Music’s Leading Ladies Speak Out
Pictured (L-R): Atlantic Records Group chairman and COO Julie Greenwald, Senior Vice President of Music Strategy for CMT Leslie Fram, Red Light Management/Independent A&R Consultant Tracy Gershon, singer-songwriter Kelly Clarkson, CEO/President, Cosynd/Women In Music Jessica Sobhraj, Country Music Association CEO Sarah Trahern, and Sr. VP & GM, Nielsen Music Erin Crawford. Photo: Rick Diamond/Getty Images for Music Business Association
Various panels held during the 2017 Music Biz conference touched on topics ranging from touring to mentoring to The Voice.
Atlantic Records’ Julie Greenwald and Kelly Clarkson were welcomed by NPR’s Ann Powers during the 2017 Music Biz Conference for the panel Creative Partnerships, to discuss Clarkson’s recent deal with Atlantic Records and her upcoming album, which she calls more soulful and urban than her previous releases.
Clarkson discussed her early career dreams, and revealed that she originally wanted to be a backup singer. “That didn’t work out, but that was my goal. Because I thought, ‘They get to sing with a ton of artists, but they don’t have to do all the famous stuff.’ It didn’t work out, but it worked out.”
‘She also talked about her upcoming stint as a judge on The Voice, alongside Blake Shelton. Clarkson’s husband Brandon Blackstock also manages Shelton. “I love working with Blake. We love giving each other shit, so it’s going to be really fun for me.”
She also discussed what first intrigued her about The Voice.
“Literally, since the show started, I remember when Blake started on the show, even before it was on, my manager was telling me how it is set up. I was like, ‘Wait, you don’t see them? I could turn around and it could be someone completely different.’ As a singer that has a lot of things that get in the way in the press, it’s very nice for it to just be about the voice. It’s just about the talent and the storytelling. It’s not just about a great voice, it’s about a voice that tells a story. It has to move you to turn the chair. I’m so excited to do that. I have a very unique vantage point as well because I’ve been them.”
Greenwald also discussed her own career history, which began in 1992 when she joined Def Jam Records as Lyor Cohen‘s executive assistant. Ten years later, she was named president of Island Records, becoming one of only three women at the time to hold that title at a major record label. In 2004, she was named president of Atlantic Records and was named Chairman/COO in 2009.
In the following panel segment, The Life and Work of a High-Powered Female Executive, welcomed music industry executives including Sarah Trahern (CMA), Tracy Gershon (Red Light Management), and Jessica Sobhraj (Cosynd/Women In Music) discussed the importance of mentoring in the music industry. The panel was moderated by CMT’s Leslie Fram.
Pictured (L-R): Writer Ann Powers, Atlantic Records Group chairman and COO Julie Greenwald, and singer-songwriter Kelly Clarkson. Photo: Rick Diamond/Getty Images for Music Business Association
Thomas Rhett: Breaking an International Act
Akiko Rogers. Photo: Music Business Association
On Wednesday, May 17, the conference looked at the impact of international branding and efforts to expand country music into international markets. The efforts behind breaking BMLG’s Thomas Rhett on an international level with his manager were explored during a panel featuring Rhett’s manager Virginia Davis of G Major Management, as well as Jimmy Chapin from Big Machine Label Group, Anna-Sophie Mertens from Live Nation UK, Akiko Rogers from William Morris Endeavor Entertainment (WME) and moderator Billboard contributor Phyllis Stark.
Rhett’s first UK trip came in March 2016 for the Country Music Association/Live Nation Country 2 Country festival, which he followed up with a media trip in May 2016 and a string of shows in the UK in late 2016. This year, he returns to the UK for shows in larger venues.
Chapin spoke to the factors that help decide what artists will work in certain international markets.
“A lot of it happens organically, you see certain reactions before an artist has even been in that market. Thomas was one of those artists where sales numbers, streaming, radio had been picking up before we had even been to the market. So once he got over there it really was able to take off.”
Rogers spoke to the challenges of taking an established artist overseas and emphasized the benefits of focusing on international markets early in a career, when it can be a bit easier financially to explore international markets.
“You have to have the commitment to go over there. You have artists in the United States who are used to playing arenas and amphitheaters and it’s basically going over there and starting over,” said Rogers. “They have production and a big overhead. It’s special for them as well. It kind of brings you back to your roots.”
“Once you become a headliner in the US, you have a different level of overhead and it’s difficult to bear the burden of the cost it takes to go backward and build a fanbase and take the time,” Davis added. “It is an investment and it does cost money.”
The panel spoke of the importance of planning ahead and visiting an international market frequently to build an impression and grow audience sizes. “It’s a huge investment to go over there, so if you do, why wait three years when you are going to play venues the same size you did when you were there last time?” said Rogers.
Chapin spoke to the obstacles in marketing music in international markets such as the UK and Australia, versus the United States.
“Country radio format is a US thing. Australia has somewhat of a market, but in the UK, radio is genre agnostic. So we have to find ways to fit a country artist like Thomas in a pop format or a genre-less format. So that is one hurdle to overcome. Australia has a bit of a country market so his songs are played on the country radio stations down there and his videos are played on their Country Music Channel. They don’t have that here [in the UK], so you kind of have to go around that.”
Music Biz 2017 Conference continues through today, May 18.
CMA Offers Insights On International Research, Digital Marketing During Music Biz 2017
/by Jessica NicholsonSarah Trahern, CEO of the Country Music Association and pictured far right, joins a panel at the 2017 Music Biz Conference on Tuesday, May 16 at Renaissance Nashville hotel on “Music’s Leading Ladies Speak Out powered by Nielsen Music.” Pictured (L-R): Leslie Fram, Sr. VP of Music Strategy and Talent, CMT; Tracy Gershon, Red Light Management/Independent A&R Consultant; Jessica Sobhraj, CEO/President, Cosynd/Women In Music; and Trahern.
Country Music Association (CMA) executives shared key insights during several Music Biz 2017 panels and presentations this week in Nashville (May 14-18).
On Tuesday, CMA Chief Executive Officer Sarah Trahern was a featured panelist on “Changing the Conversation: The Power of Women & Mentoring In Today’s Music Business” following a keynote address by CMA Award winner Kelly Clarkson.
Damon Whiteside, Chief Marketing Officer for the Country Music Association, speaks at the 2017 Music Biz Conference on Wednesday, May 17 at Renaissance Nashville hotel on “CMA Welcome & Forever Country: Multi-Artist, Multi-Label, Multi-Generational.” Not pictured are Karen Stump, Sr. Director of Consumer Insights at CMA and Annie Ortmeier, Sr. Director of Streaming & Digital Marketing for Universal Music Group Nashville.
CMA Chief Marketing Officer Damon Whiteside welcomed attendees during a CMA-sponsored breakfast Wednesday morning where industry awards were presented to Terry Currier and CMA Board member Mike Dungan, and CMA Vocal Group of the Year Little Big Town performed.
Whiteside later discussed CMA international research and the success of “Forever Country” in the “Country Music’s Gone Global” panel, joined by CMA Senior Director of Market Research Karen Stump and UMG Nashville Senior Director of Streaming and Digital Marketing Annie Ortmeier.
Also on Wednesday, CMA Director of Digital Strategy Meryl Johnson was a featured speaker in “Using Digital Firsts to Attract Big Brand $$$,” a panel highlighting how to utilize digital platforms to generate revenue and partnerships.
Meryl Johnson, Director of Digital Strategy at the Country Music Association, speaks at the 2017 Music Biz Conference on Wednesday, May 17 at Renaissance Nashville hotel on a panel titled “Using Digital Firsts To Attract Big Brand $$$.”
Primary Wave Opens Nashville Office
/by Jessica NicholsonPrimary Wave will announce its new Nashville office location and several additional signings in coming weeks.
Bootwright previously worked in real estate in Nashville’s Leiper’s Fork area where he worked with numerous musicians, before meeting Steve Cropper and later becoming Cropper’s manager.
Primary Wave first partnered with Cropper in 2016 for ownership of his music publishing catalog. “A lot of his songs were going to be reverting, and he didn’t want to be a publishing company,” Bootwright explains of first working with Primary Wave.
Founded in 2006 Primary Wave Music Publishing is one of the largest independent music companies in the U.S., along with its sister company Primary Wave Entertainment, which creates marketing and branding strategies through six in-house operating divisions, including Music Publishing, Talent Management, Recorded Music, Television/Film Development, Brand Marketing and Digital Marketing to cross promote its artists and brand relationships.
In 2014, Primary Wave expanded into the film and TV realm by acquiring talent management company Evolution, which produced more than 40 films, including Can’t Buy Me Love, The Sandlot, John Q and the entire SAW franchise, as well as executive produced the TV series “Two And A Half Men” and 100 episodes of “Anger Management.” In 2015 Primary Wave Entertainment merged with Intellectual Artists Management.
Primary Wave’s current roster includes artists and talent such as Cee Lo Green, Eric Benét, and more, with catalogs from Cropper, Smokey Robinson, Melissa Etheridge, Def Leppard, and more.
Rascal Flatts Previews Stellar Tracks From ‘Back To Us’ On Westin Rooftop
/by Eric T. ParkerPictured (L-R): Brian Wolf (Maverick Management), Joe Don Rooney, Scott Borchetta (BMLG), Gary LeVox, Clarence Spalding (Maverick Management), Jay DeMarcus. Photo: Katie Kauss
On the eve of their 10th studio album release, Back To Us, superstar vocal group Rascal Flatts performed for a private industry and fan event atop Nashville’s Westin L27 Rooftop.
Among Thursday’s (May 18) crowd were songwriters who contributed many of the project’s titles in addition to Big Machine Label Group’s A&R maven Allison Jones, who received several shout-outs.
“Throughout the years we have been fortunate to get our hands on some of the best songs from the best songwriters in the world, and they live right here in Nashville,” said Jay DeMarcus. “We really couldn’t do it without you so thank you. And thank you for supporting us for 18 years.”
“So let’s get back to writing for album 11,” quipped Gary LeVox before leading in to “Life is a Highway,” the group’s only previously released title they performed, which was also not written by Nashville writers.
“Did anyone else see the irony in big speech about the greatest songwriters and we go in to ‘Life is a Highway?'” admitted a humorous DeMarcus after the performance.
“It takes about two years to birth a CD baby,” noted Joe Don Rooney. “A big thank you to Allison Jones, Scott Borchetta and the whole label staff who allowed us the autonomy to take our time.”
Rascal Flatts Back To Us album release party. Photo: Katie Kauss
The lighthearted performance on this beautiful, balmy late spring evening featured album standouts, including the project’s first single “Yours if You Want It” (Andrew Dorff, Jonathan Singleton), “Back To Us” (Cary Barlowe, David Hodges, Josh Thompson) and “Vandalized” (Luke Laird, Chris Stapleton), which Levox remarked, “Chris Stapleton sang the demo on this one and it was a little intimidating.”
“It’s tough with great singers like Chris, or even Shay [Mooney, who was in the audience and has two cuts on Back To Us],” continued DeMarcus on a continued humorous note. “You get the demos in and you go, ‘I don’t know if that [song] is a piece of shit and its so great the way they sang it…'”
The event also featured “I Know You Won’t,” a Steve McEwan, Wendell Lee Mobley and Neil Thrasher cut, which Carrie Underwood had previously recorded on her second studio album. “This is a great song and always has been,” commented DeMarcus. “A lot of people don’t realize this but it was pitched to us way back in the day. We for some reason said no to it. Gary was somewhere with Wendell and Wendell was playing it on his acoustic and said, ‘I got a new demo and think you guys should cut this song.’ It’s an incredible song with an incredible lyric and great melody. I love it when Mr. LeVox gets ahold of a song like this.”
Meghan Trainor Receives Vanguard Award At ASCAP Pop Awards
/by Lorie HollabaughPictured (L-R): Jasmine Thompson, ASCAP President Paul Williams, Meghan Trainor, ASCAP CEO Beth Matthews and ASCAP EVP of Membership John Titta at the 2017 ASCAP Pop Awards. Photo: Alberto E. Rodriguez/Getty Images for ASCAP
Meghan Trainor was presented with the prestigious ASCAP Vanguard Award during Thursday night’s (May 18) 34th Annual ASCAP Pop Music Awards at the Wiltern Theatre in Los Angeles. The award recognizes the impact of songwriters who are shaping the future of American music, and in addition to her 2015 breakout hit, “All About That Bass,” and two multi-platinum albums Title and Thank You, Trainor penned hits in 2016 for Rascal Flatts, Lauren Alaina, Jennifer Lopez, Fifth Harmony, and more.
During the ceremony Trainor was honored by Marcus Miller with a performance of “All About That Bass” and a surprise appearance by Jasmine Thompson, performing “Like I’m Going to Lose You” and her new Trainor-penned single, “Old Friends.” The Vanguard Award has previously gone to artists including The All-American Rejects, Arcade Fire, Band of Horses, Beastie Boys, Beck, Björk, Sara Bareilles, Diplo, fun., Jack Johnson, The Killers, Kendrick Lamar, Modest Mouse, The Strokes, St. Vincent and Walk the Moon.
Max Martin was named Songwriter of the Year for an unprecedented 10th time during the evening, recognizing his role in crafting many of the past year’s hits, including “Can’t Stop the Feeling!” (Justin Timberlake), “Send My Love (To Your New Lover)” (Adele), and “Just Like Fire” (P!nk). ASCAP Pop Song of the Year went to “Love Yourself,” written by Justin Bieber. And songwriter Diane Warren was honored with the prestigious ASCAP Founders Award during the ceremony and two stunning live tributes: LeAnn Rimes singing “How Do I Live,” and Jacob Latimore performing “Have You Ever.” In a surprise appearance, rapper Snoop Dogg, a past Warren collaborator, presented her with the award.
Sony/ATV was named Publisher of the Year for their role in 2016 hits like “Cheap Thrills” (Sia), “Don’t Let Me Down” (The Chainsmokers ft. Daya) and “I Took a Pill in Ibiza” (Mike Posner). Posner honored Sony/ATV with a live performance of “I Took a Pill in Ibiza.” BMG took Independent Publisher of the Year for hits like “Hide Away” (Daya), “Work from Home” (Fifth Harmony), and “On My Mind” (Ellie Goulding). A full list of winners from the evening can be found here.
LeAnn Rimes performs onstage at the 2017 ASCAP Pop Awards. Photo: Lester Cohen/Getty Images for ASCAP
Weekly Chart Report (5/19/17)
/by Dan_StrassbergClick here or above to access MusicRow‘s weekly CountryBreakout Report.
Reba, Maren Morris Among Honorees At Music Biz 2017 Luncheon
/by Eric T. ParkerPictured (L-R): CEO of Big Machine Records Scott Borchetta; Lukas Graham’s Magnus Larsson; Reba McEntire; Maren Morris; and Lukas Graham’s Lukas Forchhammer and Mark Falgren. Photo: Rick Diamond/Getty Images for Music Business Association
The Music Biz celebrated the final day of its third Nashville conference on Thursday, May 18 with its Awards Luncheon.
Honorees Reba McEntire (Chairman’s Award for Sustained Creative Achievement), Maren Morris (Breakthrough Artist), Paula Abdul (Harry Chapin Memorial Humanitarian Award) and Lukas Graham also receiving (Breakthrough Artist). Other presentations were made to honor Adele (Artist of the Year)—accepted by Darren Stupak, Sony Music Entertainment’s EVP/GM, Sales—and the Hamilton Original Cast Recording and Hamilton Mixtape (Outstanding Achievement Award)—accepted by Atlantic’s Pete Ganbarg, EVP of A&R.
BuzzAngle Music’s Jim Lidestri, host of the luncheon, welcomed the crowd to the Renaissance Nashville’s Grand Ballroom.
“I took this award as I’m the oldest one here,” said McEntire. “Music Business is my life, it’s been very good to me. I’m a third generation rodeo brat and I came to Nashville and I thought, ‘What if they’re not nice?’ ‘What if it’s a cutthroat business.’ I met the nicest people who nurtured me and took me under their wing. It took six years to have a No. 1 record and I’m thankful that I was in that era where they had patience with me… I’m not through yet, because this is too good of a family and business to walk away from after a little bit of success. The No. 1 reason I [love this business] is because of y’all.”
“I live five minutes away so this is really nice,” joked Morris. “The word ‘breakthrough’ reminds me this is not an overnight process. It’s been almost 20 years of me touring and I wasn’t breaking through a damn thing so it’s really cool to have this now. I didn’t really have a typical trail paved to get here. I didn’t know things like Spotify could break you through as an artist and my label Sony has believed in me from the really early stages.”
Pictured (L-R): Chairman of Music Biz, Facebook Fred Beteille; Maren Morris; President of Music Biz James Donio; and CEO of BuzzAngle Music Jim Lidestri. Photo: Rick Diamond/Getty Images for Music Business Association
Pictured (L-R): Poet and songwriter Sandra Chapin; Paula Abdul; and President of Music Biz James Donio. Photo: Rick Diamond/Getty Images for Music Business Association
Abdul—who has hit the road for the first time in 25 years, performing in Nashville the previous night (May 17)—confessed the Bridgestone reception brought her to tears. “There was a reason I was on [American Idol],” said Abdul. “It was an incredible experience seeing these rare jewels get up and do what they do, not understanding at first that it’s a TV show—putting themselves out there with extreme bravado, dignity and grace—letting the world and panel judge them. My whole life has been about conquering people who judge. I’m a mentor, I’ve never been a judge because people are beautiful and should be allowed to operate in their unique ability.”
Denmark’s trio Lukas Graham remarked on the humbling recognition. “Coming from a very small country and me growing up in a house without a bathroom until I was six years old, it’s quite unique to stand on a stage like this,” said Lukas Forchhammer.
Music Biz President James Donio concluded the event, echoing McEntire’s sentiments. “This has been a really incredible week and last couple of years [in Nashville]. Moving the convention is like moving a steamliner—and it’s not easy. But bringing this event to Nashville has created a new family. Music Biz really feels like it is linked to this community in Nashville. Stay tuned for details about next year.”
A previous awards breakfast was held on Wednesday, May 17, hosted by CMA to honor Mike Dungan (Presidential Award for Outstanding Executive Achievement), Terry Currier (Independent Spirit Award) with a performance by Little Big Town and presentation from Nashville Mayor Megan Barry.
Music Biz Conference Gives In-Depth Look At International Touring, Kelly Clarkson Talks ‘The Voice’
/by Jessica NicholsonMusic’s Leading Ladies Speak Out
Pictured (L-R): Atlantic Records Group chairman and COO Julie Greenwald, Senior Vice President of Music Strategy for CMT Leslie Fram, Red Light Management/Independent A&R Consultant Tracy Gershon, singer-songwriter Kelly Clarkson, CEO/President, Cosynd/Women In Music Jessica Sobhraj, Country Music Association CEO Sarah Trahern, and Sr. VP & GM, Nielsen Music Erin Crawford. Photo: Rick Diamond/Getty Images for Music Business Association
Various panels held during the 2017 Music Biz conference touched on topics ranging from touring to mentoring to The Voice.
Atlantic Records’ Julie Greenwald and Kelly Clarkson were welcomed by NPR’s Ann Powers during the 2017 Music Biz Conference for the panel Creative Partnerships, to discuss Clarkson’s recent deal with Atlantic Records and her upcoming album, which she calls more soulful and urban than her previous releases.
Clarkson discussed her early career dreams, and revealed that she originally wanted to be a backup singer. “That didn’t work out, but that was my goal. Because I thought, ‘They get to sing with a ton of artists, but they don’t have to do all the famous stuff.’ It didn’t work out, but it worked out.”
‘She also talked about her upcoming stint as a judge on The Voice, alongside Blake Shelton. Clarkson’s husband Brandon Blackstock also manages Shelton. “I love working with Blake. We love giving each other shit, so it’s going to be really fun for me.”
She also discussed what first intrigued her about The Voice.
“Literally, since the show started, I remember when Blake started on the show, even before it was on, my manager was telling me how it is set up. I was like, ‘Wait, you don’t see them? I could turn around and it could be someone completely different.’ As a singer that has a lot of things that get in the way in the press, it’s very nice for it to just be about the voice. It’s just about the talent and the storytelling. It’s not just about a great voice, it’s about a voice that tells a story. It has to move you to turn the chair. I’m so excited to do that. I have a very unique vantage point as well because I’ve been them.”
Greenwald also discussed her own career history, which began in 1992 when she joined Def Jam Records as Lyor Cohen‘s executive assistant. Ten years later, she was named president of Island Records, becoming one of only three women at the time to hold that title at a major record label. In 2004, she was named president of Atlantic Records and was named Chairman/COO in 2009.
In the following panel segment, The Life and Work of a High-Powered Female Executive, welcomed music industry executives including Sarah Trahern (CMA), Tracy Gershon (Red Light Management), and Jessica Sobhraj (Cosynd/Women In Music) discussed the importance of mentoring in the music industry. The panel was moderated by CMT’s Leslie Fram.
Pictured (L-R): Writer Ann Powers, Atlantic Records Group chairman and COO Julie Greenwald, and singer-songwriter Kelly Clarkson. Photo: Rick Diamond/Getty Images for Music Business Association
Thomas Rhett: Breaking an International Act
Akiko Rogers. Photo: Music Business Association
On Wednesday, May 17, the conference looked at the impact of international branding and efforts to expand country music into international markets. The efforts behind breaking BMLG’s Thomas Rhett on an international level with his manager were explored during a panel featuring Rhett’s manager Virginia Davis of G Major Management, as well as Jimmy Chapin from Big Machine Label Group, Anna-Sophie Mertens from Live Nation UK, Akiko Rogers from William Morris Endeavor Entertainment (WME) and moderator Billboard contributor Phyllis Stark.
Rhett’s first UK trip came in March 2016 for the Country Music Association/Live Nation Country 2 Country festival, which he followed up with a media trip in May 2016 and a string of shows in the UK in late 2016. This year, he returns to the UK for shows in larger venues.
Chapin spoke to the factors that help decide what artists will work in certain international markets.
“A lot of it happens organically, you see certain reactions before an artist has even been in that market. Thomas was one of those artists where sales numbers, streaming, radio had been picking up before we had even been to the market. So once he got over there it really was able to take off.”
Rogers spoke to the challenges of taking an established artist overseas and emphasized the benefits of focusing on international markets early in a career, when it can be a bit easier financially to explore international markets.
“You have to have the commitment to go over there. You have artists in the United States who are used to playing arenas and amphitheaters and it’s basically going over there and starting over,” said Rogers. “They have production and a big overhead. It’s special for them as well. It kind of brings you back to your roots.”
“Once you become a headliner in the US, you have a different level of overhead and it’s difficult to bear the burden of the cost it takes to go backward and build a fanbase and take the time,” Davis added. “It is an investment and it does cost money.”
The panel spoke of the importance of planning ahead and visiting an international market frequently to build an impression and grow audience sizes. “It’s a huge investment to go over there, so if you do, why wait three years when you are going to play venues the same size you did when you were there last time?” said Rogers.
Chapin spoke to the obstacles in marketing music in international markets such as the UK and Australia, versus the United States.
“Country radio format is a US thing. Australia has somewhat of a market, but in the UK, radio is genre agnostic. So we have to find ways to fit a country artist like Thomas in a pop format or a genre-less format. So that is one hurdle to overcome. Australia has a bit of a country market so his songs are played on the country radio stations down there and his videos are played on their Country Music Channel. They don’t have that here [in the UK], so you kind of have to go around that.”
Music Biz 2017 Conference continues through today, May 18.
Industry Ink: Levon, Buffkin/Baker, Exegan Media & Entertainment
/by Jessica NicholsonLevon Celebrates Release of Debut EP
Pictured (L-R): Jim Catino, SVP, A&R, Sony Music Nashville; Levon’s producer Jamie Houston, GB Productions; Ken Robold, EVP/COO, Sony Music Nashville; Levon’s Jake Singleton, Michael David Hall and Ryan Holladay; Sony Music Nashville’s Chairman/CEO Randy Goodman, VP of Digital Strategy Ed Rivadavia, EVP of Promotion & Artist Development Steve Hodges, SVP of Columbia Nashville Promotion Shane Allen and EVP of Marketing & New Business John Zarling. Photo: Matt Berinato
In celebration of the release of their self-titled five-song debut EP this week, new country group Levon performed at a 12th & Porter showcase in Nashville. Currently on a nationwide country radio tour, the Columbia Nashville/Epic Records trio will release their first single to radio this summer.
WTW Associates Merges With Buffkin/Baker
WTW Associates, an executive search firm specializing in media, entertainment, technology and law has merged with Buffkin/Baker. WTW Associates, based in New York, will now be part of Buffkin/Baker’s entertainment/media practice, and will integrate into Buffkin/Baker’s New York office operations.
Exegan Media & Entertainment Renews Deal With The Orchard
SunTrust’s 19th Annual Hot Dog Day Set For June 8
/by Jessica NicholsonThe 19th Annual SunTrust Hot Dog Day will take place Thursday, June 8, 2017 at the SunTrust Music Row location.
The free event will be held from 11:30 a.m.-2 p.m. and feature entertainment provided by Warner/Chappell music publishing.
SunTrust Music Row is located at 1026 17th Ave. S.
The lineup for the 2017 event includes:
11:30 AM – 12:30 PM
Corey Kent White
Jimi Bell
Sam Hatmaker
1:00 – 2:00 PM
Brad Clawson
Taylor Phillips
Lonnie Fowler
Liz Rose Celebrates Release Of ‘Swimming Alone’ With Nashville Party
/by Jessica NicholsonPictured (L-R): BMI’s Jody Williams, Leslie Roberts and Alison Smith, BMI singer-songwriter Liz Rose and BMI’s Nina Carter and MaryAnn Keen. Photo: Steve Lowry
BMI songwriter Liz Rose gathered with friends, family and fans at Nashville venue The Country on Wednesday, May 17 to celebrate her new album, Swimming Alone. Rose was joined on stage by BMI songwriter Lori McKenna for a special performance of selected tracks from the album.
“First I never thought I would do it,” Rose told MusicRow recently about the project. “All these ideas started coming to me and I think ‘Swimming Alone’ was the first title. I also had ‘Grocery Money’ and ‘Yellow Room.’ I thought, ‘These are such good titles, but they are really my story,’ and I just don’t think I could use those titles and write about anything but me.” The intensely personal album released May 12.
Rose welcomed a who’s-who of her closest songwriting friends on the album, including McKenna, Stephony Smith, Caitlyn Smith, Natalie Hemby, Lisa Carver, and more. Mac McAnally produced the album.
(L-R): BMI songwriters and Love Junkie members Lori McKenna and Liz Rose with Little Big Town’s Karen Fairchild and Love Junkie songwriter Hillary Lindsey. Photo: Steve Lowry
BMI songwriters Lori McKenna and Liz Rose perform at the Swimming Alone release party. Photo: Steve Lowry