Today (Aug. 1), Big Loud Records, led by industry veteran Clay Hunnicutt, celebrates two years in operation. The label boasts a roster including Morgan Wallen, Jillian Jacqueline, and Chris Lane, who last year celebrated his first No. 1 with “Fix,” which was also the first single Big Loud Records ever promoted to radio.
To celebrate, Big Loud partners Craig Wiseman, Kevin “Chief” Zaruk, Joey Moi, Seth England, and Big Loud Records president Hunnicutt have revealed a rebranding for the overall Big Loud operations, which places the company’s various divisions, including Big Loud Shirt Publishing, label Big Loud Records, artist management company Big Loud Mountain and a newly-announced venture fund, Capital, all under the name Big Loud.
The rebranding also includes the newly-created, centralized website bigloud.com, new signage at the company’s 16th Ave. S. headquarters in Nashville, as well as a new logo, which simplifies the original Hawaiian shirt logo that represented Big Loud Publishing.
“Craig did a great job branding Big Loud Shirt. Especially in Nashville, it’s an iconic name and an iconic logo,” says Zaruk. “Instead of trying to explain to people that we are four companies and four logos, we are just Big Loud. So we simplified the original logo.”
Big Loud began in 2003, with the launch of Wiseman’s Big Loud Shirt Industries, which has earned 45 No. 1 singles to date. The publishing company’s current roster includes Wiseman, Sarah Buxton, Rodney Clawson, Matt Dragstrem, Joey Moi, Chris Tompkins, Jamie Moore and the Warren Brothers.
In 2012, the company expanded with the launch of its management arm, Big Loud Mountain. The division spearheaded the career of superstar country duo Florida Georgia Line, who have sold more than 29 million tracks worldwide, earned 13 No. 1 hits and have country music’s only diamond-certified single with “Cruise.” In 2015, Big Loud expanded again with the launch of label division Big Loud Records.
Pictured (L-R): Joey Moi, Craig Wiseman, Chief Zaruk, Seth England, Clay Hunnicutt. Photo: Delaney Royer
England says the need to integrate all the company’s offerings into one overall brand became increasingly evident. “I found when I was traveling around the country, and globally, the first thing people ask is ‘What is your company?’ We had gotten to the point where we had three or four different companies with Big Loud as part of the name, along with something more unique, like Big Loud Shirt. It was cool because it reflected each company, but as we‘ve grown and had success, I find myself needing to explain more instead of just saying, ‘We are Big Loud.’”
Newly added to the Big Loud offerings is Capital, a venture capital fund launched by Wiseman, Zaruk, Moi and England.
The idea for Capital came after Big Loud’s business manager introduced the executives to Los Angeles-based Plus Capital.
“They had experience working with entertainers and helping them build side investments and venture capital,” England says. “They also had a firm within their company that helped entertainers build businesses for themselves. At the time I met them, they were working with Paramore’s Haley Williams and helping her build a hair dye company [GoodDYEyoung]. So we started the fund and made the business plan for ourselves.”
England cites managers like SB Projects’ Scooter Braun as well as Atom Factory and Erving Wonder founder Troy Carter as being “business builders” for their artists.
“If you choose to look at it that way, you build businesses in the best interest of your artists,” England says. “I think we were using that side of our cap so often, we knew one day that if we got introduced to the right people and developed the right network that we would love to sit down with young up-and-coming companies and evaluate different opportunities for us to disperse capital, as well as ways to be strategic and help people.”
England says Capital has invested in approximately 10 companies so far, a mix of music, tech, and non-music companies.
Chief among those is Stem, a digital distribution service co-founded by Milana Rabkin, Tim Luckow and Jovin Cronin-Wilesmith. Stem analyzes the share of income a vendor should receive from music platforms like Spotify and Pandora, collects revenues, and automatically splits the payments among different collaborators, who set up vendor accounts.
“Before we can ever release the song, the producer or any royalty participants—if there is a side artist featured, or something like that—they all have to sign off on how much they are due,” England explains. “As the revenues come in from all streaming services or iTunes, it comes into the account and it just splits it as told and then each of those collaborators don’t have to wait another 90 days. They just download their account right to their bank account. It gets faster more accurate pay for all the participants.”
Other companies Capital has invested in include augmented reality hardware company Magic Leap, alternative dairy source Califia Farms, and online retailer Casper Mattresses.
“When looking at companies, we always ask, ‘Is this company, app or brand a disruptor?’” says Zaruk. “Is it going to disrupt the flow of what the norms are now and what people are doing to convert over because this idea or company is better or different and it’s going to make a big change?’”
With the launch of Capital being the latest in Big Loud’s ongoing evolution, Zaruk says the rebranding comes at the perfect time.
“Through all of our networking and all we are doing, we realized we had so many interests in different things but they all touch each other and they can all overlap,” Zaruk says. “The more we can control in-house and build our company and our brand the more we and our artists benefit and the opportunities just allow us to do so much more than just one thing. It’s a natural evolution. We want to be all things Big Loud.”
SESAC, RMLC Arbitration Results In New Rates
/by Sarah SkatesArbitration between SESAC and the Radio Music License Committee (RMLC) has resulted in changes to the rate SESAC charges terrestrial radio stations represented by the RMLC, as well as how those fees are calculated.
The new SESAC license agreement will transition from the previous rate card method of determining fees, to a percentage of revenue license structure. The arbitration panel determined that SESAC’s blanket fee for the 2016-18 license period should be set at 0.2557 percent of radio station net advertising revenue. Fees paid to ASCAP and BMI are also determined by a percentage of revenue.
While the total sum paid to SESAC going forward is expected to decrease due to the change in calculation method, the organization says that this is a step in the right direction for all three PROs, because it indicates an increase in the value of music and could be a stepping stone for setting more favorable rates in the future.
Additionally, the SESAC license structure will transition from three separate agreements to a unitary license that will include coverage for over-the-air, HD multicasting and streaming.
This is for the period from Jan. 1, 2016 through Dec. 31, 2018. The decision is retroactive, meaning stations who overpaid will receive a credit.
Read the official press releases from SESAC and RMLC.
Clay Hunnicutt Talks Big Loud Records’ Two-Year Anniversary, Taking Jillian Jacqueline To Country Radio
/by Jessica NicholsonClay Hunnicutt. Photo: Delaney Royer
Big Loud Records, led by President Clay Hunnicutt, celebrates its two-year anniversary today (Aug. 1)
“It feels like a blink of an eye,” says Hunnicutt, who in the past year has led the label to its first No. 1 song, with Chris Lane’s debut single “Fix.” Along the way, they staffed up internally, adding Stacy Blythe, Tyler Waugh, John D’Amico, Dave Kirth, Nikki Wood, Brianne Deslippe and Maggie Abrams to the promotion team.
Lane’s current single “For Her” sits in the Top 20 on Billboard’s Hot Country Songs chart. Fellow Big Loud Records newcomer Morgan Wallen’s single “The Way I Talk” sits inside the Top 40.
Big Loud will soon release to radio music from its newest country signing, singer-songwriter Jillian Jacqueline, who inked a recording contract with Big Loud Records earlier this year.
Jacqueline first arrived at the Big Loud offices as a songwriter, hoping to successfully pitch her songs to artists on the roster. Soon after the introduction, and after later hearing her in a concert setting, the Big Loud team knew she would make the perfect addition to their roster.
“The moment that I personally saw it so clearly is when she did a song called ‘Sad Girls,’ that will be on her album,” Hunnicutt tells MusicRow. “She performed it at a local Nashville bar and Nashville is such a jaded town that when you go to bars and listen to singer-songwriters, everybody winds up talking more than paying attention to the music. It was one of only two or three times when I’ve been in the room where somebody played and the entire room just shut up. Then song after song, it just got better and better. She is one of the first artists to walk in here and say, ‘This is my style and what I do.’ We’ve been able to let that out and amplify that. She has a clear vision for the artist and brand she wants to be.”
Before promoting Jacqueline’s new music to radio, Hunnicutt and the Big Loud Records team have been introducing her music directly to fans, releasing “Reasons,” “Hate Me,” “Bleachers,” and the latest, “God Bless This Mess.” She is working on her full-length debut album.
Hunnicutt, who spent 15 years with iHeartMedia prior to joining Big Loud Records, had no reservations about the fight that will lay ahead in getting Jacqueline’s music played on country radio.
The country music industry is two years on from “tomatogate,” a controversy that exploded when radio consultant Keith Hill referred to female artists as the “tomatoes” of country radio, garnish listeners preferred sparingly in a “salad” of male artists. In the past two years, newcomer female artists have made some headway on country radio, most notably with Black River Entertainment’s Kelsea Ballerini notching three consecutive No. 1 singles from her debut album, and Mercury Nashville artist Lauren Alaina reaching No. 1 with “Road Less Traveled,” after six years of trying to score a radio hit. RaeLynn earned a No. 1 debut with her Warner Nashville project WildHorse, while Big Machine Label Group’s Carly Pearce has flirted with the Top 20 with her single, “Every Little Thing.”
“I think people get way too caught up in the male versus female thing, and saying females have a problem in the [country] format and things like that,” Hunnicutt says. “I’ve been in the business 29 years. This conversation has been going on since the day I started.”
He notes that some of the females making the strongest impact on radio just happen be part of groups.
“A lot of times the format gets caught up in the solo female. There are some unbelievable female talents out there. Little Big Town with Karen and Kimberly, those are two of the most dominant women in the format. If they weren’t in bands or duos, they would constantly be nominated for Female Vocalist of the Year just as well as some of the others, or for Entertainer of the Year. I think they get discounted sometimes when we go, ‘Oh, there are no females on the charts.’ Lady Antebellum doesn’t sound like Lady Antebellum without Hillary Scott. That’s a strong female in the format. Will the format discount that because it’s not a solo female act?
“When you look back at our format’s history, and I believe this about Jillian, the women that are really great artists are women of substance. They have great stories to tell, or they are really great songwriters. They are strong, independent women. If you look at Trisha Yearwood, Martina McBride, go back to Loretta [Lynn] and Patsy [Cline] and some of the other generations—Miranda Lambert and Carrie Underwood right now—these are strong women who know exactly who they are, and they sing about things they relate to and they do it in a fantastic way.”
While Big Loud continues working with Jacqueline, Wallen and Lane on the country side, the company plans to extend its reach beyond the country genre, working with rapper/singer Ernest K Smith. Hunnicutt says Big Loud has signed on to work with other artists in various stages of development, and that there is potential for a fourth country artist on the label’s roster.
Earlier today, Big Loud announced its rebranding, bringing all of its operations under the name Big Loud. Hunnicutt says the move helps the company’s public image more closely resemble its inner workings.
“Everybody works on everything. It is a combined team effort and there are a lot of blurred lines because there are shared resources and personnel between the four companies,” Hunnicutt says. “You look at some of the great brands. Look at ESPN. There is ESPN 2, ESPN News, Classics, ESPN U, and things like that. You take a great brand and build off that. It started with four different companies, but it’s a seamless organization, internally, and now, externally.”
“The entire mantra of Big Loud is passion,” says Hunnicutt. “If we feel an artist has huge potential and great talent, that’s what we are into. We are not under any mandate to sign 15 acts or to hit a certain threshold. With artists like Morgan Wallen, we just fell in love with his songs and passion. If it’s a non-country artist that comes along, we try to work together because we are into it. These are passion projects.”
Where To Watch Nashville’s #MusicCityEclipse On August 21
/by Eric T. ParkerThe local website includes viewing parties, vacation packages, a real-time countdown and a Spotify playlist includes titles like Kenny Chesney’s “When The Sun Goes Down,” Johnny Cash’s “You Are My Sunshine,” Dolly Parton’s “Shine Like The Sun” and The Black Keys’ “Everlasting Light.”
Not only is this the first total solar eclipse to sweep across the entire United States in 99 years, but it is the first total eclipse in mid-day, modern day Nashville since July of 1442, 575 years ago. The next total eclipse in Nashville is anticipated in 549 years with two annular eclipses until then: March 26, 2267, and March 27, 2294.
To celebrate, many Nashville establishments are hosting events, including a FGL House rooftop party, offering no cover beginning at 11 a.m.
The George Jones Museum will also begin events at 11 a.m. with live music, a limited edition Nashville “No Show” Eclipse tee, Blue Moon drink specials, free access to the world-famous George Jones Museum all day, eclipse glasses, contests and giveaways, and more.
The Grand Ole Opry has added two shows to make five events through the weekend of Aug 18-20 with Sunday’s events billed as the Total Eclipse Show with Little Big Town, Darius Rucker, Wynonna, Charles Esten and more to be added. A Total Eclipse Plaza Party will be held day-of, beginning at 11 a.m. with live music on the Plaza stage, commemorative gifts and eclipse glasses, and an array of themed food and drink, including specialty eclipse cocktails.
The Nashville Sounds, in conjunction with Nashville Mayor Megan Barry, Metro Government, the Metro Sports Authority, and the Adventure Science Center, will host a viewing party at First Tennessee Park at 10:30 a.m., including music from the Nashville Symphony, science demonstrations with hands-on activities from the Adventure Science Center. A separate Sounds baseball game against the Iowa Cubs will follow at 4:05 p.m., after the park is cleared. Seating for the viewing party is first-come, first-served basis (excluding club level and group areas) and solar glasses will be distributed. Tickets are $5.70.
AJ’s Good Time Bar is hosting a $125-per-person event, including eclipse viewing glasses, t-shirt, BBQ lunch, commemorative poster, 2 drink tickets and more.
#MUSICCITYECLIPSE DETAILS FOR DOWNTOWN NASHVILLE
Partial eclipse begins: 11:58 a.m. CT
Start of totality: 1:27 p.m. CT
Total eclipse duration: 1 minute 55 seconds
End of totality: 1:29 p.m. CT
Partial eclipse ends: 2:54 p.m. CDT
Note: Never look at the uneclipsed sun without approved solar glasses or solar shades. Permanent blindness can occur. The Visitors Corp. recommends Rainbow Symphony- or American Paper Optics-brand eyewear and has approved protection at their Bridgestone Arena storefront. Visit nasa.gov for more info.
Peter Max Retrospective Heads To Nashville In September
/by Lorie HollabaughNow in the sixth decade of his renowned and prolific art career, the exhibition features Max’s most famous works and premieres never-before-seen archival photos and footage from his early career. Noted Curator & Peter Max historian Lesley Smith will be in-gallery throughout the art receptions offering historical perspective, legendary anecdotal “behind the scenes” stories and discussions about the life, times and influences of Max.
This extraordinary presentation also includes Music’s most famous portraiture, and all artwork is available for acquisition. He has been commissioned to paint portraits of Lionel Richie, Tom Petty, David Bowie, Taylor Swift and many more, and the Nashville exhibit will feature Max’s iconic and most influential pieces, among them “Statue of Liberty,” Max’s famous “Flag” pieces, “Umbrella Man” and the prestigious “Cosmic Runner.” Admission is complimentary, and all events are open to the public.
Max has painted for the past seven U.S. Presidents and his art is on display in museums, presidential libraries and in U.S. Embassies across the globe. He has been the Official artist of the Grammys, five NFL Super Bowls, the 2006 Olympics, the World Cup USA, The World Series, The U.S. Open, The Indy 500, The NYC Marathon and The Kentucky Derby.
Jimmie Allen Signs With BBR Music Group/BMG
/by Lorie HollabaughBack Row L-R: Colton McGee, Director, Legal and Financial Affairs, BBR Music Group; Eric Torres, Producer; Ash Bowers, President, Wide Open Music/Producer; Amy Hendon, Creative Director, Wide Open Music; Rick Shedd, General Manager, BBR Music Group; Lee Adams, VP Promotion, Broken Bow Records; Carson James, Sr. VP Promotion, BBR Music Group. Front Row L-R: Jon Loba, EVP, BBR Music Group; Jimmie Allen; Zach Katz, U.S. Repertoire & Marketing, BMG
BBR Music Group/BMG has signed Jimmie Allen to its roster of artists.
A Delaware native, Allen has toured the world playing for the U.S. Armed Services, and this summer/fall he will open for Toby Keith’s Interstates and Tailgates Tour. Allen has also penned a song featured in a Super Bowl commercial, and is currently in the studio with producers Ash Bowers and Eric Torres finishing tracks for an upcoming project.
“Jimmie was one of the fastest signings we have ever had at the label for one reason…there just wasn’t much internal debate on the merits of doing so,” says Jon Loba, EVP, BBR Music Group. “Almost universally…female/male…
“Signing with BBR Music Group has been one of the most surreal and exciting experiences of my life,” said Allen. “Humbled to be working with Jon Loba, Zach Katz, Kos Weaver, and the entire BBR/BMG staff. When I met Jon after my showcase there was an instant connection and it just felt like home. So thankful to Ash Bowers, Steve Williams, and Amy Scott for signing me to a publishing deal. Very grateful to Ash for taking the time to help me create a sound that defines who I am. I remember being back home in Lewes, Delaware when ‘Hicktown’ by Jason Aldean hit the radio. Being able to say I’m signed to the same label as Jason is pretty dang awesome. Honored to be joining an incredible roster of talented artists. Super excited to get to work even harder and get rolling!”
Allen is booked by United Talent Agency. He is a SESAC writer and is signed to Wide Open Music for management and publishing.
Artist Updates: Brett Young, Florida Georgia Line, Kendell Marvel, Lukas Nelson, Nikki Lane
/by Lorie HollabaughBrett Young Taps Into Cali Roots For New Video
“California is home for me, and it’s where I’ve lived a lot of these lyrics, so it just feels right to shoot the ‘Like I Loved You’ video back there,” Young said. “I think just about everyone can identify with this song in some way. Most have us have had our hearts broken a time or two.”
Young has broken some impressive barriers in the video format thus far in his career: he remains in Vevo’s Top 10 Videos of 2017 (so far) with “In Case You Didn’t Know,” and with more than 90 million views, he’s the only country artist on the list joining the rankings with Zayn and Taylor Swift, Kendrick Lamar and DJ Khaled.
Florida Georgia Line Knocks It Out Of The Park On Second Stadium Show
Photo: Nick Swift
Florida Georgia Line left their mark on the Twin Cities last Saturday night (July 29) with their second sold-out headline stadium show. The concert capped off with a flurry of blockbuster hits, with The Backstreet Boys, Chris Lane, and Nelly returning to the stage joining the duo for a special encore medley of Nelly’s “Hot in Herre,” Backstreet Boys’ “Everybody (Backstreet’s Back),” and FGL and Nelly’s Diamond-certified hit “Cruise.” A colossal fireworks finale finished off the high-octane night. They’ll gear up for one more stadium concert when they swing through Chicago’s Wrigley Field for another sold out date on Aug. 12.
Kendell’s Marvel-ous Honky Tonk Experience
Photo Credit: Ryan Green
Kendell Marvel recently drew another huge crowd at Nashville’s Exit/In for his Honky Tonk Experience. The house was packed with fans, industry veterans and artists including Dustin Lynch, who was spotted in the crowd. Marvel led his all star band though a two-hour long set including his new single “Gypsy Woman,” from his forthcoming album Lowdown & Lonesome, as well as “Either Way,” co-written by Marvel, Chris Stapleton and Tim James. Special performers at the show included Aubrie Sellers who performed “Til’ The End,” Jeffrey Steele who performed “Misery And Gin,” and Ward Davis who performed “Help Me Make It Through The Night.” Jake Owen joined Marvel on stage to perform “Make Up,” “Faded Blue Jeans” and “Footlights” by Merle Haggard. Next month Marvel takes the stage for another Honky Tonk Experience on August 22nd
Lukas Nelson, Nikki Lane Tapped For Stagecoach Spotlight Tour
“We have seen some incredible strides by Lukas Nelson & Promise of the Real over the past year and this new record seems to be something truly special. We have been discussing doing something together for a long time and we have decided now is the time,” said Stacy Vee, talent buyer for Stagecoach and the Stagecoach Spotlight Tour. “We also decided our work with Nikki Lane was far from done so we asked her to come along. This tour will be one for the storybooks!”
Tickets for the Stagecoach Spotlight Tour go on sale this Friday, Aug. 4.
Mark Your Calendar—August 2017
/by Eric T. ParkerSingle Add Dates
Brandon Lay/Speakers, Bleachers And Preachers/EMI Nashville
Zac Brown Band/Roots/Southern Ground/Elektra/WAR
Jessica Lynn/Crazy Idea/Daydreamer Records
Morgan Riley w/ Trenton Etris/Great Minds Drink Alike/SkyTone Entertainment, LLC
Frankie Justin/Summer Lover/SMG Nashville
August 14
Florida Georgia Line/Smooth/BMLG Records
Chase Rice/Three Chords & The Truth/Broken Bow
Mark Bray/For Love/BarFrog
Jerry Douglas Band/2:19/Rounder-CMG
Jerry Douglas Band/Hey Joe/Rounder-CMG
August 21
Darren Taylor/Hillbilly Way/Turn It Up Records
Chase Bryant/Hell If I Know/Red Bow
Amy Jack/Got Lonely Too Early/Amy Jack Music
August 28
Rebel Hearts f. Kody & Boyz Nite Out/Baby Doll/Rebel Hearts
Album Release Dates
Denny Strickland/California Dreamin’
August 4
Brett Eldredge/Brett Eldredge/Warner Music Nashville-Atlantic
Third Day/Revival
Dylan Scott/Dylan Scott [deluxe edition]/Curb Records
August 10
Various/The Music of NASHVILLE, Season 5 VOLUME 3/Big Machine Records
August 11
Lindsay Ell/The Project/Stoney Creek
Will Hoge/Anchors/Thirty Tigers
Alex Williams/Better Than Myself/Big Machine Records
Lee Roy Parnell/Midnight Believer/Vector Recordings
David Rawlings/Poor David’s Almanack/Acony Records
August 18
Emily West/Symphonies [EP]
Shelby Lynne and Allison Moorer/Not Dark Yet/Silver Cross Records-Thirty Tigers
August 25
The Cadillac Three/Legacy/BMLG
Mac McAnally/Southbound/Mailboat Records
Caroline Jones/Bare Feet [EP]
EmiSunshine/Ragged Dreams
Industry Events
CMA Fest, The Music Event of Summer will air (8:00-11:00 PM/ET) on ABC
August 21
Solar Eclipse viewing parties
August 22
The SOURCE Hall of Fame Awards at the Musicians Hall of Fame and Museum at the Municipal Auditorium
August 23
August 24
51st Annual CMA Awards second round voting closes at 6:00 p.m. CT
Lee Ann Womack, Natalie Hemby, Shelby Lynne, Allison Moorer Added To Americanafest Lineup
/by Lorie HollabaughConference registrations (currently $349 for members/$449 for non-members) offer priority admission into all showcase venues, sanctioned parties, events, and daytime panels. Currently only Conference Registrants may purchase Honors & Awards show tickets. For those mainly interested in the nighttime showcases, a festival wristband is available for $75 which grants admission into all showcase venues as well as select sanctioned parties and special events.
For more, visit americanamusic.org.
Exclusive: Big Loud Rebrands, Launches New Capital Venture
/by Jessica NicholsonTo celebrate, Big Loud partners Craig Wiseman, Kevin “Chief” Zaruk, Joey Moi, Seth England, and Big Loud Records president Hunnicutt have revealed a rebranding for the overall Big Loud operations, which places the company’s various divisions, including Big Loud Shirt Publishing, label Big Loud Records, artist management company Big Loud Mountain and a newly-announced venture fund, Capital, all under the name Big Loud.
The rebranding also includes the newly-created, centralized website bigloud.com, new signage at the company’s 16th Ave. S. headquarters in Nashville, as well as a new logo, which simplifies the original Hawaiian shirt logo that represented Big Loud Publishing.
“Craig did a great job branding Big Loud Shirt. Especially in Nashville, it’s an iconic name and an iconic logo,” says Zaruk. “Instead of trying to explain to people that we are four companies and four logos, we are just Big Loud. So we simplified the original logo.”
Big Loud began in 2003, with the launch of Wiseman’s Big Loud Shirt Industries, which has earned 45 No. 1 singles to date. The publishing company’s current roster includes Wiseman, Sarah Buxton, Rodney Clawson, Matt Dragstrem, Joey Moi, Chris Tompkins, Jamie Moore and the Warren Brothers.
In 2012, the company expanded with the launch of its management arm, Big Loud Mountain. The division spearheaded the career of superstar country duo Florida Georgia Line, who have sold more than 29 million tracks worldwide, earned 13 No. 1 hits and have country music’s only diamond-certified single with “Cruise.” In 2015, Big Loud expanded again with the launch of label division Big Loud Records.
Pictured (L-R): Joey Moi, Craig Wiseman, Chief Zaruk, Seth England, Clay Hunnicutt. Photo: Delaney Royer
England says the need to integrate all the company’s offerings into one overall brand became increasingly evident. “I found when I was traveling around the country, and globally, the first thing people ask is ‘What is your company?’ We had gotten to the point where we had three or four different companies with Big Loud as part of the name, along with something more unique, like Big Loud Shirt. It was cool because it reflected each company, but as we‘ve grown and had success, I find myself needing to explain more instead of just saying, ‘We are Big Loud.’”
Newly added to the Big Loud offerings is Capital, a venture capital fund launched by Wiseman, Zaruk, Moi and England.
The idea for Capital came after Big Loud’s business manager introduced the executives to Los Angeles-based Plus Capital.
“They had experience working with entertainers and helping them build side investments and venture capital,” England says. “They also had a firm within their company that helped entertainers build businesses for themselves. At the time I met them, they were working with Paramore’s Haley Williams and helping her build a hair dye company [GoodDYEyoung]. So we started the fund and made the business plan for ourselves.”
England cites managers like SB Projects’ Scooter Braun as well as Atom Factory and Erving Wonder founder Troy Carter as being “business builders” for their artists.
“If you choose to look at it that way, you build businesses in the best interest of your artists,” England says. “I think we were using that side of our cap so often, we knew one day that if we got introduced to the right people and developed the right network that we would love to sit down with young up-and-coming companies and evaluate different opportunities for us to disperse capital, as well as ways to be strategic and help people.”
England says Capital has invested in approximately 10 companies so far, a mix of music, tech, and non-music companies.
Chief among those is Stem, a digital distribution service co-founded by Milana Rabkin, Tim Luckow and Jovin Cronin-Wilesmith. Stem analyzes the share of income a vendor should receive from music platforms like Spotify and Pandora, collects revenues, and automatically splits the payments among different collaborators, who set up vendor accounts.
“Before we can ever release the song, the producer or any royalty participants—if there is a side artist featured, or something like that—they all have to sign off on how much they are due,” England explains. “As the revenues come in from all streaming services or iTunes, it comes into the account and it just splits it as told and then each of those collaborators don’t have to wait another 90 days. They just download their account right to their bank account. It gets faster more accurate pay for all the participants.”
Other companies Capital has invested in include augmented reality hardware company Magic Leap, alternative dairy source Califia Farms, and online retailer Casper Mattresses.
“When looking at companies, we always ask, ‘Is this company, app or brand a disruptor?’” says Zaruk. “Is it going to disrupt the flow of what the norms are now and what people are doing to convert over because this idea or company is better or different and it’s going to make a big change?’”
With the launch of Capital being the latest in Big Loud’s ongoing evolution, Zaruk says the rebranding comes at the perfect time.
“Through all of our networking and all we are doing, we realized we had so many interests in different things but they all touch each other and they can all overlap,” Zaruk says. “The more we can control in-house and build our company and our brand the more we and our artists benefit and the opportunities just allow us to do so much more than just one thing. It’s a natural evolution. We want to be all things Big Loud.”
Songwriter Bob McDill Donates Life’s Work To Country Music Hall Of Fame
/by Jessica NicholsonPictured (L-R, Front row): Bobby Bare, Bob McDill, Don Schlitz; Back row: Jon Byrd, William Michael Morgan, Allen Reynolds, Thomm Jutz, Jamey Johnson, Kyle Young in Nashville, Tennessee. Photo: Rick Diamond/Getty Images for Country Music Hall of Fame & Museum
During his nearly 30-year career, songwriter Bob McDill penned 31 No. 1 songs.
Among his numerous contributions to the country music world are classics including Keith Whitley’s “Don’t Close Your Eyes,” “Amanda” (recorded by both Don Williams and Waylon Jennings), Dan Seals’ “Everything That Glitters Is Not Gold,” Alan Jackson’s “Gone Country,” Mel McDaniels’ “Baby’s Got Her Blue Jeans On” and “Louisiana Saturday Night,” Alabama’s “Song of the South,” “It Must Be Love,” recorded by Don Williams and later by Alan Jackson, and Sammy Kershaw’s “She Don’t Know She’s Beautiful.”
McDill was inducted into the Nashville Songwriters Hall of Fame in 1985. He retired from songwriting in 2000.
For years, the handwritten lyrics to those notable hits and numerous others, some 200 recorded songs, and written on 217 legal pads during this three decades as an active songwriter, sat in McDill’s basement.
Pictured (L-R): Governor Haslam, Bob McDill, and Kyle Young. Rick Diamond/Getty Images for Country Music Hall of Fame & Museum
On Monday (July 31), McDill donated his personal collection to the Country Music Hall of Fame and Museum, including all 217 legal pads of handwritten lyrics, along with 110 awards and plaques, and his Martin 1967 D-28-S that he played exclusively for songwriting for decades.
McDill made a rare public appearance for the donation ceremony, where Bobby Bare performed “Amanda,” Jamey Johnson offered a rendition of “The Door Is Always Open,” Don Schlitz performed “Good Ole Boys Like Me,” Jon Byrd offered “Everything That Glitters (Is Not Gold),” and William Michael Morgan sang “Don’t Close Your Eyes.”
“McDill’s donation to this museum is one of astounding consequence,” said Country Music Hall of Fame and Museum CEO Kyle Young. “We are humbled and honored by his generosity, and we will use this collection to educate generations of songwriters and scholars on the extraordinary career and craft of Bob McDill.”
Pictured: Bob McDill, Bobby Bare, Jamey Johnson. Rick Diamond/Getty Images for Country Music Hall of Fame & Museum
McDill, a Beaumont, Texas native, was influenced by the writing of Thomas Wolfe, as well as played by radio DJs including WLAC (Nashville)’s John Richbourg and WXLR (Texas)’s Wolfman Jack. McDill began writing songs at age 15 and later played in the folk group the Newcomers. While a student at Lamar University, he wrote “The Happy Man,” which Perry Como recorded in 1967. The next year, McDill had his second hit, “Black Sheep,” recorded by Sam the Sham & the Pharoahs. Allen Reynolds helped McDill place the song, and in 1970, McDill and Reynolds began working for Jack Clement’s publishing company, Jack Music.
McDill’s first country success came with Johnny Russell’s 1972 recording of “Catfish John,” co-written with Reynolds. McDill began a rigorous schedule of completing one song per week for the next three decades and would go on to score dozens of Billboard #1 hits, for artists as diverse as Ray Charles, Jerry Lee Lewis, Anne Murray, Lefty Frizzell and Joe Cocker.