Troy Cartwright. Photo: Jamey Ice
When Troy Cartwright’s lease was up in Dallas, he figured he’d move to Nashville to make his mark as a songwriter. He relocated in May, but had already been coming to town about once a month, getting into writing rooms and adding to his catalog.
After playing a hundred shows a year without an agent or manager, Cartwright secured a new deal with the Nashville office of WME. Through the independent Hard Luck Recording Company, he released a new EP in October called Don’t Fade, with a sonic style that wouldn’t sound out of place in a honky-tonk, a listening room, or music festival.
Over coffee at Edgehill Café, Cartwright chatted with MusicRow about getting his foot in the door, absorbing virtual songwriting lessons from John Prine, and treating songwriting like a real job.
MusicRow: What was that year like coming back and forth from Texas to Nashville? Were you just trying to meet people or break in?
Troy Cartwright: Yeah, I was trying to write. I love to write songs, so I was meeting with publishers. I had some friends hook me up. It was the strangest thing and it’s still strange. You go in there and it’s like a job interview. They’re like, “Play your songs.” You play your songs and they set you up with all the writes, and it was really fun. That’s seems so cool the first time you do it and now it feels a little bit more normal, but it’s still great.
Was that you setting that up or was that someone doing that on your behalf?
Yeah, I was just going out there grinding it myself.
How’d you get the meetings?
One friend of a friend who used to write somewhere would call and tell them, “Hey you should give this guy a meeting.” Another one was through my radio promoter who knew some people and they let me have a meeting and that was it. That’s kind of how my career really started. I didn’t understand that things were hard or didn’t know what “no” was. I always figured it’s worth a try. Somebody tells you no then that’s OK.
Troy Cartwright. Photo: Jamey Ice
When I was reading up on you, I saw that you like Pete Yorn and John Prine, and I thought, “All right, he’s got good taste in music.” When did you really start listening to songs, like listening to the words and what the messages were?
I think the words definitely came later. When I was growing up, Pete Yorn was one of the first guys I got into because I played acoustic guitar and he played guitar. He was on MTV at the time, but I also really liked rock music at the time because I was an angsty teen. I think as I got older, more in college and really got into the craft of songwriting. That’s when I really started loving guys like John Prine and Robert Earl Keen and stuff because their words and their stories are so compelling.
John Prine is so funny, but also a little dark, and that’s a hard thing to do.
That’s one thing I love about John Prine and Robert Earl Keen as well. A lot of times when they’re singing, they always sound like they’re about to crack up. I find that very endearing.
What were you studying when you went to New York and Boston?
Yeah I went to Berklee College of Music up there in Boston and I always thought I would live in New York. I did an internship in between my junior and senior year of college in New York at a company called RightsFlow, which was like mechanical royalties. I realized that that was not what I wanted to do.
I always thought I would work in the music industry and make contacts and play. Doing that internship, I realized if I want to make a career out of this, I’m going to have to devote my whole being to trying to make it as a musician. It was a tough summer, but I really appreciate that lesson. I probably would have stumbled for a long time before I figured that out.
How did you get to make the ends meet to support yourself?
After that summer, I knew I’d to have to figure out a way to make some money because I wasn’t looking for a full-time job. I was singing in weddings and then I was walking dogs in Boston. That was when I started taking songwriting really seriously. I made up a class for myself to study. I would listen to Spotify radio of Robert Earl Keen or John Prine or something like that. I would listen to it all day and star all the songs I liked and try and absorb all of that songwriting knowledge.
I learned those songs and I started writing every day and really taking my vocal lessons a lot more seriously. I think I might have been a late bloomer in that way because some musicians start that process a lot earlier. For me, I was goofing off until my early 20s.
One thing I like about the way you do write is you don’t overwrite. You don’t put a whole bunch of stuff in there. Is that something that’s developed over the last year from being in Nashville or something that you’ve learned?
I’m sure it’s a combination. I believe you have all these inputs—and that’s listening to music or reading books—and you process it as it all goes into this blender that I imagine exists above my head. When I sit down to write, I just press the spigot and try and catch something from what comes out that day. To me it’s magic. Writing songs is magical because I don’t think anyone really knows where it comes from.
Do you have peak hours of creativity?
11 to 1. Peak writing time for sure.
Which one, a.m. or p.m.?
Morning.
Really?
Yeah. It’s actually very convenient because here in Nashville a lot of the writes start at 10:30 or 11. I wake up around 9 or 9:30. I get my coffee going and I start. When I lived in Texas, I was writing by myself and I needed that structure. Otherwise you just goof off all day. So I would get up and then sit down at 11 and write for a couple hours. I think maybe my brain is trained now to turn it on then.
Well, you treat it like job.
Yeah it is. When I first started, when I moved to Texas from Boston, I would keep a notebook and write down my hours that I would spend on my music career. I would try and spend 40 hours a week, and I did try to treat it like job. Eventually you just get tired of writing it down and you’re like, “All right, I’m good. I did it.”
Exclusive: Troy Cartwright Finds His Focus On ‘Don’t Fade’ EP
/by Craig_ShelburneTroy Cartwright. Photo: Jamey Ice
When Troy Cartwright’s lease was up in Dallas, he figured he’d move to Nashville to make his mark as a songwriter. He relocated in May, but had already been coming to town about once a month, getting into writing rooms and adding to his catalog.
After playing a hundred shows a year without an agent or manager, Cartwright secured a new deal with the Nashville office of WME. Through the independent Hard Luck Recording Company, he released a new EP in October called Don’t Fade, with a sonic style that wouldn’t sound out of place in a honky-tonk, a listening room, or music festival.
Over coffee at Edgehill Café, Cartwright chatted with MusicRow about getting his foot in the door, absorbing virtual songwriting lessons from John Prine, and treating songwriting like a real job.
MusicRow: What was that year like coming back and forth from Texas to Nashville? Were you just trying to meet people or break in?
Troy Cartwright: Yeah, I was trying to write. I love to write songs, so I was meeting with publishers. I had some friends hook me up. It was the strangest thing and it’s still strange. You go in there and it’s like a job interview. They’re like, “Play your songs.” You play your songs and they set you up with all the writes, and it was really fun. That’s seems so cool the first time you do it and now it feels a little bit more normal, but it’s still great.
Was that you setting that up or was that someone doing that on your behalf?
Yeah, I was just going out there grinding it myself.
How’d you get the meetings?
One friend of a friend who used to write somewhere would call and tell them, “Hey you should give this guy a meeting.” Another one was through my radio promoter who knew some people and they let me have a meeting and that was it. That’s kind of how my career really started. I didn’t understand that things were hard or didn’t know what “no” was. I always figured it’s worth a try. Somebody tells you no then that’s OK.
Troy Cartwright. Photo: Jamey Ice
When I was reading up on you, I saw that you like Pete Yorn and John Prine, and I thought, “All right, he’s got good taste in music.” When did you really start listening to songs, like listening to the words and what the messages were?
I think the words definitely came later. When I was growing up, Pete Yorn was one of the first guys I got into because I played acoustic guitar and he played guitar. He was on MTV at the time, but I also really liked rock music at the time because I was an angsty teen. I think as I got older, more in college and really got into the craft of songwriting. That’s when I really started loving guys like John Prine and Robert Earl Keen and stuff because their words and their stories are so compelling.
John Prine is so funny, but also a little dark, and that’s a hard thing to do.
That’s one thing I love about John Prine and Robert Earl Keen as well. A lot of times when they’re singing, they always sound like they’re about to crack up. I find that very endearing.
What were you studying when you went to New York and Boston?
Yeah I went to Berklee College of Music up there in Boston and I always thought I would live in New York. I did an internship in between my junior and senior year of college in New York at a company called RightsFlow, which was like mechanical royalties. I realized that that was not what I wanted to do.
I always thought I would work in the music industry and make contacts and play. Doing that internship, I realized if I want to make a career out of this, I’m going to have to devote my whole being to trying to make it as a musician. It was a tough summer, but I really appreciate that lesson. I probably would have stumbled for a long time before I figured that out.
After that summer, I knew I’d to have to figure out a way to make some money because I wasn’t looking for a full-time job. I was singing in weddings and then I was walking dogs in Boston. That was when I started taking songwriting really seriously. I made up a class for myself to study. I would listen to Spotify radio of Robert Earl Keen or John Prine or something like that. I would listen to it all day and star all the songs I liked and try and absorb all of that songwriting knowledge.
I learned those songs and I started writing every day and really taking my vocal lessons a lot more seriously. I think I might have been a late bloomer in that way because some musicians start that process a lot earlier. For me, I was goofing off until my early 20s.
One thing I like about the way you do write is you don’t overwrite. You don’t put a whole bunch of stuff in there. Is that something that’s developed over the last year from being in Nashville or something that you’ve learned?
I’m sure it’s a combination. I believe you have all these inputs—and that’s listening to music or reading books—and you process it as it all goes into this blender that I imagine exists above my head. When I sit down to write, I just press the spigot and try and catch something from what comes out that day. To me it’s magic. Writing songs is magical because I don’t think anyone really knows where it comes from.
Do you have peak hours of creativity?
11 to 1. Peak writing time for sure.
Which one, a.m. or p.m.?
Morning.
Really?
Yeah. It’s actually very convenient because here in Nashville a lot of the writes start at 10:30 or 11. I wake up around 9 or 9:30. I get my coffee going and I start. When I lived in Texas, I was writing by myself and I needed that structure. Otherwise you just goof off all day. So I would get up and then sit down at 11 and write for a couple hours. I think maybe my brain is trained now to turn it on then.
Well, you treat it like job.
Yeah it is. When I first started, when I moved to Texas from Boston, I would keep a notebook and write down my hours that I would spend on my music career. I would try and spend 40 hours a week, and I did try to treat it like job. Eventually you just get tired of writing it down and you’re like, “All right, I’m good. I did it.”
Chris Lane, “Fix” Songwriters Get Together For No. 1 Party
/by Craig_ShelburnePictured (L-R): Abe Stoklasa, Chris Lane, Sarah Buxton, Jesse Frasure. Photo: John Russell
Chris Lane carried “Fix” to No. 1 with a whole lot of songwriters, publishers and radio support riding shotgun. At a No. 1 party at BMI on Monday (Oct. 10), it was noted that “Fix” is the first time in 30 years of modern chart reporting that a new label’s first single has topped the chart. The single reached No. 1 in August after a 35-week climb.
The sultry single was written by Sarah Buxton, Jesse Frasure and Abe Stoklasa. Released by Big Loud Records, the single also brought together a big group of publishing companies—namely Big Yellow Dog (representing Stoklasa), Big Loud Shirt (on behalf of Buxton) and Major Bob Music (for Frasure).
BMI’s David Preston presided over the afternoon event. ASCAP’s Beth Brinker, Big Yellow Dog’s Carla Wallace, Big Loud Shirt’s Craig Wiseman and Major Bob Music’s Tina Crawford all took the stage. In addition, Mark Brown represented Round Hill Music, who has partnered with Big Loud Shirt on their entire roster.
CMA’s Brandi Simms, Country Aircheck’s Lon Helton and Country Radio Broadcasters’ (CRB) Holly Lane addressed the audience as well.
Pictured L-R: (back row) ASCAP’s Michael Martin, Round Hill Music’s Mark Brown, Big Yellow Dog’s Kerry O’Neill, BMI’s Bradley Collins, Big Yellow Dog’s Carla Wallace, BMI’s David Preston, ASCAP’s Beth Brinker, Big Loud Records’ Joey Moi, Major Bob’s Music’s Tina Crawford, Big Loud Records’ Clay Hunnicutt, Big Loud Shirt’s Craig Wiseman and Seth England; (front row) Abe Stoklasa, Chris Lane, Sarah Buxton, Jesse Frasure. Photo: John Russell
Big Loud Records President Clay Hunnicutt took a minute to thank Lane and the songwriters, saying, “We know songs are sacred. You believe it them. You gave us this one—a first single, a first artist. I know that doesn’t come easy. I couldn’t thank you all more. Chris, thanks for working as hard as we do. That’s all we ever ask.”
Sarah Buxton ran through her list of thank-yous, lavishing praise on her collaborators and pointing out her family in the crowd. “I’ve obviously chosen really wisely in life to be able to be associated with all of you guys. I see some of my favorite co-writers in the room, and the thing that I’m most proud of in my life is the friendships and the co-workers that I’ve accumulated over the years. You all mean so much to me. Thank you for being here to celebrate this. I’m so grateful.”
After giving his regards to his colleagues and industry friends, Frasure said, “This song was pretty special because we didn’t sit down to write country music. We didn’t sit down to write pop music. We just sat down to write a song.”
Stoklasa spoke highly of everyone on stage and particularly thanked Lane by saying, “You made it your own. You took the cuss words out so we could make some money.” Later he commented that when he was broke, he’d steal toilet paper from Big Yellow Dog offices. He brought Wallace and Big Yellow Dog co-owner Kerry O’Neill to the stage for a presentation – of jumbo packs of Cottonelle.
He concluded his time at the podium giving emotional speeches about his girlfriend and his mother, who were both in attendance.
“What a special day it is. I cannot believe I am standing here celebrating my first No. 1,” he said. “I’ve been able to see several of my artist friends pick up their No. 1s and be able to celebrate that. I never thought during that day I’d have the opportunity to be here today. It was not that long ago that I was mowing lawns every day of my life. I’d ride around on the mower and play music at night, and I guess in those moments, I never thought, ‘Wow, I’m gonna have a No. 1 one day.”
Lane recounted how he came into “Fix.” When producer Joey Moi was working on some vocals that Lane had recorded, Lane had an Usher song in his head and started doing some falsetto runs out loud. Lane said Moi turned around and asked, “What was that? That’s what we need to be doing!”
A week later, Lane’s manager Seth England sent “Fix” for the young artist’s consideration, referring to it as “the missing piece of the puzzle.”
Lane said, “As soon as I heard this song, from the production that Jesse put on this thing, to Sarah’s background vocals, and Abe – who absolutely slayed vocally on this song – I loved it. Everything about it. Lyrically it fit my style and everything I was looking for.”
He continued, “I’m very thankful that these songwriters took a chance on an artist that didn’t really have a lot going on. I can’t believe this is my first No. 1, so thank you all, seriously, for believing in me and letting me have this one.”
Industry Ink: BMI Stage at ACL, Belmont and Sony/ATV, CMHoF Hosts Bill Anderson
/by Sarah SkatesNashville Artists Take To BMI Stage at ACL
Many Nashville artists ventured to Austin to perform at the 2016 Austin City Limits Music Festival’s second weekend, held Oct. 7-9. Among those who performed on the BMI stage are songstress Amanda Shires, country band LANco, indie-pop band Daniel Ellsworth and the Great Lakes, singer-songwriter Elise Davis, and band The Roosevelts. Photos by Erika Goldring.
BMI Americana artist Amanda Shires poses with BMI’s Nina Carter backstage at the BMI stage at ACL Fest.
BMI songwriters LANco get the audience moving with their high-energy country songs. The band released an EP in April and has been touring extensively since.
Belmont and Sony/ATV Continue Partnership
The first year of the program led to the signing of Belmont songwriting major Maddie Larkin and in 2015, songwriting major Jake Rogers signed with Sony/ATV Music Publishing.
CMHoF Hosts Whisperin’ Bill
The Country Music Hall of Fame and Museum will present Country Music Hall of Fame member Bill Anderson in a special songwriter session on Saturday, Oct. 22, at 11:30 a.m. Anderson will perform and discuss his new autobiography Whisperin’ Bill Anderson: An Unprecedented Life in Country Music. The program will be hosted by the museum’s Peter Cooper, who co-wrote Anderson’s book.
Brooke Allison, Songwriter Luke Dick Support Haircuts For Humans
/by Craig_ShelburnePictured (L-R): Brook Allison, Luke Dick
Brooke Allison (co-owner of Hot Yoga East and Scout’s Barbershop) and songwriter Luke Dick (Eric Church’s “Kill a Word”) have partnered with the Martha O’Bryan Center for a new initiative, Haircuts For Humans.
Starting Monday (Oct. 17), patrons of Scout’s Barbershop’s may donate a $25 haircut to a homeless man or woman in the Nashville community. Then, on Nov. 20th, Scout’s will open their doors to the less fortunate, offering free shaves, cuts, and styles. The Martha O’Bryan Center will also transport kids and adults to Scout’s to take part.
Allison will take her baby blue yoga truck around town on Thursday offering ‘pop-up haircuts’ from the truck bed, encouraging Nashville residents to join the cause.
In addition to his songwriting, Luke Dick is also a member of the band Republican Hair, named after a friend whose straight hair-part recalls the haircuts of certain conservatives. The band will donate all profits on T-shirt sales through Thanksgiving to the project.
“There’s a lot of people in need here in our own neighborhood, right down the street, even. If we can make them feel cared for and give them a fresh cut, then maybe that’s something,” Allison said. “It’s what we have to offer, so we’re offering it. And hey, Deion Sanders says, ‘If you look good, you feel good, and if you feel good, you do good.’”
“It’s easy to take for granted the fact that my life was full of haircuts and food and a good education—all that my parents help me get,” Dick said. “Haircuts for Homeless is a way to hit pause, reflect, and have fun, giving the community what I have been freely given.”
Donations and non-perishable food donations will be accepted at Scouts, Hot Yoga of East Nashville and Edley’s. All food and money raised during Haircuts for Homeless will go to the Martha O’Bryan Center as part of the National Hunger and Homelessness Awareness Week, Nov. 12-20.
Exclusive: For Thomas Rhett, Risky Moves Bring Big Rewards
/by Jessica NicholsonEditor’s Note: Look for an exclusive interview with Thomas Rhett in MusicRow’s 2016 Publisher Issue. In addition to that print piece, the CMA Award-nominated artist spoke with MusicRow about taking an unexpected musical direction, radio’s response to “Vacation” and his determination to release as much music as possible.
Thomas Rhett’s rising star has been a hard-fought battle, professionally and creatively. In 2012, his first single, “Something To Do With My Hands,” peaked at No. 15, while its successor, “Beer With Jesus,” barely cracked the Top 20.
“I was at a point in my career where I thought, ‘If I don’t come up with a hit, maybe this artist career is done,’” Thomas Rhett recalls, “and the Lord is saying, ‘Hey dude, glad you tried it, but I think I just want you to be a songwriter.’”
Those concerns were put to rest when his next single, “It Goes Like This,” became a runaway hit at country radio. The song’s success ushered in an eclectic string of radio singles including “Get Me Some of That,” and the disco-infused “Make Me Wanna.”
Slowly, the Valory Music Co. artist incorporated a wider array of influences into a new batch of songs that would compose his sophomore album, Tangled Up. The new material veered sharply from the traditional fare of his debut album, so much so that Thomas Rhett says he was originally “terrified” by the prospect of releasing the music to fans and to radio.
“I had these fans from my first record that knew me as the ‘Beer With Jesus’ guy, or the ‘It Goes Like This’ guy. I think when people hear the first stuff from you, they get scared and a bit ticked off that you went in a new direction, so I knew putting out Tangled Up would be a risk,” he says.
“I knew it would be a risk if we put ‘Crash and Burn’ out [as Tangled Up’s first single]. I remember my dad said, ‘If “Crash and Burn” works on country radio, then we’re in a for a very strange ride.’ I remember when it went No. 1, I was like, ‘How is this possible?’ I was very grateful, but when you put out something that is different and is not what your core fans are used to, everybody has an opinion and as an artist you have to stick to what you believe in, and know it is good music.”
The risk paid off with the chart-topping (and platinum-selling) success of “Crash and Burn,” as well as the career-changing ballad, “Die a Happy Man,” which Thomas Rhett co-wrote with rising California writers Sean Douglas and Joe Spargur. The single would be certified double-platinum, and spend six weeks atop the country charts.
Thomas Rhett recently renewed his publishing deal with Sony/ATV Music Publishing. “He is a positive influencer,” says Troy Tomlinson, President/CEO of Sony/ATV Music Publishing Nashville. “There are those who embrace success inwardly, and then there are those who embrace success and say, ‘How can we use our influence to help others?’ and that is Thomas Rhett. It’s about positively influencing the community around him.”
The genre-bending Tangled Up went platinum, another milestone in the chiseling of a solid career. Though he mentions that his summer single, “Vacation,” stumbled a bit a country radio, Thomas Rhett takes a long-term, evolutionary perspective.
“Obviously, I’ve definitely had better songs that worked on radio,” he says. “I think it might have pushed it a little too far with that song, but I think every now and then artists have to put something out that is groundbreaking and genre-defining because I think whether a song goes No. 1 or not, sometimes those songs become your biggest songs in your live set.”
Though Tangled Up is barely one year old, Thomas Rhett is already prepping for a follow-up, and he says the project will still find him in experimentation mode.
“That has become my niche,” he says. “I don’t think people are shocked when I put something weird out on radio. I think they think, ‘That must be a Thomas Rhett song.’”
On Oct. 28, Thomas Rhett will release the deluxe version of Tangled Up, which includes five new songs, including his current single, “Star of the Show.”
“I love being able to give fans something new as often as possible,” he says. “Kids these days are getting brand new stuff on Apple and Spotify every day. If you don’t give them something new, you almost become boring and irrelevant in a way. So we are trying to put out as much music as we can, as often as we can.”
Blake Shelton Celebrates 10 Million Albums Sold
/by Jessica NicholsonPictured (L-R): Brandon Blackstock, Starstruck Entertainment; John Esposito, Chairman & CEO Warner Music Nashville; Cara Duckworth, VP Communications, RIAA; Shelton; Jonathan Lamy, EVP Communications & Marketing, RIAA; Peter Strickland, CMO, Warner Music Nashville and Narvel Blackstock, Starstruck Entertainment.
Blake Shelton and members of his team gathered backstage at Barclays Center in Brooklyn on Friday night (Oct. 7) to celebrate his two-night stand there, where Warner Music Nashville executives and members of the RIAA surprised him with a plaque to commemorate 10 million albums sold.
Shelton is one of only five country male artists who have 10 million or more album certifications in the last 15 years.
Music Biz Board Adds Execs From Spotify, Pandora
/by Sarah SkatesMatt Signore
The Music Business Association (Music Biz) has elected two new representatives to fill vacancies on its Board of Directors and promoted an existing member to the Executive Committee.
Elizabeth Moody, Vice President, Global Content Licensing at Pandora, and Rob Harvey, Head of Label Relations, North America at Spotify, will join the Board. Existing Board member Matt Signore, President, WEA, will join the Executive Committee as Treasurer, replacing John Trickett, who passed away in August.
“Elizabeth and Rob are two great music biz minds who have achieved massive success in many different corners of the industry, while Matt has been a key asset to the Music Biz Board since joining in October 2013,” said James Donio, President of Music Biz. “We are thrilled to have all of them on our Board of Directors and look forward to working together to continue moving the entire music industry forward.”
Elizabeth Moody
Signore joined WEA in 2005 as CFO, and now serves as President. On Jan. 1, 2017, he will become the COO of Warner Music Nashville.
Moody is Pandora’s first Music Biz representative and has more than 15 years of experience as a digital media executive.
Harvey has spent nearly two decades in the music business, and promoted over 50 No. 1 records. Prior to his current post at Spotify, Harvey held posts at Republic Records and Island Records.
See a list of all Music Biz Board members.
Rob Harvey
NPR’s ‘World Cafe’ Launches Nashville Hub To Serve As Southern US Content Bureau
/by Jessica NicholsonWorld Cafe Nashville will debut with two special events at City Winery. On Oct. 27, a VIP reception for music industry members and media will precede a solo performance from Eric Church. On Oct. 28, Steelism, Lera Lynn, Caitlin Rose, and Ruby Amanfu will perform. Both shows are free, with tickets to be distributed via World Cafe and WMOT.
Through World Cafe Nashville, the WXPN/Philadelphia-produced World Cafe music program and NPR Music will expand coverage of the depth and diversity of music coming from Nashville and the Southern United States, through artist recording sessions, interviews and other activities.
World Cafe is hosted by David Dye and heard on more than 200 US radio stations, including Nashville-area public radio station WMOT-FM/Roots Radio 89.5. World Cafe also produces two weekly podcasts: World Cafe Words and Music, featuring music and conversation from a variety of musicians, and World Cafe Next, which highlights up-and-coming artists.
Dye said, “This commitment to a deeper dive on World Cafe into the music of Nashville and places like Muscle Shoals, Memphis, Atlanta and New Orleans is central to our exploration of regional roots music, whether it be Americana, R&B, gospel, blues or rock. This will be musical discovery with a southern accent.”
Nashville-based critic and correspondent for NPR Music and World Cafe contributor Ann Powers said, “Living here, I’ve come to believe it’s the most exciting music city in the country right now. Nashville has it all: an incomparably rich musical legacy; a core of working musicians who’ve made lives here and are behind many of the past half-century’s most memorable recordings; and an ever-expanding group of younger musicians making the Nashville sound ever more wide-reaching and innovative, while still grounded in America’s musical roots. World Cafe’s commitment to musical eclecticism matches the spirit of the Nashville I’ve come to love, and of the South in general in this decade, where so many surprises emerge from the seedbed of tradition.”
Exclusive: Gospel Music Association’s Jackie Patillo Finds Unified Message In Dove Awards
/by Jessica NicholsonJackie Patillo
Since 1964, the GMA Dove Awards has supported the spectrum of music found in the gospel/Christian community, celebrating a multitude of styles including pop, rock, praise & worship, urban gospel, R&B, hip-hop, Southern gospel, bluegrass, country, Latin and more.
“The Dove Awards is the only stage that all genres of Christian/gospel music are represented,” says GMA President/Executive Director Jackie Patillo. “There are many different styles, but the same message.”
Lauren Daigle, Hillsong UNITED, Chris Tomlin, Kirk Franklin, and Bill Gaither are among the top-nominated artists for tonight’s (Oct. 11) event, which will take place at Lipscomb University’s Allen Arena in Nashville for a fourth consecutive year.
Artist of the Year nominees boast rock-pop duo For KING & COUNTRY, worship band Hillsong UNITED, pop newcomer Daigle, CCM veteran TobyMac, and hip-hop artist Lecrae. Co-hosting the festivities are For KING & COUNTRY and gospel entertainer Tye Tribbett.
According to research from the GMA, in 2015 CCM accounted for 34 percent of sales in the Christian and gospel music genre. Gospel music accounted for 18 percent, worship held 14 percent, Christian rock 11 percent, and Southern gospel six percent.
Christian hip-hop has seen rapid growth in listenership over the past few years. In 2014, Lecrae’s project Anomaly debuted at No. 1 on the Billboard Top 200. His seven studio albums and mixtapes have sold more than 1.5 million copies.
Patillo says, “We continue to see that genre emerge from a very grassroots promotional level, where they don’t have traditional radio like CCM, Southern gospel and black gospel has, but their presence has become huge. I think our rap and hip-hop success is definitely a testament that God raises up who he wants to. The music is reaching that culture of people, and more. It makes how you sound and how you look not the impetus, but the truth is the impetus.”
While music fans may be aware of the main GMA Dove awards event that is held each year, Patillo and her team are responsible for multiple shows to accommodate the Dove Awards’ 42 categories.
“I’m not putting together one show. It’s really two shows with several mini-shows around it. The pre-show at 2 p.m. is still a two-hour show where we give out the majority of the awards, about 32 of them, so the pre-show is a show all in and of itself. The audience is mainly the nominees.” Blanca and Travis Greene will co-host the pre-telecast awards.
The GMA, a staff of three, counts on a team of sound, production, and lighting crew, as well as approximately 150 volunteers to make the show come together. “There are a lot of moving parts, to say the least.”
Patillo’s own background in A&R at Verity Music Group has proven beneficial in putting together the annual awards show. “It really helped serve a purpose, because I worked with all genres as well. We try to represent all the styles, based on the nominees. So far, it’s felt very natural the way we have sequenced the show stylistically,” she says.
Patillo credits Lipscomb University president L. Randolph Lowry for helping to bring the Dove Awards back to Nashville in 2013. “He really caught the vision of the impact of music on our culture and what it means to these younger artists,” says Patillo. “We have all of our events at the Allen arena. The GMA office is located across the street from the university. We couldn’t do this if it weren’t for the generosity of Lipscomb University.”
Appropriately, this year’s theme is “Love. Amplified.”
“Our music is really about the message, and our message is the message of love. It is our aim to be loud and proud at the Dove Awards and so we are going to turn up the volume and have a celebration that we consider love amplified.”
Trinity Broadcasting Network (TBN) will air the main awards show on Sunday, Oct. 16.
Russell Dickerson Launches First Tour This Week
/by Sarah SkatesThe “Yours” Tour is named for his hit single which has attracted over 20 million streams on Spotify, two million views on YouTube and over 120,000 in single sales. “I never dreamed that we would be able to sell out shows just because of one song connecting so deeply with so many of you!” said Dickerson. “I’m beyond stoked to be headlining my first tour ever and to bring ‘Yours’ to your city.”
When that run ends, Dickerson will hit the road on Thomas Rhett’s 2017 Home Team Tour, along with Kelsea Ballerini and Ryan Hurd.
Dickerson is a Nashville native whose debut EP, Yours, first appeared at No. 2 on the iTunes Country chart and No. 8 on the all-genre chart. It also premiered at No. 1 on Billboard’s Heat Seeker chart and No. 14 on Billboard’s Top Country Albums chart.
Newly formed Triple Tigers is a joint venture between Thirty Tigers, Triple 8 Management and Sony Music Entertainment.