Abe Stoklasa is one of five songwriters profiled in the 2016 MusicRow Publisher Issue. He achieved his first No. 1 single with Chris Lane’s “Fix” this year, along with cuts from numerous artists including Tim McGraw, Billy Currington, David Nail and Charles Kelley. Dierks Bentley and Eric Paslay were also featured on Kelley’s “The Driver,” which earned the performers a Grammy nomination this past year.
Bonus Q&A from Stoklasa’s print feature is below. To hear Stoklasa’s experience with streaming royalties and if he ever plans to release his own album, pick up a copy of MusicRow’s Publisher Issue print magazine.
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MusicRow: How did it feel to see Charles’ recording of “The Driver” receive that Grammy nomination?
Stoklasa: I feel like I can say I have a Grammy-nominated song, although I’m not a Grammy-nominated songwriter. We were in Charleston, I think, when I heard the news. I woke up like, “I’ve never had so many notifications in my feed in my life, what’s going on?!”
What other proud career moments stand out?
For a long time “Beginning of Things” was my favorite song that I was very proud of. I wrote it with Donovan Woods, and Charlie Worsham just cut it. It’s so songwriter-y, in that there are two or three levels and meanings to the lyrics that you will not get on one or two listens, which is a fun puzzle to put together. The whole story is made up with some influences in real life, but it was just an exercise in a certain way to be Shakespearean in a way. But I would feel confident handing that to Paul Simon, and I wouldn’t do that with any of my other songs.
What significance did your first cut have on you?
A year passed after I signed with Big Yellow Dog before my first cut (“Portland, Maine”), which came two weeks before my second and third (Blake Shelton and Lady Antebellum). I looked awesome for a day! I was most proud that they were outside cuts. Those artists didn’t know me. Especially the Tim McGraw song was so out of left field. You’re taught you have to get to know the artist and all that BS. It was nice to prove a song can be good enough.
Discuss your musical inspirations.
I pretty much totally missed the 90s. I had a very sheltered listening experience growing up. I never got to pick the radio stations and never had my own CD player. My dad feels like the only music in the world that exists is country music from 1950-1975. I know every decade of music pretty thoroughly, except my own.
I will always love Merle Haggard and Elvis. James Taylor, The Beatles, Frank Sinatra and Paul McCartney, Stevie Wonder—anything Motown—just pleased my ear so much when I finally started venturing out. I studied everything in their catalogs and wanted to be like them. Since then, I’ve grown into Joni Mitchell and Paul Simon.
Lately, I ended up getting to write with Mike Reid. He was amazing. It took us four times getting together to write one song and we talked about life most of the time. He’s a philosopher. We definitely connected and have similar outlooks on life and ways of coping with existence. Mark D. Sanders was another of those spectacular songwriters I’ve gotten to write with.
Who is in your writing circle?
I have a very small writing circle that I feel like I was in the trenches with, although some had a lot of success way before I came along. I think every song Donovan Woods and I have written together has been cut so far, which is crazy. Sarah Buxton is another one I’ve had success with. Daniel Tashian, Jesse Frasure, Charles Kelley and Mark Trussell.
Who have been champions of you outside of your family?
If it wasn’t for Carla Wallace, I don’t know where I’d be. She had faith early on and was unabashed about it. Kerry O’Neil always has our backs. Even if it has nothing to do with Big Yellow Dog, he knows as much about everything as anyone else and offers advice. Laura [Wright] Alexander got me my first two cuts ever (“Portland, Maine” and Blake’s “A Girl”). She was pitching songs that weren’t “smashes” but just great songs.
And artists like Billy Currington. He was the first person to care about my songwriting. David Nail is a good friend, we don’t even have to talk about music. We both experienced a lot of firsts together on a tour bus. Charles Kelley has always been like a brother to me. He’s an amazing writer. We’ve written songs other people have cut… and he likes to cut my songs!
Do you feel any certain pressure to write to radio? Some of your cuts seem more complex than what is usually featured on air.
Except “Fix” (laughs). Any pressure I feel [to write a radio hit] would be self-imposed. I don’t feel pressure from my publisher. I can always tour if I needed money. But I do want radio hits, so I definitely try to write them and have spent a lot of time investing in trying to write Dallas Davidson songs or Craig Wiseman songs and there’s a reason I’ve failed, because I’m not them. I’ve found my skill-set and, more importantly, how it can be new to the marketplace.
Pick up a copy of the MusicRow Publisher Issue to read the full feature on Abe Stoklasa.
Thomas Rhett Raises $250,000 For 147 Million Orphans Charity
/by Craig_ShelburneThomas Rhett and Lauren Akins. Photo: Annalise Blackwood
Thomas Rhett raised over $250,000 during his first-ever charity concert event Thomas Rhett & Friends on Tuesday (Oct. 4). Held at The Old School just outside of Nashville, the concert and dinner event benefited the organization 147 Million Orphans.
Guest performers included Dierks Bentley, Russell Dickerson, Walker Hayes and Shane McAnally as well as a surprise performance from Florida Georgia Line.
Pictured (L-R): Florida Georgia Line’s Brian Kelley, Thomas Rhett, Florida Georgia Line’s Tyler Hubbard. Photo: Rick Diamond/Getty Images
Guests enjoyed a farm-to-table dinner, limited edition merchandise, and a post-show s’more roasting with Thomas Rhett and his wife, Lauren.
“Last night was an unreal experience for me and Lauren, to see our hometown, as well as people from all over the country, coming together to support something that’s so important to us,” said Thomas Rhett. “Tuesday nights are like Saturday nights to artists, so I want to be sure to thank Dierks, Brian and Tyler, Shane, Walker and Russell for giving up part of their weekends to make it such a special night, and help us raise money and awareness for this amazing cause.”
Pictured (L-R): Russell Dickerson, Thomas Rhett, Shane McAnally and Walker Hayes. Photo: Rick Diamond/Getty Images
DISClaimer: Sylvia, Morgan Wallen, Paulina Jayne Offer Sterling New Tracks
/by Robert K OermannI love listening sessions like this, where new sounds pop up moment after moment.
Therefore, we have a wealth of contenders for this week’s DisCovery Award. Tami Neilson, Morgan Wallen and Whiskey Myers are all worth your spins. And so is our winner. In fact, Paulina Jayne is an essential listening experience.
The Disc of the Day award goes to an old country favorite. It turns out that not only is Sylvia singing better than ever, she has also blossomed into a formidable lyricist. Her It’s All in the Family collection drops on Friday. Get it.
PAULINA JAYNE/Love’s Gonna Always Win
Writers: Paulina Jayne/Trey Bruce/Haley Steel; Producer: Trey Bruce; Publishers: none listed; Girl King (track)
– The atmosphere in this production is heavenly. Her vocal is a piercing arrow of truth. From the lyric to the searing lead guitar, from the pulsing tempo to her soprano swoops, this record has an audio delight around every corner. The layered, multi-voiced finale crescendo will set you free. It’s way more pop than country, but with a disc this well made, who cares what genre it fits into?
WILL CARTER/With You
Writers: Will Carter/Jude Dyllan/Kelly Logan; Producer: Judy Dyllan; Publishers: none listed; WC (track)
– The track is a twang stomper. His lightweight, generic voice doesn’t match it.
BILLY RAY CYRUS & SHELBY LYNNE/Thin Line
Writers: none listed; Producer: Brandon Friesen; Publisher: Brandon Friesen; Blue Cadillac
-Both vocals are almost buried in the mix. He’s singing at the muffled bottom of his range, and she’s seems to be wafting around aimlessly.
WHISKEY MYERS/Lightning Bugs and Rain
Writers: Cody Cannon/Aaron Raitiere/Mark Stephen Jones; Producer: Dave Cobb; Publishers: rougarou/One Tooth/Mark Stephen Jones, BMI; Wiggy Thump
-This is a band of Texas-bred Southern rockers. The drawl in the lead vocal and the crunchy track are both ear-catching. Don’t let the punctuating horns scare you off; this is still in the pocket, country-wise.
MORGAN WALLEN/The Way I Talk
Writers: Jessi Alexander, Ben Hayslip, Chase McGill; Producer: Joey Moi; Publishers: Warner Chappell/Universal; Big Loud (track)
– As you might expect from the title, you can cut his accent with a knife. It’s a cool little record, with a churning backing track that drives it relentlessly forward. Recommended listening.
SYLVIA/All In The Family
Writers: John Mock/Thom Schuyler/Sylvia Hutton; Producers: John Mock and Sylvia Hutton; Publishers: none listed; Red Pony (track)
– The 1980s country hit maker Sylvia has spent the past few seasons woodshedding as a songwriter. She co-wrote all but two of the songs on her new CD. On this title tune, she paints a vivid word portrait of a family’s personalities and issues told from the point of view of a matriarch who remembers all. A string section whispers behind her as the ballad unfolds. You’ll hang on every line.
MARK COLLIE & HIS RECKLESS COMPANIONS/Folsom Prison Blues
Writers: John R. Cash; Producer: Tony Brown Mark Collie & David Z; Publishers: House of Cash, BMI; 101 Ranch (track)
-Back in 2001, Collie and his pals staged a show for the inmates of Tennessee’s notorious (and now closed) Brushy Mountain Prison. Now released on CD, Alive at Brushy Mountain includes contributions from bluesman Clarence “Gatemouth” Brown, Texas thrush Kelly Willis and super tenor vocalist and multi-instrumentalist Shawn Camp, plus an all-star band. Collie, who has portrayed Cash on film (and is now acting on the TV series Nashville), tries on this classic like a comfy suit of (black) clothes. Gripping.
TAMI NEILSON/Holy Moses
Writers: T. Neilson/J. Neilson; Producers: Delaney Davidson and Ben Edwards; Publishers: none listed; Outside Music
– Soulful and steamy, prowling the back alleys with burning menace. Her rocking, throaty delivery has more than a little bluesy edge, and band is cooking with gas. This gal has the goods, for sure.
THE KENTUCKY HEADHUNTERS/Beaver Creek Mansion
Writers: Mark S. Orr; Producer: The Kentucky Headhunters; Publishers: Orr House, BMI; Plowboy (track)
– The band’s new one is called On Safari. It kicks off with this Southern-rock gem. Richard Young’s singing has terrific phrasing finesse here. Greg Martin’s lead guitar work is deliciously greasy. Fred Young’s drumming and Doug Phelps’s bass work are beyond solid. They are still one dynamite band.
ALYSSA BONAGURA/Rebel
Writers: Alyssa Bonagura; Producers: Alyssa Bonagura and Mark Petaccia; Publishers: This Is Gold/Scribblin’ Dixie, ASCAP; AB (track)
– I have always thought of her as a pop artist, but on this tender ballad, she aches with country heart. As usual, her young voice is simply lustrous. The track shimmers with piano and strings. I remain an enormous fan. By the way, get this track’s Road Less Traveled parent CD and check out its fabulous, deluxe packaging.
Kelly Clarkson Renews Agreement With ASCAP
/by Jessica NicholsonKelly Clarkson
ASCAP has announced that singer-songwriter Kelly Clarkson has renewed her agreement with the performing rights organization. ASCAP will continue to license public performances of her songwriting catalog.
Clarkson’s relationship with ASCAP stretches back to the beginnings of her music career, when the former head of ASCAP’s Nashville office, Connie Bradley, recognized her talent and signed her in 2003. Later that same year Clarkson’s debut album Thankful entered the charts at No. 1.
“Kelly Clarkson is the total package,” said ASCAP EVP of Membership John Titta. “She’s an incredible songwriter, a powerhouse vocalist and a creator who constantly seeks to push her artistry into new territory. Radio listeners love her and we are thrilled to represent her music worldwide. We can’t wait to hear what comes next.”
On Oct. 4, Clarkson will release her first children’s book, River Rose and the Magical Lullaby, featuring an original lullaby that she wrote. She is currently planning a new album for release on Atlantic Records in 2017.
Songwriter Hillary Lindsey Sings With Lady Gaga At Nashville Club
/by Jessica NicholsonHillary Lindsey and Lady Gaga.
Nashville luminary, songwriter Hillary Lindsey, joined Lady Gaga at The 5 Spot in Nashville on Wednesday evening (Oct. 5), as the pop superstar offered a four-song preview of tracks from her upcoming album, Joanne.
Lindsey has written numerous No. 1 hits for Carrie Underwood and co-wrote Little Big Town’s Grammy-winning “Girl Crush.” She penned three tracks on Joanne, including “A Million Reasons” and “A-Yo.” For her performance at The 5 Spot, Lindsey offered harmonies on “A Million Reasons.”
Gaga’s next show on her Dive Bar Tour will take place Oct. 20 at an as-yet-undisclosed location.
Joanne releases Oct. 21.
Watch Lady Gaga’s Nashville performance below:
Dierks Bentley, Elle King Celebrate No. 1 Hit “Different For Girls”
/by Jessica NicholsonPictured (L-R): Co-writer JT Harding, Dierks Bentley, Elle King and co-writer Shane McAnally. Photo: Ed Rode/ASCAP
Dierks Bentley and Elle King welcomed songwriters, publishers, label executives, media and more to Nashville venue Moto on Tuesday (Oct. 4) to celebrate the No. 1 hit, “Different For Girls.”
ASCAP’s Mike Sistad and Robert Filhart led the festivities. Among those making remarks were Global Music Rights’ (GMR) Randy Gimmett, SMACK’s Robert Carlton, UMG Nashville’s Royce Risser (filling in for an ailing Mike Dungan) and producer Ross Copperman.
The Gold-certified hit marks Bentley’s 15th career No. 2, and King’s first country No. 1 single.
“Different For Girls” was penned by GMR writer Shane McAnally and ASCAP writer JT Harding. The longtime co-writers earned their first No. 1 songs together six years ago, when they penned Kenny Chesney’s “Somewhere With You.” “Different For Girls” is McAnally’s 19th No. 1 song, and Harding’s fifth.
Speaking about Harding, McAnally noted, “He brings joy to the room. Even when you write a song like this, you leave the room feeling like you learned something about bringing positivity to the world.” He continued, “Ross Copperman, you handled this song with such care. I could have become just an artful moment on a record, but you took this to where it sounded like the radio without compromising the lyrics and the message. That is hard to do. Thank you for taking such good care of this song.”
“I knew this song was special when Robert Carlton starting texting us about it when it was just a recording on Shane’s phone,” said Harding. “It’s scary to think about what Nashville would have been like for me without you. Everywhere I go, people ask me, ‘What’s Shane McAnally like?’ I tell them he’s the hardest worker I’ve ever met and he’s so quick to share credit. He believes in songwriters, especially up-and-coming writers, and Nashville is so lucky to have you. Also to my new publisher Rusty Gaston, thank you for believing in me.”
Pictured (L-R): ASCAP’s Robert Filhart, co-writer JT Harding, ASCAP’s Mike Sistad, Dierks Bentley, Smack’s Robert Carlton, Elle King, producer Ross Copperman, co-writer Shane McAnally, Capitol Nashville/UMG’s Royce Risser and GMR’s Randy Grimmett – Photo: Ed Rode/ ASCAP
“I never thought that this would happen,” said King. “Thank you guys for writing a great song. It wouldn’t have existed without you guys working so hard on this.”
“It really changed my life,” said Bentley of the song. Describing the party atmosphere and subsequent recovery from life on the road, the singer thanked the songwriters “who know you better than you know yourself sometimes, and see paths for your career that you don’t even get a chance to see, because you’re just not fully conscious — other than when you’ve had two or three vodka Redbulls and it’s time to go onstage.”
He added, “A big part of the success has been the reach into the community. It’s taken me a while to realize that—12 or 13 years. You make great records when you balance out your own songs with great songs from the community.”
Joking about releasing other people’s songs as singles, he concluded, “It’s four in a row now I’ve cut. I need to maybe pull one of mine out at some point. I’m really thankful for that. Singing with Elle was a dream come true. Thank you guys for a great song and a great couple of years.”
“Different For Girls” is nominated for Musical Event of the Year at the upcoming 50th annual CMA Awards, while Bentley also has nominations in the Male Vocalist of the Year, Album of the Year (for Black) and Video of the Year categories.
Keith Urban, Styx Confirmed For Nashville New Year’s Eve Show
/by Craig_ShelburneKeith Urban
Keith Urban will headline a free night of music in Nashville on New Year’s Eve as part of the Jack Daniel’s Music City Midnight: New Year’s Eve, the Nashville Convention & Visitors Corp has announced. Urban leads a diverse lineup that includes rock band Styx (“Come Sail Away”), Nashville indie-progressive band Moon Taxi, country artists A Thousand Horses and Charlie Worsham, and the Fisk Jubilee Singers.
“What could be better than New Year’s Eve in downtown Nashville,” Urban said. “It’s an awesome way to ring in 2017, and I can’t wait for the party!”
“The diversity of this hometown lineup underscores why we are Music City,” said Beth Seigenthaler Courtney, chairman of the Nashville Convention & Visitors Corp and president of DVL Seigenthaler. “From big stars to rising stars and from country to rock to indie, this A-list is only possible in Nashville. Join us and experience Keith Urban sharing the stage with Styx, Moon Taxi, A Thousand Horses, Charlie Worsham and the Fisk Jubilee Singers, and it’s all free. These acts attract incredible fans with explosive energy for a dynamic event.”
The event will take place at Bicentennial Capitol Mall State Park for the first time to accommodate growth and enhance security. Last year’s New Year’s event on Lower Broadway attracted a record 150,000 to downtown, generating $22.2 million in direct visitor spending.
Jack Daniel’s Music City Midnight: New Year’s Eve in Nashville event site will open at 4 p.m. with a DJ. The raising of the Music Note by Mayor Megan Barry and the Fisk Jubilee Singers will follow at approximately 6:15 p.m. After a performance by the Fisk Jubilee Singers, Worsham will take the stage, followed by Moon Taxi, A Thousand Horses, Styx and Urban.
In Pictures: Tim McGraw, Faith Hill Get Stars On Music City Walk of Fame
/by Jessica NicholsonTim McGraw & Faith Hill at Music City Walk of Fame Induction 10.5.16 © Moments By Moser Photography
Tim McGraw and Faith Hill received their stars at the Music City Walk of Fame earlier today (Oct. 5). The couple’s silver stars are located at Nashville’s Walk of Fame Park. Reba McEntire, who already has a star in Nashville’s Walk of Fame park, was on hand to present Hill and McGraw with the honor.
Last night, the couple performed an intimate concert at the Ryman Auditorium, to announce their 2017 Soul2Soul tour, which launches in New Orleans on April 7 and runs through October.
Tim McGraw, Faith Hill, and Reba at Music City Walk of Fame Induction 10.5.16 © Moments By Moser Photography
Faith Hill & Reba at Music City Walk of Fame Induction 10.5.16 © Moments By Moser Photography
Tim McGraw & Faith Hill Music City Walk of Fame stars 10.5.16 © Moments By Moser Photography
Music Row Area To “Dress Up For St. Jude” On Thursday
/by Jessica NicholsonThe event was founded by four music business members in 2014 after a visit to St. Jude Children’s Research Hospital in Memphis. Proceeds directly support the music therapy program at the hospital.
The St. Jude music therapy program helps patients attain emotional goals, such as learning to express themselves by writing and performing songs and discussing song lyrics. Creativity also helps patients cope with disease and its treatment. A clinical and evidence-based practice, music therapy can be used to achieve both musical and non-musical goals.
For more, visit stjude.org.
Industry Ink: Singing Success, WMBA, The Gales Network
/by Craig_ShelburneSinging Success Opening Franklin Location
Brett Manning. Photo: Seth Farmer
Singing Success, owned by professional vocal coach Brett Manning, is expanding. The company will hold a grand opening party for their location at 1261 Columbia Ave. in Franklin, Tennessee, on Saturday (Oct. 8) from 6 to 9 p.m.
Singing Success also has a location at 1301 16th Ave S. on Music Row. Manning has been a vocal coach for 25 years and has spent more than 15 years in Nashville.
WMBA Plan Mixer, Encourage Applications
Women’s Music Business Association (WMBA) will hold for an open meeting and mixer sponsored by Edgehill Cafe and Monarch Publicity on Tuesday, Oct. 18 from 6-8 p.m. at Edgehill Café. Guests may enjoy complimentary light appetizers and drinks as the group discusses membership, benefits, alumni, and more.
The WMBA is a nonprofit membership organization dedicated to fostering opportunities for women within the music industry through education, networking, industry involvement, community service, and organizational fellowship. The WMBA will be accepting applications through Dec. 1.
The Gales Network Suspends Operations
The Gales Network, the consultancy led by David and Melinda Gales, has closed after its sale to a longtime client. Melinda has been named Chief Growth Officer for Virsys12, the company’s acquirer. Virsys12 is a salesforce integrator and custom applications developer. David Gales has not announced his next step. He can be reached at david@davidgales.com.
David Gales founded The Gales Network in 1995 to create value between entertainment and technology clients in the early days of the digital marketing age. He spent years as a senior executive with the Columbia, A&M and RCA Records creating and executing marketing campaigns. In a digital marketing role with Sony Music Nashville, he led the development and marketing efforts for the websites and social network properties of over 20 artists.
Exclusive: Songwriter Abe Stoklasa Gets His “Fix” After Three Major Cuts
/by Eric T. ParkerBonus Q&A from Stoklasa’s print feature is below. To hear Stoklasa’s experience with streaming royalties and if he ever plans to release his own album, pick up a copy of MusicRow’s Publisher Issue print magazine.
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MusicRow: How did it feel to see Charles’ recording of “The Driver” receive that Grammy nomination?
Stoklasa: I feel like I can say I have a Grammy-nominated song, although I’m not a Grammy-nominated songwriter. We were in Charleston, I think, when I heard the news. I woke up like, “I’ve never had so many notifications in my feed in my life, what’s going on?!”
What other proud career moments stand out?
For a long time “Beginning of Things” was my favorite song that I was very proud of. I wrote it with Donovan Woods, and Charlie Worsham just cut it. It’s so songwriter-y, in that there are two or three levels and meanings to the lyrics that you will not get on one or two listens, which is a fun puzzle to put together. The whole story is made up with some influences in real life, but it was just an exercise in a certain way to be Shakespearean in a way. But I would feel confident handing that to Paul Simon, and I wouldn’t do that with any of my other songs.
What significance did your first cut have on you?
A year passed after I signed with Big Yellow Dog before my first cut (“Portland, Maine”), which came two weeks before my second and third (Blake Shelton and Lady Antebellum). I looked awesome for a day! I was most proud that they were outside cuts. Those artists didn’t know me. Especially the Tim McGraw song was so out of left field. You’re taught you have to get to know the artist and all that BS. It was nice to prove a song can be good enough.
Discuss your musical inspirations.
I pretty much totally missed the 90s. I had a very sheltered listening experience growing up. I never got to pick the radio stations and never had my own CD player. My dad feels like the only music in the world that exists is country music from 1950-1975. I know every decade of music pretty thoroughly, except my own.
I will always love Merle Haggard and Elvis. James Taylor, The Beatles, Frank Sinatra and Paul McCartney, Stevie Wonder—anything Motown—just pleased my ear so much when I finally started venturing out. I studied everything in their catalogs and wanted to be like them. Since then, I’ve grown into Joni Mitchell and Paul Simon.
Lately, I ended up getting to write with Mike Reid. He was amazing. It took us four times getting together to write one song and we talked about life most of the time. He’s a philosopher. We definitely connected and have similar outlooks on life and ways of coping with existence. Mark D. Sanders was another of those spectacular songwriters I’ve gotten to write with.
Who is in your writing circle?
I have a very small writing circle that I feel like I was in the trenches with, although some had a lot of success way before I came along. I think every song Donovan Woods and I have written together has been cut so far, which is crazy. Sarah Buxton is another one I’ve had success with. Daniel Tashian, Jesse Frasure, Charles Kelley and Mark Trussell.
Who have been champions of you outside of your family?
If it wasn’t for Carla Wallace, I don’t know where I’d be. She had faith early on and was unabashed about it. Kerry O’Neil always has our backs. Even if it has nothing to do with Big Yellow Dog, he knows as much about everything as anyone else and offers advice. Laura [Wright] Alexander got me my first two cuts ever (“Portland, Maine” and Blake’s “A Girl”). She was pitching songs that weren’t “smashes” but just great songs.
And artists like Billy Currington. He was the first person to care about my songwriting. David Nail is a good friend, we don’t even have to talk about music. We both experienced a lot of firsts together on a tour bus. Charles Kelley has always been like a brother to me. He’s an amazing writer. We’ve written songs other people have cut… and he likes to cut my songs!
Do you feel any certain pressure to write to radio? Some of your cuts seem more complex than what is usually featured on air.
Except “Fix” (laughs). Any pressure I feel [to write a radio hit] would be self-imposed. I don’t feel pressure from my publisher. I can always tour if I needed money. But I do want radio hits, so I definitely try to write them and have spent a lot of time investing in trying to write Dallas Davidson songs or Craig Wiseman songs and there’s a reason I’ve failed, because I’m not them. I’ve found my skill-set and, more importantly, how it can be new to the marketplace.
Pick up a copy of the MusicRow Publisher Issue to read the full feature on Abe Stoklasa.