Trent Dabbs
Trent Dabbs was tuned into Nashville’s local music scene way before the stylish ABC drama Nashville started using his songs.
His long list of credits include founding member of Tenn Out of Tenn, a collective of Nashville singer-songwriters that launched in 2005 and spawned a documentary and a 10-year anniversary show at the Ryman. He’s in a duo with Amy Stroup called Sugar & the Hi-Lows and they’ve opened a number of tour dates for Kacey Musgraves. On the business side, he and his wife, Kristen Dabbs, run a label called Ready Set Records.
As for Nashville, his songs on the show include “Undermine” (written with Musgraves), “Don’t Throw Dirt on My Grave Just Yet,” “Shine” and others. He also co-wrote six songs, including the title track, for Ingrid Michaelson’s 2014 album, Girls Chase Boys.
Now he’s returning with his 10th solo pop project in 12 years, The Optimist. (He’s partnered with Postmates to have it delivered directly to Nashville fans on release date.) During a lunch break at Edgehill Café, Dabbs chatted about the new music, co-writing in Nashville, and why he’s reluctant to compare his career to anyone else’s.
MusicRow: I was listening to The Optimist this week and I was thinking that you have a real eye for detail. Some writers are always looking into themselves for material, but you seem to be very observant, and drawing on that for inspiration. Is that a fair assessment?
Trent Dabbs: Yes, that’s definitely a fair assessment. Most of it is little narratives on Nashville and friends around me. I had almost two albums worth of music. But when Amy and I got back from the UK tour with Kacey, I started realizing that a lot of my songs aren’t literal—and [those kind of songs] really connect with people. And what’s my fear with doing literal songs, you know?
So I had one album that was literal and one that wasn’t. I couldn’t make my mind up, so I started from scratch and called Daniel Tashian. We wrote for a week and a half, and then recorded it the next week. The worst thing an artist can have is time on their hands, because they second-guess everything. So I thought it would be cool to give fans a Polaroid that seemed like a moment in time.
You’re known for connecting people, but with so many people moving here, are you having a harder time with that?
I feel like I’m just getting introduced a little faster, you know? I’ll still reach out to someone who I feel like has a fresh sound that I might not be familiar with, but want to work with or write with. And then they’ll introduce me to someone else. For that Nashville Indie Spotlight compilation on iTunes, we held the release party at our office because I was like, “Well, I don’t know more half of these people and I need to meet them.’ I guess the best way to do it is through a party. So I’m looking at all these people who are insanely talented, and a much younger age.
And you can’t pretend that they aren’t here.
No, I’d rather work with them. I was working on a song the other day with a girl who’s amazing, and I said, “This one has kind of a Sundays/Cranberries feel” and she was like, “Who?” (laughs)
But did she make references that you didn’t get?
Totally. I told her to send me a playlist of a couple of songs that she was into, and I was like, “Well, these are great. I’m a fan of this now.”
Let’s talk about co-writing. What do you get out of that experience? It’s a big question.
Yeah, it’s like a novel. I guess when I can see the connection happening with someone I respect, that’s my favorite thing in the world. It’s what I wake up for. I can recall certain times where it happens, but it’s that point in a co-write when I hear their voice match some melody that I have. And I feel like millions of people can hear it—and even if they don’t, I feel like they could. That’s what does it. … There’s really nothing better than writing with an artist who has something they’re excited about, with something started. Or I’ll have something started. But I’m not a big fan of waiting for it to show up.
I wanted to talk about about Nashville, because you’ve had several songs on that show.
And the show must go on! When the first season started and “Undermine” was on there, that was both amazing and hilarious because Hayden and Charles [a.k.a. “Juliette” and “Deacon”] were writing in the bed of a truck, and then went skinny-dipping, and I’m like, “I’ve never had that in a co-write.” (laughs)
What sort of traits does it really take to have a successful career in the real Nashville?
You have to be driven and be kind. A lot of the people that have been here since we moved here are still doing what they’re doing for those reasons. They didn’t burn bridges, even when they could have. People root for those people as well. And also that “comparison is the thief of joy” thing. Don’t get caught comparing because you’ll just drown. Just do what you love and do it with your heart.
I think of that all the time. For a lot of people, most everyone, that would hinder their writing processes, or their releases. If you start comparing yourself to other people, it’s going to be a lose-lose. I’ve always surrounded myself with people who inspire me, which I’ve been fortunate enough to do.
Exclusive: Trent Dabbs Sees The Bright Side In ‘The Optimist’
/by Craig_ShelburneTrent Dabbs
Trent Dabbs was tuned into Nashville’s local music scene way before the stylish ABC drama Nashville started using his songs.
His long list of credits include founding member of Tenn Out of Tenn, a collective of Nashville singer-songwriters that launched in 2005 and spawned a documentary and a 10-year anniversary show at the Ryman. He’s in a duo with Amy Stroup called Sugar & the Hi-Lows and they’ve opened a number of tour dates for Kacey Musgraves. On the business side, he and his wife, Kristen Dabbs, run a label called Ready Set Records.
As for Nashville, his songs on the show include “Undermine” (written with Musgraves), “Don’t Throw Dirt on My Grave Just Yet,” “Shine” and others. He also co-wrote six songs, including the title track, for Ingrid Michaelson’s 2014 album, Girls Chase Boys.
Now he’s returning with his 10th solo pop project in 12 years, The Optimist. (He’s partnered with Postmates to have it delivered directly to Nashville fans on release date.) During a lunch break at Edgehill Café, Dabbs chatted about the new music, co-writing in Nashville, and why he’s reluctant to compare his career to anyone else’s.
Trent Dabbs: Yes, that’s definitely a fair assessment. Most of it is little narratives on Nashville and friends around me. I had almost two albums worth of music. But when Amy and I got back from the UK tour with Kacey, I started realizing that a lot of my songs aren’t literal—and [those kind of songs] really connect with people. And what’s my fear with doing literal songs, you know?
So I had one album that was literal and one that wasn’t. I couldn’t make my mind up, so I started from scratch and called Daniel Tashian. We wrote for a week and a half, and then recorded it the next week. The worst thing an artist can have is time on their hands, because they second-guess everything. So I thought it would be cool to give fans a Polaroid that seemed like a moment in time.
You’re known for connecting people, but with so many people moving here, are you having a harder time with that?
I feel like I’m just getting introduced a little faster, you know? I’ll still reach out to someone who I feel like has a fresh sound that I might not be familiar with, but want to work with or write with. And then they’ll introduce me to someone else. For that Nashville Indie Spotlight compilation on iTunes, we held the release party at our office because I was like, “Well, I don’t know more half of these people and I need to meet them.’ I guess the best way to do it is through a party. So I’m looking at all these people who are insanely talented, and a much younger age.
And you can’t pretend that they aren’t here.
No, I’d rather work with them. I was working on a song the other day with a girl who’s amazing, and I said, “This one has kind of a Sundays/Cranberries feel” and she was like, “Who?” (laughs)
But did she make references that you didn’t get?
Totally. I told her to send me a playlist of a couple of songs that she was into, and I was like, “Well, these are great. I’m a fan of this now.”
Let’s talk about co-writing. What do you get out of that experience? It’s a big question.
Yeah, it’s like a novel. I guess when I can see the connection happening with someone I respect, that’s my favorite thing in the world. It’s what I wake up for. I can recall certain times where it happens, but it’s that point in a co-write when I hear their voice match some melody that I have. And I feel like millions of people can hear it—and even if they don’t, I feel like they could. That’s what does it. … There’s really nothing better than writing with an artist who has something they’re excited about, with something started. Or I’ll have something started. But I’m not a big fan of waiting for it to show up.
I wanted to talk about about Nashville, because you’ve had several songs on that show.
And the show must go on! When the first season started and “Undermine” was on there, that was both amazing and hilarious because Hayden and Charles [a.k.a. “Juliette” and “Deacon”] were writing in the bed of a truck, and then went skinny-dipping, and I’m like, “I’ve never had that in a co-write.” (laughs)
What sort of traits does it really take to have a successful career in the real Nashville?
You have to be driven and be kind. A lot of the people that have been here since we moved here are still doing what they’re doing for those reasons. They didn’t burn bridges, even when they could have. People root for those people as well. And also that “comparison is the thief of joy” thing. Don’t get caught comparing because you’ll just drown. Just do what you love and do it with your heart.
I think of that all the time. For a lot of people, most everyone, that would hinder their writing processes, or their releases. If you start comparing yourself to other people, it’s going to be a lose-lose. I’ve always surrounded myself with people who inspire me, which I’ve been fortunate enough to do.
Dierks Bentley, “Somewhere On A Beach” Writers Share The Stage
/by Craig_ShelburnePictured (L-R): Michael Tyler, Alexander Palmer, Dierks Bentley, Josh Mirenda, Dave Kuncio, Jaron Boyer. Photo: Ed Rode
With Dierks Bentley and all five songwriters in attendance at the No. 1 party for “Somewhere on a Beach,” the venue South got a little crowded on Wednesday afternoon (July 20).
However, that didn’t stop the stage from hosting a rotating cast of characters — all familiar faces on the Row.
ASCAP’s Beth Brinker spoke on behalf of songwriters Dave Kuncio and Josh Mirenda. BMI’s Bradley Collins introduced Alexander Palmer, primarily a pop songwriter who has roots in Germany but lives in Los Angeles. SESAC’s Shannan Hatch praised Jaron Boyer and Michael Tyler.
Moving onto the publishers, Michael Knox and Kim Wiggins raved about peermusic’s Boyer and Tyler. Cornman Music’s Brett James and Warner/Chappell’s Ryan Beuschel testified for Mirenda. and BMG Nashville’s Kos Weaver spoke on Palmer’s behalf.
Ron Cox of Avenue Bank, Mike Harris of UMG Nashville, Bill Mayne of Country Radio Broadcasters and Sherod Robertson of MusicRow all made remarks from the stage celebrating Bentley and the songwriters.
About 30 minutes into the party, producers Ross Copperman and Arturo Buenahora Jr. addressed the audience with good-natured comments. Copperman explained how excited he was for the songwriters to have the experience and Buenahora name-checked Shea Fowler of Cornman Music for submitting the song, and talked about how grateful he is for Bentley’s support of the Nashville songwriting community.
Boyer and Tyler have been roommates over the last few years, sharing rent and insults along the way. Boyer spoke about sharing the moment with his closest friends, while Tyler remembered two years ago when they were putting their money together just to eat at Firehouse Subs.
Palmer said he was proud to share his first country cut with these particular songwriters, while Kuncio gave a shoutout to Bentley and Copperman for knocking the performance out of the park. Kuncio is based in Los Angeles and thanked Nashville for making him feel appreciated.
Mirenda joked that the preceding No. 1 speeches were the shortest ones he’s ever heard. “I used to crash No. 1 parties,” he admitted, “and I’d be in the back going, ‘Come on….’” After the laughter, he thanked God, his wife, his parents and family and many others. He pointed out Dan Keen, a music business staple who discovered Mirenda as a fledgling songwriter at Belmont University. During his comments, he dryly stated that songwriting was a far better option than going to medical school, which was his backup plan.
At long last, Bentley stepped to the front of the stage for a few comments.
He listed friends and colleagues like Buenahora for actively finding the right songs to record. “I’m not just looking for hits. I’m trying to find songs that are hits for me,” Bentley said. “So, there’s a lot of songs that I’m a fan of, but I pass on them because they’re not right for me, but I really loved that song.” He said he knew the song was a good fit when his manager Mary Hilliard Harrington, his publicists at The GreenRoom PR and his wife Cassidy Black all liked it.
Bentley acknowledged UMG Nashville Chairman/CEO Mike Dungan and the support from Capitol Records Nashville. “They let me put out any song I want to as a single. I have such a great relationship with them and I have from the very beginning. That’s probably why my career has taken 15 years on the slow road because I have put out some songs that probably weren’t the right choices for singles at times. But, you know, it’s a real community, and a real process of talking things back and forth, and they’re willing to let me try it.”
Bentley thanked the label’s radio promotion staff, ASCAP, Copperman (who is also a frequent co-writer), the guys in his band, and particularly the songwriters.
“Since I’ve started working with Arturo and Ross again, I’ve had less songs as a songwriter than I did before,” Bentley said with a laugh. “Going backwards! No, it’s only because we’re looking for the best songs that exist and I don’t care who’s name is on it. But what I will say is that what’s so unique about this song is these five guys. It’s tapping into the new generation of songwriters and the up-and-comers and the great stories and a lot of first singles in country. Just to be part of this and hear the stories, it’s so inspiring for me.”
Hillary Scott & The Scott Family Preview ‘Love Remains’ Album With Harmony, Healing
/by Jessica NicholsonPhoto: Ashley Mae Wright /Courtesy of The GreenRoom PR
Lady Antebellum’s Hillary Scott turns pain and loss into healing on the upcoming gospel project Love Remains, a collaboration with her musically talented family, which releases July 29 on EMI Nashville.
On Wednesday evening (July 20) at Nashville event space The Bell Tower, the family’s close-knit performance effortlessly made a tightly-packed gathering of approximately 200 industry executives, artists, songwriters, and publishers feel relaxed and intimate. The family shared harmonies and stories for approximately half the tracks included on the intensely personal project.
Hillary Scott & The Scott Family includes her mother, singer-entertainer Linda Davis, who released five solo albums of her own, and is perhaps best known for her enduring 1993 duet “Does He Love You,” with Reba. Hillary’s 16-year-old sister Rylee, and her father, songwriter and businessman Lang Scott, are also in the ensemble.
A true family affair, also onstage that evening were Hillary Scott’s husband Chris Tyrell (who played on Love Remains), and their nearly 3-year-old daughter Eisele.
Pictured (L-R): Rylee, Hillary, Linda and Lang Scott. Photo: Ashley Mae Wright/ Courtesy of The GreenRoom PR
Love Remains began in 2011, after Hillary’s grandfather W.M. Scott Jr., passed after a battle with leukemia. While the family recordings were originally intended to be a collection of hymns sent to thank family and friends for their support, the family’s musical synergies escalated the recordings into an album, guided by legendary musician, singer and songwriter Ricky Skaggs.
Calling him the “pastor of this project,” Scott welcomed Skaggs to the stage that evening to offer mandolin and vocals on “The Faithful Love of Jesus,” which Scott said featured Steven Curtis Chapman’s vocals on the album.
Calling the song one of her personal favorites, Hillary said the lyrics were “pure and true,” and recalled how the melodies and words conjured a certain inspiration. “I thought, ‘What would Bonnie Raitt do to a worship song?’” Hillary said.
Hillary recalled how she sent out to a small number of publishers a letter that discussed her grandfather’s character and legacy. Writers took her words and crafted them into the track “Safe Haven.” “It was important to have a song about him on this record,” Scott told the crowd.
Hillary’s younger sister Rylee displayed stunning confidence as she took the lead on the track, “Your Unfailing Love,” sharing the stage with Skaggs while he assisted on mandolin and harmonies. The track was penned by songwriters Glenn Warren and Worley Max.
Several in the industry crowd could be seen wiping tears after the family gathered for a rendition of the album’s title track “Love Remains,” penned by Tom Douglas and Jim Daddario. The song chronicles the natural changes family experiences over decades, and the steadfast bond that holds them together.
Ricky Skaggs and Hillary Scott. Photo: Ashley Mae Wright/ Courtesy of The GreenRoom PR
Love Remains took on even more personal meaning with the addition of “Thy Will,” the project’s lead single, inspired by the confusion, pain, and ultimate decision to trust, that Hillary experienced after her second pregnancy ended in miscarriage in fall 2015.
She offered a quiet but powerful live rendition of the song during the album preview event, and thanked co-writers Emily Weisband and Bernie Herms. “I feel like we were a pass-through of something bigger, and I’m glad we were allowed to be part of this,” said Scott.
The family rejoined for a “sister song,” a rendition of “The River,” featuring Hillary, Linda, Rylee and Cheryl White. “This will be an animal to do live, because we had so many singers stacked on the studio track,” said Hillary. She needn’t have worried; the track’s up-tempo grove and soulful harmonies filled the room, and included an appropriate snippet of “Down To The River To Pray.”
Altogether, the Scott Family showcased another chapter in the long-held tradition of close-knit family music intertwined in both country and gospel music.
Nashville Film Festival Finds New Home With More Screens
/by Jessica NicholsonRegal Hollywood Stadium 27 & RPX
The Nashville Film Festival will have a new home during its 2017 season, set for April 20-29.
The festival is moving its residency to Regal Hollywood Stadium 27 & RPX, located at 719 Thompson Lane. For the past 13 years, it had been held at Regal Green Hills Stadium 16. The new location will nearly double the amount of theaters, from six to 10 screens.
“We are extremely excited to be the new home of the Nashville Film Festival,” said Regal Hollywood 27 manager Shane Sharpe. “It’s an honor to have one of the biggest film festivals in the country moving to our location. They always generated huge crowds and amazing attention to the Green Hills theater, so we’re very excited to now bring this to Hollywood 27.”
Music City Hit-Makers Returning To Cheekwood In August
/by Troy_StephensonMusic City Hit-Makers returns to Cheekwood for the third annual Songwriters Under The Stars concert on August 26 and 27. The concert will feature some of Nashville’s most successful songwriters including Brett James, Rivers Rutherford, and Chris DeStefano all performing their hits with the Music City Symphony. NBC’s America’s Got Talent Season 9 runner-up Emily West will open the evening with the debut of her symphony show set to tour in 2017.
“This year’s show is going to be the best yet. We’re reimagining the hits symphony style,” says producer and creator Charles Dixon. “We are recreating the American songbook with a symphony instead of big band both for Music City Hit-Makers and Emily West. You don’t want to miss it.”
Tickets for the event are $50 per person are available here.
For more information on the Music City Hit-Makers, visit www.MusicCityHitmakers.com.
L-R: Brett James, Chris DeStefano, Rivers Rutherford, Emily West
Vince Gill’s 25th Opry Anniversary Part Of Two-Show Nights In August
/by Eric T. ParkerGrand Ole Opry stage. Photo: grandoleopry.com
The Grand Ole Opry and special guests will celebrate Vince Gill‘s 25th anniversary as an Opry member on Saturday, Aug. 13. The event is part of the Opry’s weeklong influx of two-show nights from Wednesday, Aug. 10 to Tuesday, Aug. 16.
Family and close friends set to celebrate Gill’s silver anniversary include Amy Grant, Rodney Crowell, Opry member Patty Loveless, The Time Jumpers, Ashley Monroe, Andrea Zonn, Jenny Gill, Corinna Gill and more.
Carrie Underwood will appear for shows on Aug. 10 and Aug. 12. The Aug. 10 lineup will additionally feature Kelsea Ballerini, Thompson Square, and Opry members Larry Gatlin and the Gatlin Brothers and Old Crow Medicine Show. The Aug. 12 show will include Lauren Alaina.
Urban will play both shows on Aug. 16 along with Opry members Lorrie Morgan, Del McCoury Band and more.
For tickets and a complete listing of artists scheduled to play the Grand Ole Opry visit Opry.com.
In Pictures: CMHoF Celebrates Bachman-Gretsch Exhibit with Guitar Pull
/by Jessica NicholsonPictured (Back row, L-R): Tommy Emmanuel, Eddie Pennington, Lucas Thomas, Tom Doyle, Striking Matches’ Sarah Zimmerman and Justin Davis, Joe Robinson; (Front row, L-R): The Country Music Hall of Fame and Museum’s Abigail St. Pierre, Dinah Gretsch, Fred Gretsch, and the Country Music Hall of Fame and Museum’s Ali Tonn. Photo by Carissa Riccardi
On Saturday, July 16, the Country Music Hall of Fame and Museum celebrated the run of its exhibit American Sound and Beauty: Guitars from the Bachman-Gretsch Collection with a closing concert that featured performances by a number of guitar masters.
Fingerstyle guitarist Tommy Emmanuel, National Thumb Pickers Hall of Fame member Eddie Pennington, Australia’s Got Talent winner Joe Robinson, and Striking Matches’ Sarah Zimmerman and Justin Davis demonstrated their varied musical styles while also discussing the unique features of Gretsch guitars.
Eddie Pennington performs. Photo: Carissa Riccardi
Pictured (L-R): Joe Robinson, Tommy Emmanuel and Sarah Zimmerman perform. Photo: Carissa Riccardi
Photo: Carissa Riccardi
Striking Matches’ Sarah Zimmerman and Justin Davis perform. Photo: Carissa Riccardi
Industry Ink: Carnival Music, Dreamlined Entertainment, Prescription Songs, WMBA
/by Jessica NicholsonCarnival Music Introduces “Barnival” Songwriter Happy Hour
Dustin Christensen and Scooter Carusoe perform during Carnival’s “Barnival” songwriter happy hour.
Carnival Music has launched a new performance space, dubbed Barnival, where the company will feature monthly writers rounds with their writers and special guests.
The first Barnival songwriter happy hour round took place July 14, and featured Carnival writers Scooter Carusoe and Dustin Christensen. The crowd was packed with writers, producers and publishing executives including Paul Worley, Kos Weaver, Forest Glen Whitehead, Sony’s Maragret Tomlin and Erik Peterson.
“It was so great to see Scooter, who has been such an important part of Carnival since our inception, sit right next to one of our newest writers, Dustin Christensen, and show people what Carnival is doing and that the song still matters,” said Carnival Music’s Frank Liddell.
Dreamlined Entertainment Group Inks Joint Venture With Prescription Songs
Kevin MaC
Keith Stegall‘s Dreamlined Entertainment Group has announced a joint venture with celebrated Prescription Songs (Katy Perry, Diplo and 50+ others) on the signing of writer/artist Kevin MaC. Virginia Beach native MaC’s first single “#Winning” is forthcoming. Promotion efforts will be helmed by Star Farm Nashville.
Stegall launched Dreamlined Entertainment Group earlier this year and last month announced a partnership with Star Farm Nashville to handle promotion and artist development for the company.
WMBA Supports Thistle Farms With Clothing Drive
(Top, L-R): Rachel Cunningham, The Collective; Julia Grimoldi, Sony/ATV and WMBA Secretary; Dana Lalevee, NSAI and WMBA President; Katie Word, Sony/ATV; Nina Schollnick, Belmont Student; Macke Rodamaker, Belmont Student.
The Women’s Music Business Association (WMBA) sponsored a clothing drive and hosted a free shopping day for residents of Thistle Farms on Saturday, July 9. Donations were collected from the music industry community, including large donations from Big Machine Label Group and Sony/ATV Music Publishing, as well as individual WMBA members and others who saw our information posted on social media. WMBA also donated a new television set for the residents to enjoy.
Thistle Farms is a community of women who have survived prostitution, trafficking and addiction. It includes a residential program and social enterprise for survivors and an education and outreach program for the public. The social enterprise includes a Bath and Body Care Line,Shared Trade Global Marketplace, Thistle Stop Cafe and The Studios Workshop. To learn more about Thistle Farms visit thistlefarms.org.
DISClaimer: Newcomers Take The Lead With Fresh Releases
/by Robert K OermannSometimes, it’s the smaller stars that shine the brightest.
We have no shortage of shiny celestial phenomena in today’s DisClaimer. Darius Rucker, Luke Bryan, Eric Paslay and the legendary Moe Bandy are all here. But none of them took home our prizes.
Instead, the minorities win. And speaking of minorities, this is the first week in forever when we have an equal number of male and female voices in a country column. And as it happens, the distaff performers are our winners.
The Disc of the Day goes to RaeLynn, for having both a cool sound and a well-written lyric.
The DisCovery Award goes to The Springs, an enchanting duo with a female lead singer.
ERIC PASLAY/Angels In This Town
Writers: Eric Paslay/Corey Crowder/Erik Dylan; Producer: Marshall Altman; Publishers: Spirit Catalog Holdings/Five Stone/Spirit Two Nashville/WB/Songs From the Rose Hotel/Warner-Tamerlane/Songs of the Corn, ASCAP/BMI; EMI (track)
– A choppy, crunchy, multi-layered track (complete with strings) underscores a soaring, anthemic vocal performance about unlikely survival. Skimpy on the verses, strong on the repeated and repeated choruses.
CHELY WRIGHT/What About Your Heart
Writers: none listed; Producer: Joe Henry; Publishers: none listed; Megaforce (track)
– The advance single from Wright’s forthcoming I Am the Rain CD is a strummy, melodic and beautifully-produced outing with a steady rhythm and a thoughtful lyric. Vocal harmonies, chiming guitars and an echoey ambiance are all simply perfect. An excellent performance all around. Guests on the CD will include Rodney Crowell, The Milk Carton Kids and Emmylou Harris.
LUKE BRYAN/Move
Writers: Luke Bryan/Michael Carter/Jay Clementi; Producers: Jeff Stevens & Jody Stevens; Publishers: Sony-ATV Tree/Peanut Mill/Sony-ATV Cross Keys/234 Music, BMI/ASCAP; Capitol (track)
– Unashamedly rocking, this celebrates a Yankee gal who “goes country” and learns to move her “rockin’ little body” “sexy and smooth.” Whatever…
RAELYNN/Love Triangle
Writers: Nicolle Galyon/Jimmy Robbins/RaeLynn; Producers: Nicole Galyon & Jimmy Robbins; Publishers: Warner-Tamerlane/A Girl Named Charlie/Round Hill/Jimmy Robbins/Extraordinary Alien/Super Big/Prescription/Take the Bull By the Horns, BMI/ASCAP; Warner Bros.
– Very, very cool sounding. The atmospheric vibe of shuddering guitars and chugging percussion is fantastic enough. Add a broken-hearted girl’s lyric of watching her parents head for divorce and you’ve got something extra special. Take this to the top.
ADAM CRAIG/Reckon
Writers: Jeremy Stover/Randy Montana/Derek George; Producer: Derek George; Publishers: ole Red Cape/OLE Real Big Red Tunes/Sony-ATV Tree/WB/Funky Friars, ASCAP/BMI; Stoney Creek/BBR
-I dig his Southern-accented singing as well as his yearning, wounded interpretation of this lonely-boy song. The track shifts tempo and tone several times, but the whole thing holds together admirably, thanks to a highly accomplished production. Well worth your spins.
MOE BANDY/Lucky Me
Writers: Ernie Rowell/Dave Lindsey; Producer: Jimmy Capps; Publishers: none listed; MBP (track)
– The title tune of Moe’s new CD is a merry little Western swinger with built-in sunshine. Fiddle, steel and guitar “answer” his vocal phrases with jazzy phrases that are just dandy.
LAUREN ALAINA/Road Less Traveled
Writers: Lauren Alaina/Jesse Frasure/Meghan Trainor; Producer: busbee; Publishers: Warner-Tamerlane/Lyles/Rio Bravo/Year of the Dog/M Train/Words & Music, BMI/ASCAP; Mercury/19/Interscope (CDX)
– Will a co-write with pop star Meghan Trainor be Lauren’s ticket to stardom at last? Maybe so, when it is something this hooky, catchy and poppy. Not to mention positive-thinking, upbeat and empowering.
DARIUS RUCKER/If I Told You
Writers: Ross Copperman/Jon Nite/Shane McAnally; Producer: Ross Copperman; Publishers: EMI Blackwood/Songs By the Red Room/EMI April/Jon Nite/Smack Hits/Smack Songs/Kobalt, BMI/ASCAP/GMR; Capitol (CDX)
– A suitor doubts the authenticity of his lover, so he’s afraid to tell her about his darkest and dumbest and dreamiest thoughts and actions. I love the stately pace of this, as well as Rucker’s hushed, urgent performance. A winner.
LESLIE COURS MATHER/We Are America
Writers: none listed; Producer: none listed; Publishers: Cours Mather, BMI; Lion Eyes
– She’s a solid singer. The song is one tired patriotic cliche after another.
THE SPRINGS/Dance With Me
Writers: Stewart Halcomb/Holly Halcomb/Emily Rose; Producer: Shayne Hill; Publishers: Stewart E. Halcomb/CMFH, BMI/SESAC; CFC (CDX)
– Lilting, innocent and charming. It’s a simple invitation to romance that wafts through your speakers like a spring breeze. These native Alabamans met at The Bluebird Café, and two years later he proposed to her there. Holly sings lead. Stewart backs her with soft harmonies and cool, sung, interwoven vocal passages. This is the title tune of their debut EP.
Cam, Virginia Davis, Cameo Carlson Speak At CMA EDU Executive Summit
/by Jessica NicholsonPictured (L-R): Taylor Lindsey, Sony Sr. Director of A&R; Josh Easler, Sony VP of Promotions Arista; Sarah Westbrook, Sony VP of Digital Strategy; Cam; Kylen Sharpe, CAA Agent; Allen Brown, Sony VP of Communications; and Suzanne Alexander of GAC.
Arista Nashville artist Cam, CMA Board member Virginia Davis, and Borman Entertainment’s Cameo Carlson were featured speakers during the third CMA EDU Executive summit, held Monday, July 18 and Tuesday, July 19 in Nashville.
During her panel Tuesday, Cam was joined by staff from Sony Music Nashville and Creative Artists Agency, who represent the singer/songwriter, to enlighten students about the realities of developing and growing an artist’s career. Her touring musicians also participated, addressing the creative process and how students can pursue an artistic career. Cam also performed two acoustic songs for the group.
Pictured (L-R): Samantha Thornton; Virginia Davis, G Major Entertainment; Harry Lyons and Nichole Rodriguez
Davis welcomed staffers from her company G-Major Management on Monday to discuss careers in artist management and building her own business. Davis and G-Major manages the careers of Thomas Rhett, Danielle Bradbery, and Jewel.
Carlson, who is head of Borman Entertainment’s digital business development, gave insight into how the technology and music industries work together, as well as her personal career path, during her presentation Tuesday.
The CMA EDU Executive Summit welcomes the executive teams of CMA EDU chapters for workshops and industry insight panels. The program is active at 24 universities across the country.
Cam, center, with students at the 2016 CMA EDU Leadership Summit at Belmont University in Nashville on Tuesday, July 19.