (1986, written with Don Schlitz) with Colin Linden on slide guitar.
Next was a lovely rendition of “Somewhere in My Broken Heart” by Billy Dean & Richard Leigh (1991). Overstreet returned with an audience sing-along on “Forever and Ever, Amen” (1987, written with Don Schlitz).
Max T. Barnes (“Chiseled in Stone,” 1988, by Vern Gosdin & Max D. Barnes) and Don Henry & Jon Vezner (“Where’ve You Been,” 1990) offered video nostalgia. This interlude was followed by standing ovations for Garth Brooks & Kent Blazy (“If Tomorrow Never Comes,” 1989).
Goddess Trisha Yearwood took the performance and song levels to a new high with Hugh Prestwood’s “The Song Remembers When” (1993). Everyone got up and danced as Billy Ray Cyrus and tambourine-smacking, boogie-dancing backup vocalist Bekka Bramlett ignited the house with “Achy Breaky Heart” (1992, Don Von Tress) mashed up with “Tulsa Time.”
With dynamite harmonizing, All-4-One brought a terrific r&b element to the show with “I Can Love You Like That” (1995, Jennifer Kimball/Maribeth Derry/Steve Diamond) and “I Swear” (1994, Frank J. Myers/Gary Baker). They were also rewarded with a standing ovation.
From roughly 1990 on, we were thoroughly into the era of co-writing and multiple co-writing. Clint Black (1997, “Something That We Do,” written with Skip Ewing), Allen Shamblin & Steve Seskin (1998, “Don’t Laugh at Me”) and Steve Wariner & Billy Kirsch (also 1998 [it was a tie] “Holes in the Floor of Heaven”) testified on video. So did Tia Sillers (2000 & 2001, “I Hope You Dance,” written with Mark D. Sanders), Phillip White & D. Vincent Williams (2002, “I’m Movin’ On”), Doug Johnson (2003, “Three Wooden Crosses,” written with Kim Williams) and Jeff Hanna/Marcus Hummon/Bobby Boyd (2007, “Bless the Broken Road”).
Music City native Deana Carter charmed the crowd by saluting Nashville’s sense of community. She sailed through “Strawberry Wine” (1996, Matraca Berg/Gary Harrison). Marv Green, Aimee Mayo & Chris Lindsey did “Amazed” (1999). Hillary Lindsey & Gordie Sampson earned a standing ovation for “Jesus Take the Wheel” (2006, written with Brett James).
All-4-One performs “I Swear” and “I Can Love You Like That.” Photo: courtesy NSAI
On video, Tim Nichols & Craig Wiseman recalled writing “Live Like You Were Dying” (2004), as did Don Sampson & Wynn Varble about their summer song (2009, “Waitin’ on a Woman”).
During this “home stretch,” Miller got a standing ovation by saying, “The technology that delivers the songs is not, nor has it ever been, more valuable than the songs, themselves.” He gave the NSAI President’s Award to Bart Herbison.
Commanding Trace Adkins sang “You’re Gonna Miss This” with Miller on mandolin (2008, co-written by Miller and Ashley Gorley). Alternating video tributes came via Tom Douglas & Allen Shamblin (2010, “The House That Built Me”) and Paul Worley (2011, “If I Die Young” written by Kimberly Perry).
Perry’s salute predicted that the eve’s end would be dominated by female songwriters. Lee Brice was ill and struggling to sing, so super Jessi Alexander came to his rescue. She co-wrote his “I Drive Your Truck” (2013, with Connie Harrington & Jimmy Yeary). Dolly Parton appeared on video to speak of “I Will Always Love You” (2012), as did Nicole Galyon/Natalie Hemby/Miranda Lambert (2014, “Automatic”) and Liz Rose/Hillary Lindsey/Lori McKenna (2015, “Girl Crush”).
McKenna broke into tears as she reached the end of “Humble and Kind “ (2016), which was so sweet and touching. Then Hillary Lindsey equaled Kristofferson’s three-time NSAI win as “Blue Ain’t Your Color” was announced as the organization’s 2017 Song of the Year. “If you want to know what heaven feels like, it feels like right now,” said her co-writer Clint Lagerberg.
The finale was Hillary, Clint and co-writer Steven Lee Olsen doing a fantastic trio vocal arrangement of their song with snappy electric-guitar solos by Clint.
NSAI Executive Director Bart Herbison is presented with the 2017 President’s Award. Photo: courtesy NSAI
If you’re still reading this, you might think we were numb as we reached the three-hour mark. Au contraire. Just ask Barry Coburn, Vernell Hackett, Dennis Lord, John Ozier, Lisa Sutton, Rick Diamond, Ralph Murphy, Aaron Hartley, Eric T. Parker, the NMPA’s David Israelite, Amy Kurland, Erika Wollam Nichols, Eddie Stubbs, Sherrill Blackmon, Tom Long, Del Bryant, Pat Rogers or Brandi Simms.
Songwriter-supportive Congress people included Marsha Blackburn, Doug Collins, Diane Black and Chuck Fleischmann.
Kris Kristofferson, winner of three NSAI Song of the Year honors, performs. Photo: courtesy NSAI
Janine Appleton Named Head Of WordCountry
/by Jessica NicholsonJanine Appleton
Janine Appleton has been promoted to Head of WordCountry, the country publishing venture she helped develop from the ground up, four years ago as part of Word Music Publishing. Her previous title was Creative Director.
“Janine is a passionate advocate for each of our writers and works tirelessly to maximize every opportunity,” says Word Entertainment president/CEO Rod Riley. “I am thrilled with what she has accomplished over the last four years since the launch of WordCountry and am excited for her continued partnership with this great roster of writers.”
Since WordCountry launched in 2013, the publishing company has grown to represent writers including Steven Dale Jones, Justin Ebach, Jason Blaine, and Brice Long, as well as more recently signed singer-songwriter Hannah Ellis, who joined in late 2015.
WordCountry’s first official single came in 2015, with “When I’m Gone,” a 100 percent Word published song penned by Jones and Ebach, and recorded by Craig Morgan.
“It was a 100 percenter right out of the gate,” Appleton tells MusicRow. “It showed the creative mojo those two have together.”
WordCountry reached chart-topper status in 2016 with its first No. 1 song, Brett Young’s “Sleep Without You,” co-written by Ebach. Jon Pardi’s “Heartache On the Dance Floor,” co-written by Long, is currently in the Top 5. WordCountry also has writing representation on the current Jordan Davis outing, “Singles You Up,” in addition to cuts on albums from George Strait, Jon Pardi, Josh Turner, Dustin Lynch, Dan & Shay, Love & Theft, Parmalee, Lindsey Ell, Randy Houser, Eric Paslay, Trent Harmon, Russell Dickerson, Danielle Bradbery and more.
Appleton is uniquely qualified for the role at WordCountry. In 2006, she made her foray into the music industry by working for another then-fledgling publishing company, Rusty Gaston’s THiS Music. Appleton met Gaston while spearheading a student songwriting showcase at Belmont University. She interned for THiS Music before officially joining upon her graduation from Belmont in 2007.
“I was lucky enough to get in on the ground level of what is an incredibly successful independent publishing company at THiS Music,” Appleton says. “I got to learn from one of the best publishers in this town. I learned how to take care of writers, pitch songs, manage a writer’s calendar, and everything that you don’t really learn from a class, but that you have to learn just by doing.”
That experience learning to operate, promote, and essentially brand a new publishing company proved invaluable when WordCountry came calling.
“I said the only way this is going to work is if we brand WordCountry as a unique boutique company within the walls of Word Entertainment,” Appleton recalls. “Otherwise it would be confusing to people and they wouldn’t understand what kind of songs are coming out of WordCountry.”
MusicRow spoke with Appleton about the state of the publishing industry, and the increasing role publishers play in developing new artists.
On writing for multiple genres:
If writers are versatile enough to write for multiple genres, why wouldn’t a publisher utilize their talents? For a first time country writer, it can easily take years to have a single that generates income. With the way the business is changing, we as publishers have to get creative. Sync placements, Canadian singles, cuts in other markets, all help us keep a writer on our Roster long enough to have significant success in the country genre. Time is the biggest thing a publisher can give to their writer.
On the expanding role of music publishers:
Publishers are starting to take the role of artist development out of the labels’ hands. Labels simply don’t have the time and resources these days to spend two to three years developing an artist’s writing skills, honing in on their sound, and grooming their live performance.
Using Hannah Ellis as an example, I signed her as a writer, but believed in her artistry from the beginning. Our end goal has always been to find a record label to champion her but we have been getting cuts along the way—Danielle Bradbery, Russell Dickerson, Tim and Faith—while perfecting her sound and live performance.
I am the kind of publisher who acts more like a writer manager than anything. I’ve done everything from watch someone’s child so they could write, to introducing them to bankers who understand our world, to booking shows and writers rounds for exposure. I try to do whatever is necessary to help each of my writers succeed, remain in a good headspace, and able to focus just on being creative.
On investing in songwriters and artists for the long-term:
I’ve been a publisher in town for 11-plus years now, and if I’ve learned anything, it’s just how LONG everything actually takes. Time is the biggest thing you hope you have enough of with your writers enough time for the seeds you planted to come into fruition, for the cuts to turn into singles, for the singles to generate income.
Loyalty and community are two things that make Nashville such a vibrant and unique place for creatives to plant their roots, meet their ‘people’ and create great music. I hope to work with every writer I represent for a long, long time. For a young writer or artist who blows up, you hope that they remember who believed in them first; the co-writers who took a chance on them when no one understood yet, and the publisher who was the believer, risk taker and champion. As a publisher too, you find that in a very similar way, with setting up co-writes, and the early on meetings people take to hear your songs, because you have that music row fire.
ASCAP I Create Music EXPO Set For May 7-9
/by Lorie HollabaughASCAP has set the date for its 13th annual “I Create Music” EXPO for May 7 – 9, 2018 at the Loews Hollywood Hotel in Los Angeles.
The largest conference for songwriters, composers, artists and producers in the country, the “I Create Music” EXPO offers a rare opportunity for aspiring music creators to learn from and collaborate with some of the most successful and creative people in the music industry.
” When we started the ASCAP EXPO, the vision was always to create a sense of community and offer songwriters a chance to network and hear from their peers and idols. One of our EXPO high point s was the presentation last year of the inaugural ASCAP “Key of Life” Award to Stevie Wonder and the chance to hear him perform and talk about his life and music,” said ASCAP Executive Vice President/ Chief Marketing Officer Lauren Iossa. “That was an incredible moment, and every year EXPO attendees have one-of-a-kind opportunities like this to be inspired to take the next step in their careers.”
Last year’s three-day event included performances from Michael McDonald, Ashley Gorley, J.T. Harding, Matt Jenkins, Dave Bassett and more. Among the previous EXPO keynote speakers are Justin Timberlake, Tom Petty, John Mayer, Katy Perry, Bruno Mars, Quincy Jones, Ludacris, Carly Simon, Sara Bareilles, Lindsey Buckingham, Randy Newman, Jackson Browne, Steve Miller, Ne-Yo, Bill Withers, Aloe Blacc, Jon Bon Jovi, Richie Sambora Jeff Lynne.
Every year, ASCAP “I Create Music” EXPO participants attend creative and business-focused panels, workshops, master classes, keynotes, one-on-one sessions, networking events, state-of-the-art technology demonstrations and performances. The ASCAP EXPO provides music creators with knowledge, tools, connections and a unique community of support and guidance. Registration information for the event will be announced at a later date.
Miranda Lambert Tours Through ‘The Weight Of These Wings’ For CMA Songwriter’s Front & Center Taping
/by Eric T. ParkerPictured (L-R): Crystal Dishmon, ShopKeeper Management; Damon Whiteside, CMA Chief Marketing Officer; Ken Robold, Sony Music Nashville Executive Vice President/Chief Operating Officer; Miranda Lambert; Randy Goodman, Sony Music Nashville Chairman & CEO; John Zarling, Sony Music Nashville Executive Vice President Marketing & New Business; and Marion Kraft, ShopKeeper Management. Photo: Donn Jones / CMA
Miranda Lambert brilliantly toured through her now certified Platinum album, The Weight Of These Wings, on Tuesday, Sept. 19 at Nashville’s Marathon Music Works.
The event, taped for public television’s Front & Center, was part of the CMA’s songwriter series, presented by US Bank. In fact, Lambert’s acoustic event was the CMA’s 121 st songwriter show.
“Tonight we’re celebrating The Weight of These Wings going Platinum,” said a proud Lambert. “It’s a double-record and very much the story of my last couple years and all you go through in life. It’s a privilege and blessing to be able to write songs to help you get through something in your life that is really hard. Every songwriter on this record completely embraced where I was, whatever day that was—I was all over the map. I’m so thankful that I can say that some of my best friends in the world also get in the trenches with me and put words on paper. Music is medicine. So thank you to all the songwriters for going down the road with me and spending their time on my journey.”
Lambert then invited a variety of co-writers to the stage including Natalie Hemby, Anderson East, Aaron Raitiere, Shane McAnally, Luke Dick, Jessi Alexander, John Randall, Waylon Payne, Adam Hood, Scotty Wray, Brent Cobb, Jack Ingram, Liz Rose, and Gwen Sebastian.
Additional co-writer guests, many of whom were in attendance, recieved plaques to celebrate the sales success, including for Mando Saenz, Terry Jo Box, Rodney Clawson, Nicolle Galyon, Foy Vance, Lucie Silvas, Ashley Monroe, Josh Osborne, Shake Russell and Danny O’Keefe.
“I wanted this night to feel like being in our living room or our magic porch, where we write songs,” said Lambert. “We’re literally all friends, so this is really special.”
Miranda Lambert. Photo Donn Jones
While Lambert wrapped with “Greyhound Bound For Nowhere,” a song she wrote with her first co-writer—father and special guest Rick Lambert, helping her get a foot in the door on season one of Nashville Star (2003)—the Vanner Records/RCA Nashville star kicked off the evening with her only solo-write on The Weight Of These Wings album, “We Should Be Friends.”
“Natalie has a direct line to Miranda,” teased McAnally with Dick and Hemby on stage before playing a rare outside cut and fun title for the album, titled “Highway Vagabond.” “They have two cups with a string in the middle and Natalie just picks it up and says, ‘I’ve got a song,’ and Miranda says, ‘I’m cutting it.’
“Natalie has 10 songs on this record, so she’s kinda just got a permanent seat on this stage,” prefaced Lambert.
Of those 10 songs of Hemby’s, the Front & Center taping played through five, also including “Tomboy” with Raitiere, who was featured on “For The Birds.” Additionally, fabulous harmonies were featured on Hemby, Lambert and Alexander’s “Things That Break” and Lambert’s new beau, Anderson East joined for a three-way on “Getaway Driver.”
The lead single, “Vice,” was a co-write with McAnally and Osborne, who could not be in attendance. “Miranda came in [the day we wrote ‘Vice’] and I feel like she took her heart out of her chest and put it on the table,” said McAnally, who Lambert reminded she also brought a rolling cooler to the write. “She showed up…with the vulnerability of, ‘Let’s do this, let’s talk about this, let’s write a song.’
The depth of evening also touched on Lambert’s 2015 divorce, chronicled in the album.
“I did start drinking a lot,” said Lambert. “ I did go to bars in Midtown: Losers and Winners. I did have to pick up my car that had been there for three days, and I still had mascara on from the first day. And it was a Monday.” Rose and Hemby thus helped tease out the track “Ugly Lights.”
From Carnival Music Publishing, owned by Lambert’s producer Frank Liddell, the evening welcomed Hood and Cobb on “Good Ol’ Days” in addition to Payne for the traditional country song “To Learn Her.”
The evening concluded with Lambert’s Sebastian and Wray co-write, “Wheels.”
“We wrote this song in a dressing room at a venue,” said Lambert. “It basically says everything this record said and everything this journey amounted to—You gotta keep rolling on. You gotta keep going. You can’t stay in it.”
Round Hill Music Nashville Promotes Amanda Hruska
/by Jessica NicholsonAmanda Hruska
Round Hill Music Nashville has promoted Amanda Hruska to Senior Director, Administration. In her new role, Hruska will oversee Nashville’s administration operations for Round Hill and Big Loud Shirt, including copyright and mechanical licensing, as well as managing Nashville’s growing administration department.
“Amanda has demonstrated significant growth in the past three years here at Round Hill. I am delighted to announce her well-deserved promotion,” says SVP & GM of Round Hill Music Nashville Mark Brown.
Hruska has previously held positions at Warner/Chappell in Copyright Administration and at Bug Music in Foreign Affiliate Relations and Counterclaims.
Entries For The Chris Austin Songwriting Contest Open Oct. 1
/by Alex ParryMerleFest will begin accepting entries for the Chris Austin Songwriting Contest (CASC) beginning Oct. 1. MerleFest is an annual homecoming of musicians and music fans that takes place on the campus of Wilkes Community College in Wilkesboro, N.C. CASC is one of the most acclaimed songwriting contests in roots and Americana music, having a reputation for launching careers and discovering important new talent. Winners in four categories will be chosen at MerleFest, which will take place April 26 – 29, 2018.
Now in its 26th year, CASC is an opportunity for songwriters to have their original songs heard and judged by a panel of music industry professionals, under the direction of volunteer contest chairperson, Grammy-winning singer-songwriter Jim Lauderdale. Aspiring songwriters may submit entries to the contest using the online entry form: merlefest.org/ChrisAustinSongwritingContest/ or by mailing entries to MerleFest/CASC, PO Box 120, Wilkesboro, NC 28697. The deadline to enter is Feb. 1, 2018.
The first round of the CASC competition takes place in Nashville, Tennessee, and is narrowed down to 12 finalists representing four categories: bluegrass, country, general and gospel/inspirational.
“We are extremely proud of the career successes achieved by many CASC alumni.” said Lee K. Cornett, coordinator of MerleFest’s CASC.
Net proceeds from the contest support the Wilkes Community College Chris Austin Memorial Scholarship. Since its inception, the scholarship has awarded over $41,000 to deserving students. To learn more details about the contest, visit MerleFest.org/CASC.
Ashley McBryde Brings Hustle And Heart To New Music
/by Jessica NicholsonPhoto: Haley Crow/MusicRow
For powerhouse vocalist and songwriter Ashley McBryde, the journey from playing houseparties in her hometown of Mammoth Spring, Arkansas (population: less than 1,000) to sharing stages with Eric Church and Chris Stapleton—and most recently, signing with major country label Warner Music Nashville/WAR—has been filled with heart and hustle.
McBryde made her Grand Ole Opry debut in June, where she performed the confident, defiant “Girl Goin’ Nowhere” (co-written with Jeremy Bussey), an anthem for ambitious dreamers everywhere. In the song, she dedicates a few lines to All those folks who swore I’d never be anything/ It took a whole lot of yes I wills and I don’t care.
“I had a teacher in high school who went around the room, asking students what they wanted to do with their lives,” McBryde recalls. “I said, ‘I’m going to make songs up in Nashville,’ and she was like, ‘No, that’s not what’s going to happen. You are from Arkansas.’ Well, nothing lights a fire under an a** like someone telling you that you can’t or shouldn’t do something.”
Though small, McBryde’s hometown had one thing that would set the singer-songwriter on a course to Music City: a radio station.
“We had no internet, no cable, so I lovingly refer to where I grew up as ‘radioland,’ because there was nothing but radio, which was my entire world. It was my Hollywood, my Mt. Rushmore,” she said during a visit to the MusicRow offices, as she introduced the new track, “Radioland.”
McBryde’s musical talents were apparent by the age of three, when she began playing mandolin. “I wanted to play guitar, but I was too small, and we already had a mando, so we couldn’t afford another guitar,” says McBryde.
By nine, she had progressed to guitar, and was sitting in with local bluegrass musicians. “They would show me chords,” she recalls. “I taught myself, but most of it was from those guys.”
MusicRow‘s Sherod Robertson with Ashley McBryde. Photo: Haley Crow/MusicRow
Her affinity for harmonies came by way of bluegrass music from Doyle Lawson and Quicksilver, Jim & Jesse, and Shawn Camp. Later she discovered vocalists and writers such as Carly Simon and Janis Joplin, and the guitar stylings of Jimi Hendrix. All of those influences would find common ground in McBryde’s voice, which sounds like a more earthy version of Wynonna or Joplin, with the keen songwriter’s eye for detail of writers like Dolly Parton, Miranda Lambert or Brandy Clark.
“I’m left-handed, so when I saw a VHS tape of Jimi Hendrix playing for the first time, I was like, ‘Are you kidding me? I could have just played it that way? No one told me.’ Same with vocals. I discovered there are other tools in your voice you can employ at any time.”
McBryde studied music (specifically french horn) and conducted the pep band while attending Arkansas State in Jonesboro. Though by that time she had built a solid catalog of her own material, she was too shy to perform her own music.
That changed after a national anthem singer failed to show up before a game; McBryde stepped in to sing. When fellow students discovered McBryde’s musical talents, she began playing house parties and coffeehouses in town, offering a mix of “Nickel Creek covers and stuff I made up,” says McBryde.
Eventually, McBryde made her way to Memphis, where she ran a Guitar Center store, while building her catalog, and experimenting with new sounds in clubs from Lexington to Tulsa. She moved to Nashville 11 years ago, where she began writing songs at Jennifer Johnson’s Song Factory, and collaborated with Bart Butler on her 2016 EP, Jalopies and Expensive Guitars. After a series of showcases, the vivid imagery in her songs and her soulful, resonant voice caught the ear of music manager John Peets.
“John just walked up to me and said, ‘I love what you do and I know what to do with it. Look forward to talking to you.’ And he just left. I took some meetings with him, and I knew that’s where I was supposed to be. I felt the same way when meeting people at Warner [Music Nashville]. I was like, ‘I know that’s it.’”
McBryde says her debut single, “A Little Dive Bar in Dahlonega,” penned with Jesse Rice (of FGL’s “Cruise” fame) and Nicolette Hayford, almost didn’t happen.
“We all had especially crappy days leading up to the day we were supposed to write. So crappy that I thought we shouldn’t write that day,” McBryde says. “I had broken my windshield, forgot my guitar. Nicolette had just gotten dumped in a Home Depot parking lot; they went from being together for three years and picking out wood flooring, to being single in the parking lot.” Rice was also late to the meeting, and McBryde recalls, “When he showed up, he was just a wreck. The strap on his gig bag was broken, and he was like, ‘Guys, I dropped my phone in the toilet last night at Tin Roof, and I just was not going after it.’ I don’t blame him, I wouldn’t have, either.”
The trio went to a nearby bar to discuss their misfortunes, where Rice recounted a previous day, when his car broke down, forcing him to make a spontaneous detour to Dahlonega, Georgia. Rice wound up visiting a café called The Crimson Moon, listening happening upon Shawn Mullins performing his 1998 hit song “Lullaby,” and meeting a girl.
“She raised her glass to him as they were sitting in that bar, he raised his glass back, and they’ve been together ever since,” says McBryde. “They got married last May. He said, ‘That’s the worst day of my life and it turned into the best day of my life.’”
Not to mention the inspiration for McBryde’s first single, which the trio would write that day.
“It’s a lot cooler to sing it when it’s just truth and you don’t have to bullsh*t any of it,” McBryde says.
MusicRow staffers with Ashley McBryde.
Shore Fire Media Moves To New Location
/by Lorie HollabaughThe company’s current staff includes Jaclyn D. Carter, Senior Account Executive/Publicist; Andrea Evenson, Account Executive/Publicist; and Brian Mansfield, Content Director.
Founded in 1990 by President/CEO Marilyn Laverty and based in Brooklyn, New York, the company’s clients include Bruce Springsteen, Yusuf, Kesha, Lee Ann Womack, Elvis Costello, Maxwell, Margo Price, ODESZA, Morrissey, St. Vincent, Carole King, Bonnie Raitt, Zac Brown Band, Randy Rogers Band, Lukas Nelson & Promise of the Real, Jackie Lee, Alex Williams, 3rd & Lindsley, Alan Jackson’s AJs Good Time Bar, Brooklyn Bowl, Big Yellow Dog Music, Downtown Music Publishing, Hurray for the Riff Raff, Esperanza Spalding, Josh Abbott Band, Maggie Rose, Mitchell Tenpenny, Music & Memory, Valerie June, Tortuga Music Festival, MEMPHO Music Festival, Summerfest, and many others.
Emmylou Harris, Steve Earle, Patty Griffin, Lee Ann Womack To Headline 2018 30A Festival
/by Lorie HollabaughAlso confirmed for nighttime performances are Charles Kelly of Lady Antebellum, Patty Griffin, Emily Saliers of the Indigo Girls with her solo Murmuration Nation band, Shawn Mullins, and Nashville Songwriters Hall of Fame members Mike Reid and Craig Wiseman.
“It is especially gratifying to confirm Emmylou Harris, Steve Earle and Patty Griffin all in one year for 2018. They are among the most elite songwriters and performers in contemporary music and we are very lucky that their schedules aligned with ours,” states co-producer Russell Carter.
Among the 175 stellar songwriters who will perform at the 2018 Festival are Tommy Stinson (the Replacements, Bash & Pop), Jeffrey Steele, Kim Ritchey, Jeff Black, Will Kimbrough, Dan Navarro, The War & Treaty, Wyatt Durette, Farewell Angelina, Griffin House, Levi Lowrey, Peter Case, Charlie Mars, Chris Stills, Emerson Hart (Tonic), David Ryan Harris (John Mayer Band), David Hodges (Evanescence), Heather Horton, Old Salt Union, Robby Hecht, Alex Guthrie, Mary Bragg, Blue Jays, Josh Osborne, Jaren Johnston, Mark Irwin, Jonathan Singleton, Jeremy Stover, Matt Dragstrem, Adam Hambrick, Jacob Davis, David Berkeley, Matt Hires, David Robert King, and Michele Malone.
The 30A Songwriters Festival has also once again teamed up with NPR’s Folk Alley, a multi-media music service produced by WKSU. Folk Alley will be on site throughout the weekend producing sessions, interviewing artists and filming and recording performances in a home studio on 30A. The in-studio sessions are aired on the syndicated Folk Alley Radio Show.
A variety of festival weekend passes are available now starting at $255 and can be purchased at 30asongwritersfestival.