Pictured (L-R): William Michael Morgan, Drake White, Granger Smith, Jon Pardi, Maren Morris. Photo: CRS Official/Twitter
BOBBY KARL WORKS THE ROOM
Chapter 556
The 2017 edition of the New Faces Show was the event’s most “country” collection of talent in years.
This annual capstone of the Country Radio Seminar convention has been showcasing up-and-comers, hopefuls and future superstars since 1970. This year, it was a celebration of neo-traditionalism as William Michael Morgan, Jon Pardi, Drake White and Granger Smith offered their various styles of twang and drawl. Even show closer Maren Morris eschewed the drum loops, electronic effects and auto-tune of her album’s sound to deliver a rootsy performance.
This year’s New Faces Show took place Friday evening, Feb. 24, at the Omni Hotel’s spacious Broadway Ballroom. The banquet meal was a pecan-encrusted chicken quarter on a bed of parsley-pureed mashed potatoes with zucchini, carrot and tomato sides and berried chocolate tarts for dessert.
My dining companions included such media mavens as Deborah Evans Price, Troy Stephenson, Chuck Dauphin, Lorie Hollabaugh, Eric T. Parker, Bob Paxman and Ed Morris. After the yummy chow, we turned our attentions to the main event, the artists doing their utmost to impress the radio tastemakers.
Drake White performs. Photo: CRS Official/Twitter
The evening belonged to Drake White, who led off. This Alabama-bred fellow never delivers less than 100%, and his crackling performance on Friday was no exception. He was saucy, sassy and drawling on the rollicking “It Feels Good” as he opened his set.
“We are ‘living the dream’ today, because of y’all; thank-you so much,” Drake said as he tore into “Livin’ the Dream.” He invested it with immense energy and passion. Then came the even more intense, relentlessly driving “Heartbeat.” He closed with his torrid love ballad “Makin’ Me Look Good Again,” and was rewarded with a standing ovation.
“You won’t see a better act tonight,” I advised Miss Mary. At first, I was perplexed that this powerhouse performer was the opener. But you know what? At New Faces, this is actually the slot you want. While Drake sang, the place was packed to capacity with 1,300 still reasonably sober and super influential radio people. By the time Maren closed the show a couple of hours later, the ballroom was almost half empty.
Second up was William Michael Morgan. This tall, handsome youngster is an “old-school” vocalist. His stone-country delivery of the mellow, mid-tempo “Vinyl” suited the lyric’s old-fashioned values perfectly. The down-home, sincere, working-class salute “Beer Drinker” was even better.
“I Know Who He Is” was a heart-tugging, inspirational ballad. He introduced his lilting new single, “Missing,” a two-step, then closed with his No. 1 hit, the swirling, atmospheric and ultra romantic “I Met a Girl.” “Thank you: God bless country music!” stated William in closing.
The 23 year-old Mississippi native had a somewhat awkward, gangly stage presence, like a country boy plucked from a farm field and put into the spotlight. It made him seem warmly charming and endearing.
By contrast, Granger Smith is the ultimate showboating extrovert. The Texan opened with the romping “If the Boot Fits.” Then, his cover of Tom Petty’s “Free Falling” segued into the churning, extended jam of “Backroad Song,” which was packed with personality.
Granger Smith’s Earl Dibbles, Jr. Photo: CRS Official/Twitter
Granger next changed into the costume of his redneck alter ego “Earl Dibble Jr.” and reemerged waving an oversized “Yee Yee” flag. Flaunting his full-bore, white-trash persona in overalls, he held up a guitar reading “Dip” on its back, offered a two-handed, beer-spray celebratory drink and stripped to his waist while performing “Country Boy Love.” The crowd gave him a standing ovation.
Also sublimely country was Jon Pardi. He was boyishly bopping on “Cowboy Hat” and appropriately drawling on “She Ain’t In It.” By this time, a large mosh pit had gathered for him in front of the stage. Like several of those who preceded him, he shook hands with those closest to him.
The California native had a sunny, optimistic quality throughout his set. He closed with back-to-back “boot” songs. His rolling, swaying big hit “Head Over Boots” was followed by the choppy, rhythmic “Dirt on My Boots.”
Petite, vivacious Maren Morris closed the show. She opened with her rumbling stomper “80s Mercedes,” punctuated by her handclaps and ad-libbed shouts. One of the big highlights of her set was her new single, a yearning, elegant, tuneful and super compelling ballad titled “I Could Use a Love Song.”
“Thank you for your support of new music and new artists,” said the singer-songwriter. “We couldn’t do it without you.”
The Texas native offered her hugely popular, Grammy-winning rouser “My Church” to great applause. Her closing “party song” was the wry, tongue-in-cheek and high-spirited “Rich.” The crowd gave the reigning CMA New Artist of the Year winner the evening’s final standing ovation.
Abetting the performances, the ACM’s Lisa Lee and Ben Vaughn presented that organization’s radio award winners, and Charlie Morgan, Lon Helton and Chuck Aly announced their Country Aircheck radio winners. There was also a salute to St. Jude Children’s Research Hospital, a number of amusing video interludes and an “In Memoriam” segment honoring those in the country industry who passed away during the past year.
William Michael Morgan. Photo: CRS Official/Twitter
John Esposito, John Briggs, Mike Dungan, Mike Sistad, Rob Simbeck, Bobby Young, Tom Lord, Todd Cassetty, Preshus Tomes Harris, Autumn House Tallant, Travis Rice, Royce Risser, Rick Murray, R.J. Curtis, Paul Barnabee, Scott Hendricks, Daniel Hill, Maurice Miner, Phyllis Stark, Jim Catino, Ken Robold, Capucine Monk, Kos Weaver and Duane Clark were among those working the radio room.
In the past, the New Faces Show has helped to launch such stars as Alabama, Reba McEntire, George Strait, Vince Gill, Randy Travis, Faith Hill, Taylor Swift, Tim McGraw, Patty Loveless and Blake Shelton. More than 300 New Faces artists have been showcased to date. We added five more worthy names to that long list on Friday night.
Bobby Karl Works The 2017 New Faces Of Country Music Show
/by Bobby KarlPictured (L-R): William Michael Morgan, Drake White, Granger Smith, Jon Pardi, Maren Morris. Photo: CRS Official/Twitter
BOBBY KARL WORKS THE ROOM
Chapter 556
The 2017 edition of the New Faces Show was the event’s most “country” collection of talent in years.
This annual capstone of the Country Radio Seminar convention has been showcasing up-and-comers, hopefuls and future superstars since 1970. This year, it was a celebration of neo-traditionalism as William Michael Morgan, Jon Pardi, Drake White and Granger Smith offered their various styles of twang and drawl. Even show closer Maren Morris eschewed the drum loops, electronic effects and auto-tune of her album’s sound to deliver a rootsy performance.
This year’s New Faces Show took place Friday evening, Feb. 24, at the Omni Hotel’s spacious Broadway Ballroom. The banquet meal was a pecan-encrusted chicken quarter on a bed of parsley-pureed mashed potatoes with zucchini, carrot and tomato sides and berried chocolate tarts for dessert.
My dining companions included such media mavens as Deborah Evans Price, Troy Stephenson, Chuck Dauphin, Lorie Hollabaugh, Eric T. Parker, Bob Paxman and Ed Morris. After the yummy chow, we turned our attentions to the main event, the artists doing their utmost to impress the radio tastemakers.
Drake White performs. Photo: CRS Official/Twitter
The evening belonged to Drake White, who led off. This Alabama-bred fellow never delivers less than 100%, and his crackling performance on Friday was no exception. He was saucy, sassy and drawling on the rollicking “It Feels Good” as he opened his set.
“We are ‘living the dream’ today, because of y’all; thank-you so much,” Drake said as he tore into “Livin’ the Dream.” He invested it with immense energy and passion. Then came the even more intense, relentlessly driving “Heartbeat.” He closed with his torrid love ballad “Makin’ Me Look Good Again,” and was rewarded with a standing ovation.
“You won’t see a better act tonight,” I advised Miss Mary. At first, I was perplexed that this powerhouse performer was the opener. But you know what? At New Faces, this is actually the slot you want. While Drake sang, the place was packed to capacity with 1,300 still reasonably sober and super influential radio people. By the time Maren closed the show a couple of hours later, the ballroom was almost half empty.
Second up was William Michael Morgan. This tall, handsome youngster is an “old-school” vocalist. His stone-country delivery of the mellow, mid-tempo “Vinyl” suited the lyric’s old-fashioned values perfectly. The down-home, sincere, working-class salute “Beer Drinker” was even better.
“I Know Who He Is” was a heart-tugging, inspirational ballad. He introduced his lilting new single, “Missing,” a two-step, then closed with his No. 1 hit, the swirling, atmospheric and ultra romantic “I Met a Girl.” “Thank you: God bless country music!” stated William in closing.
The 23 year-old Mississippi native had a somewhat awkward, gangly stage presence, like a country boy plucked from a farm field and put into the spotlight. It made him seem warmly charming and endearing.
By contrast, Granger Smith is the ultimate showboating extrovert. The Texan opened with the romping “If the Boot Fits.” Then, his cover of Tom Petty’s “Free Falling” segued into the churning, extended jam of “Backroad Song,” which was packed with personality.
Granger Smith’s Earl Dibbles, Jr. Photo: CRS Official/Twitter
Granger next changed into the costume of his redneck alter ego “Earl Dibble Jr.” and reemerged waving an oversized “Yee Yee” flag. Flaunting his full-bore, white-trash persona in overalls, he held up a guitar reading “Dip” on its back, offered a two-handed, beer-spray celebratory drink and stripped to his waist while performing “Country Boy Love.” The crowd gave him a standing ovation.
Also sublimely country was Jon Pardi. He was boyishly bopping on “Cowboy Hat” and appropriately drawling on “She Ain’t In It.” By this time, a large mosh pit had gathered for him in front of the stage. Like several of those who preceded him, he shook hands with those closest to him.
The California native had a sunny, optimistic quality throughout his set. He closed with back-to-back “boot” songs. His rolling, swaying big hit “Head Over Boots” was followed by the choppy, rhythmic “Dirt on My Boots.”
Petite, vivacious Maren Morris closed the show. She opened with her rumbling stomper “80s Mercedes,” punctuated by her handclaps and ad-libbed shouts. One of the big highlights of her set was her new single, a yearning, elegant, tuneful and super compelling ballad titled “I Could Use a Love Song.”
“Thank you for your support of new music and new artists,” said the singer-songwriter. “We couldn’t do it without you.”
The Texas native offered her hugely popular, Grammy-winning rouser “My Church” to great applause. Her closing “party song” was the wry, tongue-in-cheek and high-spirited “Rich.” The crowd gave the reigning CMA New Artist of the Year winner the evening’s final standing ovation.
Abetting the performances, the ACM’s Lisa Lee and Ben Vaughn presented that organization’s radio award winners, and Charlie Morgan, Lon Helton and Chuck Aly announced their Country Aircheck radio winners. There was also a salute to St. Jude Children’s Research Hospital, a number of amusing video interludes and an “In Memoriam” segment honoring those in the country industry who passed away during the past year.
William Michael Morgan. Photo: CRS Official/Twitter
John Esposito, John Briggs, Mike Dungan, Mike Sistad, Rob Simbeck, Bobby Young, Tom Lord, Todd Cassetty, Preshus Tomes Harris, Autumn House Tallant, Travis Rice, Royce Risser, Rick Murray, R.J. Curtis, Paul Barnabee, Scott Hendricks, Daniel Hill, Maurice Miner, Phyllis Stark, Jim Catino, Ken Robold, Capucine Monk, Kos Weaver and Duane Clark were among those working the radio room.
In the past, the New Faces Show has helped to launch such stars as Alabama, Reba McEntire, George Strait, Vince Gill, Randy Travis, Faith Hill, Taylor Swift, Tim McGraw, Patty Loveless and Blake Shelton. More than 300 New Faces artists have been showcased to date. We added five more worthy names to that long list on Friday night.
CRS 2017: Toby Keith Does Things His Way
/by Jessica NicholsonToby Keith with Beverlee Brannigan and RJ Curtis during CRS 2017. Photo: CRS Official/Twitter
Show Dog Nashville artist Toby Keith helped close out the 2017 Country Radio Seminar on Friday (Feb. 24) with the panel “Toby Keith—My Way,” moderated by All Access Nashville’s RJ Curtis and Scripps/Wichita VP/GM Beverlee Brannigan.
BMI’s Leslie Roberts introduced Keith, whose songs have garnered 31 BMI Country Awards and 29 million performances. Keith was named BMI’s Country Songwriter of the Year in 2001, 2004 and 2006.
The panel was slated for the day of the annual New Faces of Country Music Show, and Keith recalled his own appearance as a new artist on the show back in 1994, a show that also included then-newcomers Tim McGraw and Faith Hill. From there, Keith discussed the importance of making his own career decision, trusting his own intuition, and the hit-making results that mindset has had on his career.
Brannigan asked about Keith’s decision to perform during President Donald Trump’s inauguration, despite opposition on social media.
“Every single time the White House– no matter who the President was — called, I’ve always said yes and went,” Keith said. “In the end, it just makes you stronger. If you don’t succumb to the pressure, it will make you stronger.”
Keith also discussed his strong support for the military and the USO, as well as the influence of his father, who died just months before Sept. 11, 2001.
Keith recalled how early in his career, he took direction from music executives, before he began calling the shots.
“If you look at those first photo shoots, they had me in suits,” Keith said. “Probably from 1993-1997, I put up with it.”
According to Keith, his label at the time wasn’t confident in his How Do You Like Me Now?! album, so he purchased the rights to the album from the label and took it to DreamWorks, which released the project in 1999. Keith advocated for the album’s title track as the first single, a bold choice for radio at the time.
“They were afraid of it, too,” Keith said, explaining that at the time radio favored female artists and more female-centric themes. “Male artists were getting pushed aside.”
When execs at DreamWorks decided to release “When Love Fades” as the lead single, Keith was less than enthusiastic. After “When Love Fades” stalled at No. 33 on the radio charts for three straight weeks, Keith took action.
“I just called up 30 radio guys and told them to go with, ‘How Do You Like Me Now?!,’” said Keith.
Keith summed his bold, independent approach to his career, saying, “I can live with it if I go down with my own ship. But if y’all are the captain, and my ship goes down, I can’t live with that.”
Keith would go on to launch the Show Dog Nashville label in 2005.
Bobby Karl Works BMLG’s CRS Luncheon
/by Bobby KarlPictured: Big Machine Label Group President & CEO Scott Borchetta, CRB Executive Director Bill Mayne with BMLG artists Maddie & Tae, A Thousand Horses, Trent Harmon, Midland, Carly Pearce, and Delta Rae. Photo: Rick Diamond [CLICK PHOTO TO ENLARGE]
That massive sound you heard around 2 p.m. on Friday afternoon coming from the Omni Hotel was the explosion of talent by the group Delta Rae.
The Durham, NC band rocked the Big Machine Label Group luncheon with a performance that was practically volcanic in intensity. The melodies were thrilling, the showmanship was charismatic and the singing was sensational.
The group dazzled the crowd with “I’ll Walk With You,” “No Peace and Quiet,” “I Move South” and more. Led by Elizabeth Hopkins and siblings Brittany, Eric and Ian Holljes, Delta Rae completely stole the show.
The luncheon began its lineup with A Thousand Horses. This six-piece ensemble, augmented with three dancing female backup vocalists, created a big, blazing, country-rock sound. Its set included the group’s debut hit “Smoke” and featured its new single “Preachin’ to the Choir.”
Newcomer Carly Pearce sang splendidly at her debut CRS performance. She introduced the mournful heartache ballad “Every Little Thing” as her debut single.
Maddie & Tae were pert, bright and sparkly on four new tunes that will be on their sophomore CD. “Doin’ Just Fine,” “Welcome to the Club,” “Blame it on the Tree” and “Somebody Will” were all winners.
The new trio Midland faced the crowd with three voices and three guitars. Among its tunes was its tuneful new single “Drinkin’ Problem.”
“Imagine them in your conference room very soon,” promised host Scott Borchetta to the radio folks in attendance. “We’re going to break this act together. So thank-you in advance for that.”
Scott was a regular on American Idol this past season, so he naturally brought out the show’s winner, Trent Harmon. The singer-songwriter was winning on “There Is a Girl” and drew a standing ovation for his bluesy and slow “Her.”
Then Delta Rae raised the rafters of the Omni ballroom.
Taking it all in were Craig Campbell, Sarah Skates, April Johnson, Rick Murray, R.J. Curtis, Brenden Oliver, Chuck Aly and Jeff Davis.
CRS: ‘MusicRow’ Panel Station KZPK Discusses Small Market Promotions
/by Troy_StephensonCRS hosted a session called Objects Are Larger Than They Appear: Small Markets That Do Big Things on Friday (Feb.24). The panel included Sony Music Nashville’s RG Jones along with Jesse Garcia and Erica Ogle from WBYT FM – Federated Media, South Bend, Indiana, and JJ Holiday and Stephanie Theisen from MusicRow CountryBreakout panel station KZPK – Leighton Broadcasting in St. Cloud, Minnesota. It was moderated by Tom Baldrica.
Garcia and Ogle from WBYT talked about their annual B100 Birthday bash and how they grew the event from a small crowd of around 5,000 to an annual event that welcomes close to 40,000 people each year.
KZPK hosts an annual CMA Awards party at a local venue that has become a big part of their yearly non-traditional revenue events. Listeners win tickets to watch the CMA awards live with food, drinks, and sponsor prizes available.
The common theme from this panel was that even small market radio stations with small budgets can put on big events that benefit the station, the listeners, and the client.
“It has taken many years of building this event to make it where it is today,” said Garcia about their B100 concert. “But we continue to learn and continue to make it bigger every year.”
KZPK’s Holiday recalled having to work hard to “sell” the event to sponsors when they first launched the event. “Now we have businesses calling us wanting to be a ticket stop and sponsor.”
Amazon Music Predicts Future, Offers Insights During CRS
/by Eric T. ParkerAmazon’s Ryan Redington at Country Radio Seminar. Photo: Twitter/CRS Official
In a predictable but necessary juxtaposition, Country Radio Seminar (CRS) welcomed Amazon Music’s Director, Ryan Redington, to speak to radio executives about how his digital service employs in-house curators and deliveries personal DJ experiences.
CRS’ Executive Director, Bill Mayne explained the prudent decision to bring CRS attendees up close with streaming music, assuring Garth Brooks’ appearance the previous day (Feb. 23) was “not a package deal” with Redington’s featured speaker slot—”completely coincidental.”
After exhaustively discussing pricing tiers, Redington explained Amazon Music’s relationship with country music.
“What was fascinating for us, and why I think Bill reached out to us, is engagement for country on [Amazon Music] has been incredibly strong,” said Redington. “We have a few ideas why. We still have physical music and we’ve built a very welcoming [streaming] product for those particular customers.”
Redington went on to note Amazon’s country station is the No. 1 station across their entire service. He compared Amazon Music statistics to un-cited “industry standards,” which he said showed different customers have chosen different services and Amazon works well with county music fans.
“We wanted to capitalize on those strengths, and when we looked at the landscape, there was one artist that had yet to move into the streaming space and just so happened to be the No. 1 selling solo artist of all time: Garth Brooks,” said Redington of his 2016 deal with Brooks.
The 45-minute program continued, mostly promoting its Echo. Valuable was information about Amazon’s Side-by-Side feature—built for a new album release. The exclusive promotion pairs audio commentary from artists with selected tracks to offer behind-the-scenes, insider info directly from the artist.
Redington concluded with Amazon’s outlook for the future of music consumption for the home and car.
Ryan Redington
“As we look forward, we [want to] bring streaming into the home,” said Redington. “You really don’t understand the friction a product creates when you have to walk in a house and want to listen to an on-demand streaming service: you have to unlock your phone, log in, choose Bluetooth/plug into receiver, find playlist/song and play. If we put an Echo in your kitchen and you get home from work and say, ‘Alexa, play music,’ the amount of music we see them listen to grows exponentially. The lack of friction is similar to jumping into a car and turning on the radio.
“We believe the next wave of on-demand/purchased music, streaming business, is going to be through the home and your voice being the vehicle that drives that next big phase.
“Interesting for people in the room is, what happens with voice in the car? As you think about radio with respect to your businesses and voice that impacts your future, and how you think about technology can fundamentally change how you think about music and build your catalog. It’s not just going to affect Amazon, but it will affect different industries over time, if voice does what we believe it’s going to do.
“The big takeaway from today is: as technology evolves, you have to rethink about what you’re going to do to meet the customer demands.”
Spirit Music Nashville Signs Marcus Hummon
/by Jessica NicholsonPictured (L-R): Brian Bradford (Sr. Director of Administration, Spirit Music Nashville); Eric Hurt (Sr. Director of Creative, Spirit Music Nashville); Daniel Hill, (President, Spirit Music Nashville); Marcus Hummon; Billy Lynn (VP, Creative, Spirit Music Nashville); and Jon Singer (COO/CFO, Spirit Music Group).
Spirit Music Nashville has signed songwriter Marcus Hummon to an exclusive worldwide publishing agreement, as announced by David Renzer, Chairman, Spirit Music Group and Daniel Hill, President, Spirit Music Nashville.
“We have been fans of Marcus Hummon for many years, so it is a great honor and thrill to finally get to work with him. The emotional depth of his music and lyrics is undeniable. Marcus has an amazing creative energy and talent that seem to be as abundant as his musical diversity. We are pleased that he has chosen Spirit to be his publishing home,” said Hill.
Among Marcus Hummon’s best-known songs is the hit “Bless The Broken Road” by Rascal Flatts, which won him a Grammy for Best Country Song as well as two Nashville Songwriters Association International (NSAI) awards for Best Country Song in 2005 and 2007. Hummon also wrote hits including “Cowboy Take Me Away” and “Ready To Run” (The Dixie Chicks); “Born To Fly” (Sara Evans); “One Of These Days” (Tim McGraw); and “Only Love” (Wynonna), among others.
Hummon has garnered numerous BMI awards (including 5 No. 1 awards) as well as multiple nominations for Grammys, Academy of Country Music (ACM) awards, Country Music Association (CMA) awards and Dove awards.
Spirit Music Group, founded in 1995, is headquartered in New York with offices in London, Los Angeles, Nashville and the Netherlands.
RMLC, BMI Agree To Interim Rate
/by Jessica NicholsonBMI and the Radio Music License Committee have agreed to set an interim rate of 1.7 percent of radio revenue, as both parties are still in negotiations for a final rate.
BMI began a proceeding in Federal Rate Court on Jan. 3. According to a statement from BMI, the RMLC sought a lower interim rate, “based on incomplete and incorrect information regarding BMI’s share of radio performances.”
After a preliminary hearing on Friday, Feb. 17, the RMLC agreed that the 7,000 stations the organization represents would pay the interim fee proposed by BMI. The payments will cover fees starting Jan. 1, 2017 and until a final fee is set.
Exclusive Bonus Q&A: Ann Powers Brings Nashville Attention To NPR
/by Eric T. ParkerAnn Powers, NPR Music critic/correspondent and World Cafe contributor, sat down with MusicRow to discuss her role at public radio and the life experience that led her to it.
Now a Nashville resident with husband Eric and teenage daughter, the Seattle native discussed her unique perspective on life and shares her advice to young writers in this MusicRow bonus Q&A.
To read Powers’ print feature, visit musicrow.com to purchase the 2017 Country Radio issue.
– – –
With your undergraduate in creative writing and masters degree in literature, how does your training serve you in your career today?
In an age where we are all scrolling through feeds rather than reading books—having a foundation in literature and books is hugely important. Studying creative writing as opposed to journalism was important because it gave me a sense of language. I knew I was never going to be a hardcore news reporter. I knew I would be an arts writer. Not that I’m against [journalism] school, especially for people now because its important to learn multimedia tools for the 21st century. But for me, reading a lot and learning how to use language were the most important things.
For me in critical theory—which isn’t for everyone, the language can put people off—it gave me a framework of thinking about culture that I use in my work now. Many non-academics think of the academic world as impossible to grasp, or snobby. I think its really useful to see the big picture of how culture works, how music works in connection to politics, identity and the other arts. Studying literature helped me understand music’s literary side, particularly useful in understanding singer-songwriters.
How did writing for your local outlets help lead you to New York?
I really had a sense of my career, as it were, as a local thing—writing about bands in the Bay Area. I was writing for LA Weekly, so West Coast. I met my now husband, Eric Weisbard. He was from New York, and he inspired me to try to write for The Village Voice from San Francisco. That’s how my career really took off. I had just got my masters in literature, writing for SPIN during my first semester of a PhD program in the early 90s. John Gross of the New York Times called to ask if I wanted to move to New York and write for the Times. In my family, the story goes: I answered the call and said, “Well John, that’s really great but I’m in school studying Beowulf. Goodbye.” From the other room, Eric made me call back and consider the offer. Within a month I was living in New York. I think I was 28. Had that phone call not come, my path may have been very different. I would have probably become a college professor.
Is there a lesson you would impart to the next generation from that experience?
When young people come to me to say they want to move to New York to be a journalist when they’re 22, I’m like ‘Why don’t you find out what’s happening in your own town and if something’s not happening, maybe consider just writing something. Because that’s going to be a better seedbed for your talent.’
Being able to work at alternative weekly [newspapers] gave me a chance to try out a lot of different things, interview amazing people, try different forms and learn how to do it before I went to the major stage. It was almost like the minor league in baseball. You could learn your chops in a sympathetic environment, among your friends.
With your work now, is there a common message you hope gets across?
I’m interested in connections. I’m interested in how a music world arises out of the efforts of many different kinds of people and the facts of many different circumstance. I try to look at artists within that context—within their community. In Nashville there’s no better illustration of a real community where people can work together in the flesh. I love that about this city. There’s also this imagined community—the books you read, the movies you watch, and the people who came before, toward whom you aspire. When I write I always try to consider all of that.
I’m also interested in the stories that might be overlooked or the meanings that might be just under the surface, or the ways we use or love music. An example would be a piece I recently wrote about music and grieving about this past year—and how we lost so many amazing stars—and how the sorrow was also creating an opportunity for fans to create archives and share not only memories but materials. So out of the death of David Bowie comes great websites that collect all of his incredible music and images and performances.
Its been said Garth Brooks raised Nashville’s profile in the 90s where major outlets began to pay attention to Music City. Do you feel a similar uprising today with Nashville as the ‘it city’?
First, let me say I was part of that movement in the 90s when Garth changed peoples ears and minds about Nashville. I first got in to country music through the insurgent country scene that came out of punk and new wave in the 80s, so Rank and File and later Dwight Yoakam, Steve Earle, people like that who were connected to alternative sounds in country. There was a lot of that on the west coast. I interviewed Buck Owens when I was like 23 years old because I got in to Dwight Yoakam. However, in the 90s, when my career was a little further along—Eric and I lived in Oakland, California. We had this car with only an AM radio and listened to the country station all the time. Having that car between 1990 and 1992 meant it was that moment—Randy Travis, Garth Brooks, Shania Twain. We just became fascinated with this new mainstream of country music. And I think for people like myself who had been raised on rock, here’s a moment Garth was doing Billy Joel songs and flying around the arena.
That was a totally different moment from now. That was a moment of mainstream crossover and the biggest megastars country could produce. Now the music industry landscape is completely different. Obviously the corporate industry has been challenged to the bone by downloading and then streaming. Things are much more diffuse and non-hierarchical.
What interests me now is the way Nashville remains the center from that mainstream music industry and is in fact the strongest center—in some ways stronger culturally than L.A. or New York as far as having an identity and commitment to artists—being able to break artists in conventional ways like radio, touring and ever-more-consolidated major labels. We’re still getting really great music out of major labels, like Maren Morris, Little Big Town or Sam Hunt. Those are people I think are really pushing the envelope and challenging the conventions of country music in their sound as well. At the same time, you have all this stuff happening at independent labels, like Margo Price on Third Man Records, or self-releases. Every day I hear a new release from an artist in this town that blows me away that they just put out by themselves or a tiny label. Kelsey Waldon or Erin Rae. This is why it is not just a cliché to say Nashville is the best music city in the country. Within industry terms, all levels of the industry are operating and thriving here. As a journalist I can find those kinds of stories.
Where do you see Nashville still having room to grow?
The one huge caveat to all that, of course, is Nashville’s music scene is dominated by white artists. I’m interested in artists of color, hip-hop, R&B and latino. One thing I’m hoping for the next 10 years, as the city grows and changes, is a diversification in the music scene too. For artists who’ve been here a long time, like Jason Eskridge for example, or new artists will get more Nashville recognition. That would be the final step in making Nashville truly world-class—diversity is the final piece of the puzzle for Nashville.
I do think as Nashville grows, there will be more opportunities for writers too. I hope national and international publications look to Nashville writers instead of flying someone in who doesn’t know anything about this town or understand the workings of the scene to report for two days. I hope that happens enough where writers here who can make a living.
Read Ann Powers’ feature in MusicRow’s Country Radio print edition, available at MusicRow.com.
LOCASH Celebrates First No. 1 With Veteran Songwriters During CRS
/by Eric T. ParkerPictured (L-R, Back row): Rezonant’s Tim Wipperman and Rebekah Gordon, ole’s Ben Strain, Reviver Records’ Gator Michaels, producer Lindsay Rimes, SONY ATV’s Tom Luteran, ole’s John Ozier, BMI’s David Preston, ASCAP’s Michael Martin, and Warner/Chappell’s Ryan Beuschel. Seated (L-R): BMI songwriter Ross Copperman, ASCAP songwriter Jeremy Stover, LOCASH’s Preston Brust and Chris Lucas, BMI songwriter Rhett Akins
BMI’s David Preston welcomed a rowdy CRS crowd to the first No. 1 party for the ACM-nominated LOCASH at Nashville’s Lower Broadway venue The Valentine. The celebration also honored the first No. 1, “I Know Somebody,” for the duo’s independent label Reviver Records, and producer Lindsay Rimes.
Preston offered No. 1 pewter cups on behalf of the PRO and its sponsor Pinnacle Bank before Ron Cox presented donations to the Nashville Rescue Mission on behalf of the songwriters Rhett Akins (BMI), Ross Copperman (BMI) and Jeremy Stover (ASCAP).
ASCAP’s Michael Martin took the stage to recognize Stover on behalf of their sponsor, First Tennessee Bank, and the PRO’s executive team in the audience: CEO Elizabeth Matthews, President Paul Williams and EVP John Titta.
“I Know Somebody” was the first collaboration with the three songwriters.
Stover’s ole affiliate (and admin rep for Reviver and LOCASH) John Ozier, presented iPads on behalf of his team and made mention of his song plugger Ben Strain, who pitched the outside cut to the duo.
“David Ross and the Reiver staff pulled off a miracle, pulling this song from No. 6 to No. 1,” recalls Ozier.
A tearful Stover welcomed his daughter to join him on stage after thanking everyone onstage, in addition to his family for his sixth No. 1. “My parents are here,” said Stover. “Thanks to my wife Miley and the kids for being so supportive. It’s so much sweeter having you be a part of this.”
Sony/ATVs Tom Luteran made mention of Copperman’s double triple play award (six No. 1s in a 12-month period) before turning the mic over to the songwriter’s current publisher, Tim Wipperman and Rebekah Gordon. The Rezonant Music executives made mention of Copperman now having received 16 No. 1 songs after presenting a bottle of wine to their songwriter.
“Thank you to Reviver Records,” said Copperman, before his daughter joined onstage too. “We are so thankful for you guys. Going from No. 6 to No. 1 [on the chart], I still want to know the story behind that because that’s amazing! I want to get to know you more.”
Warner/Chappell’s Ryan Beuschel had the honor of offering remarks on Akins’ 26th No. 1.
Beuschel recalled the soon-to-be grandfather for two comparing writing songs to deer hunting. “‘If you’re not in the woods, you’re not going to get anything,'” said Beuschel of Akins’ motto. “At the time [Rhett had] 24 No. 1s, but he said, ‘When I get to 25 No. 1s, I’ll feel like I’m halfway there.’ Nothing fired me up more as a publisher to work with someone feeling like they’re just getting started after the massive success he’s had. We’re looking forward to getting to 50!”
Akins remarked, “I have a Mediabase password, which is like being on crack and watching the stock market. I literally checked my phone every two minutes…it was like a horserace with Billy Currington and LOCASH. I could not sleep. The next morning they were No. 1 and it was the greatest feeling on earth, so thank you Reviver!”
Reviver’s Gator Michaels noted LOCASH’s follow-up single, “Ring On Every Finger,” keeps it in the family—written by Akins’ son Thomas Rhett. Michaels also noted his duo respects songwriting and wants the best song to win, which is why the outside song was released.
Rimes was praised by everyone who took to the mic. “Sometimes in this town, you feel nobody will take a chance on you, and these guys did.”
LOCASH’s Preston Brust and Chris Lucas presented all the songwriters with custom, and valuable, Pappy & Company bourbon bottles, and engraved decanters and rocks glasses.
Brust congratulated Rimes, everyone on stage, thanked country radio, his family and the band’s management at Vector before telling of his first meeting with Akins. The two had a hunting incident involving blood, and Brust did not have insurance to go the hospital so Akins had to use superglue to help. “I have insurance now because of you [songwriters],” said Brust.
Lucas announced his wife is pregnant with their third child during his turn at the mic, with gratitude for everyone involved.
“We had Program Directors all over the county calling us, saying “‘Guys we’re playing your song 3 times in a row because we want you to get a No. 1,’” recalled Lucas. “It also came from other label promotion staff members because they all believed in LOCASH from 10 years ago. Thank you country radio—You’ve changed our lives with this first No. 1.”
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