Maren Morris at the 28th Annual MusicRow Awards. Photo: Moments by Moser
Most listeners discovered Maren Morris this year with her debut single, “My Church,” yet she had been attracting attention in the music industry for several years already.
Since 2013, Morris has been writing for Nashville publishing company Big Yellow Dog Music, which released a digital EP in late 2015. Columbia Nashville took notice, signed the singer and released her full-length debut, Hero, which debuted at No. 1 after its release on June 3.
Calling from the first night as a special guest on Keith Urban’s Ripcord World Tour, she discussed with MusicRow the launch of her career, as well as the story behind “My Church,” which led her to win of the magazine’s 2016 Breakthrough Songwriter of the Year.
Read more about the award in the 2016 MusicRow Awards print issue, available now.
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MusicRow: Describe the path “My Church” took to finally being released.
Maren Morris: I wrote it a little over a year ago, I guess March of 2015. I was out on a writing trip in Los Angeles. [Producer/songwriter] busbee has a house in Nashville but is based out of Los Angeles. The day before I wrote with him, the title “My Church” popped in my head and I went in with him and he totally got the concept I was going for.
It was a quick write, probably because it’s such a clear emotional context that everyone can relate to in some way. I instantly knew that song was really special, and felt a strong need to keep it to myself. If I was going to take a whack at this artist thing—if I had one shot at it—I would want it to be with this song. It’s crazy to think that was a little over a year ago. It really catapulted this whole thing to be set in motion.
As a songwriter and artist, how do you decide which songs to hold or let go?
“My Church” was really the first song I wanted to keep for myself. Narrowing down songs for the record was tough because I have a catalog from the last three years of music that I really love—hundreds of songs and I’m sure there are some I have forgotten about completely.
It’s sort of a sacrifice to narrow it down. There are great songs I adore that I had to leave off the record. But with the 11 songs that are on the record, it was hard to imagine someone else singing them and I think it tells a cohesive story.
Did you always want to be an artist and songwriter?
I felt like I was pretty much done with the performance side when I moved to Nashville. I’m from Arlington, Texas, and I toured there for over a decade—I had a whole other life there, really as a kid from about 10 or 11 years old. I didn’t write songs then but that eventually led to getting my first guitar and wanting to write.
After I moved, I just wanted to be a songwriter in a writing room and be creative—not worried about selling anything. Somewhere along the way I missed that high you get when you walk off stage after a show. That is so hard to match. In a writing room you get a different kind of high when you hear something back that you’ve created out of nothing with your friends, but that gave me the gumption to finish out this record.
Talk about the launch of your career.
Everything was sort of a domino effect after my publisher Carla Wallace introduced me to my manager Janet Weir at Red Light Management. At the time I hadn’t even written “My Church.” Around that time Janet and I met and hit it off. She understood the vision I had for my music and what I wanted to say to the world.
Janet tracked down Copeland Isaacson at Spotify, where one thing led to another and I ended up doing an exclusive EP release with them before I had ever signed a deal. That Spotify exclusive really created a lot of leverage. It really set into motion me signing a record deal with Sony.
Big Yellow Dog’s Carla Wallace (R) surprises her writer Maren Morris (L) with a plaque commemorating a No. 1 country album debut, along with its lead single achieving gold. Photo: Moments By Moser Photography
How much of your project did you have set before you signed with Columbia?
I didn’t have the track listing down, but I had the bulk of the songs written. There were last-minute additions, because I was still writing. Like “Rich,” I think that was one of the last songs I wrote, and it was too much fun to leave off the album and fit so perfectly with the vibe we created.
Why was Columbia Nashville the right place for you?
When I was rounding out the EP, Sony Nashville didn’t have a president. They were going through a transition. They came on board later in the game once Jim Catino played Randy Goodman a few of my songs.
At the time I wasn’t really thinking whether or not I should sign to a pop or country label, but with the Columbia imprint that I’m on, I felt like I got the best of both worlds—I’ve been lucky to have a partnership with New York and Nashville with my deal. I never felt like I had to choose between the two worlds.
Describe that New York component.
Person for person, the same amount of people that work on my team here in Nashville under Columbia, the same goes for the New York office. So if I’m ever overseas or in New York, I feel like they both have a tight grasp on my direction.
It’s nice because I feel like these genre walls are coming down, bit by bit. I’m seeing the New York labels start to have more conversation with their Nashville counterparts. There’s more symbiosis happening and you don’t have to choose between the two. Randy Goodman and Rob Stringer at Columbia Records in New York really get what I do.
Pictured (L-R): Sherod Robertson, Maren Morris, Carla Wallace, Craig Shelburne. Photo: Moments by Moser
Exclusive: Maren Morris Explains How “My Church” Catapulted Her Career
/by Eric T. ParkerMaren Morris at the 28th Annual MusicRow Awards. Photo: Moments by Moser
Most listeners discovered Maren Morris this year with her debut single, “My Church,” yet she had been attracting attention in the music industry for several years already.
Since 2013, Morris has been writing for Nashville publishing company Big Yellow Dog Music, which released a digital EP in late 2015. Columbia Nashville took notice, signed the singer and released her full-length debut, Hero, which debuted at No. 1 after its release on June 3.
Calling from the first night as a special guest on Keith Urban’s Ripcord World Tour, she discussed with MusicRow the launch of her career, as well as the story behind “My Church,” which led her to win of the magazine’s 2016 Breakthrough Songwriter of the Year.
Read more about the award in the 2016 MusicRow Awards print issue, available now.
–––
MusicRow: Describe the path “My Church” took to finally being released.
Maren Morris: I wrote it a little over a year ago, I guess March of 2015. I was out on a writing trip in Los Angeles. [Producer/songwriter] busbee has a house in Nashville but is based out of Los Angeles. The day before I wrote with him, the title “My Church” popped in my head and I went in with him and he totally got the concept I was going for.
It was a quick write, probably because it’s such a clear emotional context that everyone can relate to in some way. I instantly knew that song was really special, and felt a strong need to keep it to myself. If I was going to take a whack at this artist thing—if I had one shot at it—I would want it to be with this song. It’s crazy to think that was a little over a year ago. It really catapulted this whole thing to be set in motion.
As a songwriter and artist, how do you decide which songs to hold or let go?
“My Church” was really the first song I wanted to keep for myself. Narrowing down songs for the record was tough because I have a catalog from the last three years of music that I really love—hundreds of songs and I’m sure there are some I have forgotten about completely.
It’s sort of a sacrifice to narrow it down. There are great songs I adore that I had to leave off the record. But with the 11 songs that are on the record, it was hard to imagine someone else singing them and I think it tells a cohesive story.
Did you always want to be an artist and songwriter?
I felt like I was pretty much done with the performance side when I moved to Nashville. I’m from Arlington, Texas, and I toured there for over a decade—I had a whole other life there, really as a kid from about 10 or 11 years old. I didn’t write songs then but that eventually led to getting my first guitar and wanting to write.
After I moved, I just wanted to be a songwriter in a writing room and be creative—not worried about selling anything. Somewhere along the way I missed that high you get when you walk off stage after a show. That is so hard to match. In a writing room you get a different kind of high when you hear something back that you’ve created out of nothing with your friends, but that gave me the gumption to finish out this record.
Talk about the launch of your career.
Everything was sort of a domino effect after my publisher Carla Wallace introduced me to my manager Janet Weir at Red Light Management. At the time I hadn’t even written “My Church.” Around that time Janet and I met and hit it off. She understood the vision I had for my music and what I wanted to say to the world.
Janet tracked down Copeland Isaacson at Spotify, where one thing led to another and I ended up doing an exclusive EP release with them before I had ever signed a deal. That Spotify exclusive really created a lot of leverage. It really set into motion me signing a record deal with Sony.
Big Yellow Dog’s Carla Wallace (R) surprises her writer Maren Morris (L) with a plaque commemorating a No. 1 country album debut, along with its lead single achieving gold. Photo: Moments By Moser Photography
How much of your project did you have set before you signed with Columbia?
I didn’t have the track listing down, but I had the bulk of the songs written. There were last-minute additions, because I was still writing. Like “Rich,” I think that was one of the last songs I wrote, and it was too much fun to leave off the album and fit so perfectly with the vibe we created.
Why was Columbia Nashville the right place for you?
When I was rounding out the EP, Sony Nashville didn’t have a president. They were going through a transition. They came on board later in the game once Jim Catino played Randy Goodman a few of my songs.
At the time I wasn’t really thinking whether or not I should sign to a pop or country label, but with the Columbia imprint that I’m on, I felt like I got the best of both worlds—I’ve been lucky to have a partnership with New York and Nashville with my deal. I never felt like I had to choose between the two worlds.
Describe that New York component.
Person for person, the same amount of people that work on my team here in Nashville under Columbia, the same goes for the New York office. So if I’m ever overseas or in New York, I feel like they both have a tight grasp on my direction.
It’s nice because I feel like these genre walls are coming down, bit by bit. I’m seeing the New York labels start to have more conversation with their Nashville counterparts. There’s more symbiosis happening and you don’t have to choose between the two. Randy Goodman and Rob Stringer at Columbia Records in New York really get what I do.
Pictured (L-R): Sherod Robertson, Maren Morris, Carla Wallace, Craig Shelburne. Photo: Moments by Moser
Artist Updates: Haley & Michaels, Home Free, Neal McCoy, Randy Rogers Band, Kelly Willis
/by Jessica NicholsonHaley & Michaels Release “Drinking About You”
Newcomer duo Haley & Michaels are kicking off the holiday weekend with their brand new single, “Drinking About You.” Featured on Spotify’s New Music Friday playlist, the track was written by the married duo’s Shannon Haley and Ryan Michaels along with co-writers Jeff Cohen and Zach Abend. It is the first song released from their upcoming EP, Taking Off.
Vocal Group Home Free Sings “God Bless The USA”
Home Free. Photo: Neil van Niekerk
Vocal group Home Free debuted their new video for “God Bless the USA” in celebration of Independence Day, at tasteofcountry.com.
The video was produced, mixed and mastered by Darren Rust at Skyland Studios. The clip was filed in front of Mount Rushmore and concludes with a quote from Abraham Lincoln, penned during the Civil War: “Honor to the soldier and sailor everywhere who bravely bears his country’s cause. Honor also, to the citizen who cares for his brother in the field and serves, as best he can, the same cause.”
Neal McCoy Will Sing In New York City on 4th of July
Neal McCoy
Neal McCoy will appear on Fox & Friends on Monday (July 4) at 6 a.m. ET. He will discuss his tradition of saying “The Pledge of Allegiance” every morning and will perform live in New York City.
McCoy has performed more than 15 USO Tours. He will also preview a new album of standards, titled You Don’t Know Me, produced by Steve Tyrell.
Known for his high-energy shows, McCoy’s hits include “No Doubt About It,” “Wink,” and “They’re Playin’ Our Song.”
Randy Rogers Band Makes Opry Appearance
Photo ID (L-R): Enzo DeVincenzo, Red Light Management; Todd Stewart, utility player; Geoffrey Hill, guitar; Les Lawless, drums; Brady Black, fiddle; Pete Fisher, Grand Ole Opry; Randy Rogers, lead vocals; Jon Richardson, bass guitar
The Randy Rogers Band played the Grand Ole Opry on Wednesday (June 29), playing tracks from the group’s latest album Nothing Shines Like Neon.
As a salute to the band’s favorite holiday, Independence Day, the six-piece ensemble has compiled a patriotic playlist that embodies the spirit of their collective tastes. Listen to the full playlist here: http://bit.ly/RRB_USAplaylist
Kelly Willis Teams With Bruce Robison For New Single
Kelly Willis teamed up with husband Bruce Robison to record and produce her first original single in a decade as part of his multifaceted media company and web series, The Next Waltz. Willis will release the single “Flower on the Vine” on July 8.
The new episode of The Next Waltz is set in Robison’s Lockhart studio, where the singer-songwriter’s ability to engage artists on a peer-to-peer level allows him to draw out stories.
Exclusive: Dave Cobb Settles In After Move To RCA Studio A
/by Eric T. ParkerPictured (L-R): Craig Shelburne, Dave Cobb, Sherod Robertson. Photo: Moments by Moser
Dave Cobb has hit his stride in Nashville, moving to Music City after spending nearly 11 years in Los Angeles. Artists like Chris Stapleton, A Thousand Horses, Jason Isbell, Jamey Johnson and Sturgill Simpson put him on track to win awards, including 2016 MusicRow Producer of the Year.
Read more about Cobb’s 2016 win with the magazine in the latest MusicRow Awards print issue, available now.
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MusicRow: Before Chris Stapleton’s 2015 CMA Awards sweep, you told us that you hadn’t yet felt a part of the Nashville establishment. Do you more at home with your recent success?
Dave Cobb: I’m humbled by it all. It’s such a prestigious thing—so much history with MusicRow magazine, and Music Row in general. There are no words to be in RCA A on Music Row and to be embraced by the industry. It’s beyond any wildest dream I could have had. I’m very happy to start and be part of the community and I’d love to help other people wherever I can. I definitely feel welcomed.
It’s been a pleasure getting to know everybody. I had been just in the back of my house in a little studio and didn’t really get out. I love getting to know people and who they are and feel happy to be part of the community.
Dave Cobb accepts 2016 MusicRow Producer of the Year. Photo: Moments by Moser
Have you enjoyed your RCA Studio A move?
You walk in everyday humbled by who came before you. You feel the history and it inspires songs and playing. … It has become a clubhouse. Chris Stapleton came in and played on an Anderson East record I was working on just because. He called up and had some extra time. All these people just stop by. They befriend each other and feels like a great community here. It’s a really special place.
On July 29, Lori McKenna’s CN Records project you produced will be released. Can you tell us about that project?
Lori is one of my favorite songwriters ever. I love her voice. It was a pleasure to work with her—she’s an amazing human being. She’s got such good wit with a pen. It was so enjoyable to hear her everyday. She’s a master class in songwriting. Seeing that everyday and seeing her bring in new songs everyday kinda shocked us all. She’s got so much emotion and heartfelt lyrics. I can’t wait for people to hear it.
Lori and her management/label had a really good grasp on who she was coming into the project. I benefited greatly from that. All I did was show up and make the record. The song choice was mostly done prior to the studio. We recorded it in the back of my house, prior to me moving into RCA Studio A.
Also in RCA Studio A is where you operate Low Country Sound, your label and publishing company.
It’s amazing. I’m really, really happy with my partners and team with Atlantic/Elektra and now Warner/Chappell in Nashville. It’s great to be able to find an artist you feel passionate about and have a team of support around to run with it and try to make the record a success. Before I would make a record and hope someone would pay attention to it. Now we have a really solid team and great strategic plans.
On the publishing side with Warner/Chappell, we have Aaron Raitiere and Adam Hood, with another signing to be announced soon. [A third signing, Charlie Pate, was announced on Thursday.] So now if there’s a void on a record for an artist I sign, we can go find the right song to finish the record. It’s picking up where all the great labels left off—Stax, Muscle Shoals, Motown. They all had facilities for writers interacting with the artists as well. It’s a little bit of a one-stop shop, in a good way.
As far as staff, we have Ben Vaughn [Executive Vice President] at Warner/Chappell, who handles the publishing side, and New York handles the label side. The writers are here with offices upstairs in RCA Studio A. So there’s a lot of synergy with the writers upstairs and the studio downstairs. But Adam and Aaron have been getting cuts and are a little bit left of center with the way they write and sing. They follow similar principles that I do.
Now that your wheels are off the ground, what’s next?
It’s been great to do something like Southern Family. Who in their right mind would OK that to happen? It sounds like a nightmare to get all those artists lined up, but they were up for the task. It’s amazing to have this creative freedom.
There’s a film being made right now with Southern Family that may be out before next year. It’s a bit of a process and we want to make it right—something lasting and meaningful. But there is probably not a second volume coming anytime soon. That’s a huge hill to climb. I’m really happy with what we have.
Right now I’m [producing] Old Crow Medicine Show. Their record is really incredible. I’m really into the band and the record. I’m just taking my time to find things that I’m crazy about. When those people cross my path, we act on it.
Industry Ink: ole, Average Joes Entertainment, CMT
/by Jessica Nicholsonole Extends Deal With Canadian Country Artist Meghan Patrick
(L-R): Meghan Patrick with ole Founder and CEO Robert Ott.
ole has picked up its option on Canadian country music artist Meghan Patrick to extend its existing, worldwide co-publishing deal. Patrick first signed with ole in 2015, augmenting her previous deal with ole and ole co-venture partner Jackoby Music. Patrick is also a Warner Music Canada recording artist.
Patrick’s new album, Grace and Grit, was released April 29 in Canada.
Average Joes To Distribute The LACS’ Barn Burner Records Imprint
Average Joes artists The LACS, have teamed with tourmates Hard Target to form the band Racket County. The band’s debut album, Welcome To Dodge City, will be distributed by Average Joes Entertainment under The LACS’ newly-formed Barn Burner Records imprint. The album releases Aug. 5 and features the single “Sunday.”
“We’re excited about announcing our new label, Barn Burner Records, and coming together with our good buddies, Hard Target, to form Racket County,” said Clay Sharpe of The LACS. “We are rocking it on the road and our fans are lovin’ the new music. It just seemed natural to go into the studio and continue the fun.”
“AJE is not only excited but extremely honored to continue to be a part of The LACS’ success story. The launch of Barn Burner Records and the Racket County debut release is a fantastic start,” commented Doug Kaye, Senior Vice President Sales/Business Affairs, Average Joes Entertainment.
CMT Documentary The Bandit To Premiere August 6
Pictured (L-R): Burt Reynolds, Hal Needham
CMT documentary The Bandit will make its television debut on Saturday, Aug. 6 at 10 p.m. ET.
The Bandit is an original documentary about ’70s superstar Burt Reynolds, his best friend, roommate and stunt-double Hal Needham, and the making of their unlikely smash hit film, Smokey & The Bandit. It made its debut earlier this year at SXSW in Austin, Texas.
Featuring new interviews with Reynolds, rare archive material, including footage from Reynolds’ personal archive, as well as candid archival interviews with the late Hal Needham, the documentary tells a story about loyalty, friendship and creative risk.
The Bandit was directed and produced by Jesse Moss. Amanda McBaine produces for Mile End Films. Jayson Dinsmore, Lewis Bogach and John Miller-Monzon executive produce for CMT.
Mark Your Calendar — July 2016
/by Eric T. ParkerSingle Add Dates
Chase Bryant/Room to Breathe/Red Bow Records
Darius Rucker/If I Told You/Capitol Nashville
Sarah Dunn Band/Dirty/Reznam Records
Crossroad Station/All American Beer Team/SMG-Nashville
July 11
Dustin Lynch/Seein’ Red/Broken Bow
Tim McGraw/How I’ll Always Be/Big Machine
LANco/Long Live Tonight/Arista Nashville
Presley & Taylor/My Hometown/SMG-Nashville
Jake McVey/Back Seat/Purple Cow Records
Dylan Scott/My Girl/Curb Records
Lucas Hoge/Boom Boom/Rebel Engine-Star Farm
Lauren Alaina/Road Less Traveled/Mercury Nashville
July 18
Chase Rice/Everybody We Know Does /Columbia Nashville
Mike Smith/Green Eyed Girl/EMS Records
Randy Houser/Chasing Down A Good Time/Stoney Creek
Steven Tyler/We’re All Somebody From Somewhere/Dot Records
Trent Harmon/There’s A Girl/Big Machine
Jana Kramer/Circles/Warner Bros.
July 25
Trace Adkins/Lit/Wheelhouse Records
Kelsey Hickman/Gone/GTR
Album Releases
Magnolia Belle/Lucky Number/Heartland Records Nashville
July 8
Kenny Chesney/Some Town Somewhere/Columbia Nashville-Blue Chair Records
Sean McConnell/Sean McConnell/Rounder Records
Mark Chesnutt/Tradition Lives/Row Entertainment-BFD-RED
James Dupré/Stoned To Death/Purfectt Pitch
Frankie Lee/American Dreamer/Loose Music-Thirty Tigers
July 15
David Nail/Fighter/MCA Nashville
Steven Tyler/We’re All Somebody From Somewhere/Dot Records
Confederate Railroad/Lucky To Be Alive
Vince Gill/Down To My Last Bad Habit [limited edition vinyl]/MCA Nashville
July 29
Hillary Scott & The Scott Family/Love Remains/EMI Nashville
Jake Owen/American Love/RCA
Lori McKenna/The Bird & the Rifle/CN Records-Thirty Tigers
Industry Events
Rendering: Tuck-Hinton Architecture
July 1-2
The Grand Ole Opry presents free shows in the Opry Plaza at 5 p.m.
July 4
Sheryl Crow, Maddie & Tae, Erin McCarley, Andrew Combs, Ruby Amanfu at Nashville’s Independence Day celebration on two stages at Ascend Amphitheater and The Green at Riverfront Park with the Nashville Symphony, beginning at 5:00 p.m.
July 15
First ballot for CMA Awards closes at 6:00 p.m. CT.
July 22
The Belcourt Theatre reopens
American Young Prepares Debut Album On Curb Records
/by Craig_ShelburneAmerican Young
Country duo American Young will release a self-titled debut album on Curb Records on Aug. 5.
The duo is composed of songwriters Kristy Osmunson and Jon Stone. The project was co-produced by Stone and Curb artist Lee Brice (who appears on the track, “Eighteen.”) In addition, Osmunson formerly recorded as part of Bomshel, a duo that was signed to Curb.
American Young’s singles have included “Love Is War” and “Wasn’t Gonna Drink Tonight.” They released an EP on Curb in 2014.
“Jon’s a perfectionist and a finisher,” says Osmunson, a classically-trained violinist who met her future bandmate at a Lee Brice performance in Nashville. “He works harder than anybody I know. I’m all about the vibe and the feel of the moment.”
“The thing that’s so inspiring for us both is that we’re so different,” Stone said. “Everything that drives me crazy about her makes her a star. She’s everything I wish I could be, but once we’re together we’re like Voltron. It becomes selfless; all our needs become secondary to American Young.”
Stone’s songwriting credits include Brice’s “A Woman Like You,” Jerrod Niemann’s “Only God Could Love You More,” and Rascal Flatts’ “Me and My Gang.” Osmunson’s catalog includes Joey + Rory’s “Cheater, Cheater.”
Industry Ink: Rounder Records, Disney Music Group, C2 Media
/by Jessica NicholsonNashville Celebrates Sean McConnell’s Upcoming Rounder Release
Pictured (L-R): Tracy Gershon, VP A&R, Rounder Label Group; Sean McConnell; Leslie Fram, SVP, CMT; Lanny West.
Industry execs and media guests celebrated the upcoming release from Sean McConnell at a house party/acoustic performance this week. McConnell’s video, “Holy Days,” premiered on CMT on Tuesday (June 28) and his self-titled album is set to release July 8 on Rounder Records, marking his first release for the label.
Disney Music Group Adds Sarah Beth Bateman
Sarah Beth Bateman
Disney Music Group has added Sarah Beth Bateman as A&R Coordinator in its Nashville office. Bateman was previously an A&R intern while studying at Belmont University. In her new role, Bateman will be responsible for providing support to the creative teams in Nashville and L.A., managing the catalogs of a growing writer roster, and overseeing administrative and creative processes.
C2 Media Adds Alanna Massey
Alanna Massey
C2 Media has added Alanna Massey for public relations. The University of Florida graduate previously worked to promote tourism in Florida. She has represented brands in the liquor and wine industry, in addition to working with country music artists such as Colt Ford, Confederate Railroad Lucy Angel and more. Massey brings along with her to C2 Media rising artist Clark Manson.
The C2 Media roster currently includes Lonestar, Clay Walker’s Chords of Hope, Brian Collins, Smithfield, Ayla Brown, Lucy Angel & More. She can be reached at alanna@c2mediarelations.com.
Exclusive: Old Dominion Feel The Love On Music Row
/by Eric T. ParkerOld Dominion. Photo: Dove Shore
RCA Nashville’s Old Dominion spoke to MusicRow about their 2016 Breakthrough Artist of the Year win at the 2016 MusicRow Awards, as well as the hurdles to success the band has faced. A quintet of songwriters, the boys have managed to keep upwards of 200 dates on the road while achieving outside cuts and maintaining families at home. Lead singer Matt Ramsey explains the marathon his band has just begun.
Read more about Old Dominion’s award win in the new MusicRow Awards print issue, available now.
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MusicRow: Do you feel the support of all of Nashville’s music industry?
Ramsey: We do, especially when we win an industry-voted award like this. Every time we come back to Nashville and see the people in the community we spent years working with, everyone tells us they are rooting for us and are proud of us. So we definitely do feel the love.
How does decision making happen with your team and band members?
It’s a five-way partnership. We’re all five equal decision makers in the band and we are all usually on the same page. If we’re not, it’s never a fight. It’s more a discussion where everyone is willing to listen to any idea. We certainly know that we don’t know everything, which is why we have this team of people to help us make those decisions. It’s usually fairly easy to get everyone on the same page.
One of your songs released as an independent band, “Shut Me Up,” was left off your major label release. What went in to that decision?
We felt like it had run its course by the time it got to making the album. We already had an EP out and “Shut Me Up” had got pretty high on satellite radio’s countdown and people knew that song. We just wanted to get as much new music out as possible with Meat and Candy, so “Shut Me Up” was left off to make way for a new song.
What do you think it was about your No. 1, “Break Up With Him,” that really connected with fans?
It’s a fun song. For the most part, people get the joke. It is real life and definitely a thing that happens. We’ve seen it numerous times. Couples come up to us and say that they are together because that song gave them the courage to realize they were with the wrong people. That’s a great thing for us. There’s a big part that is luck. You never know what’s gonna connect when it gets out there.
Tell us about the fan reception of follow-up singles “Snapback” and “Song For Another Time.”
A fair amount of people still ask us what a snapback is. They love the song and a lot of times we open our show with that. It’s a big sing-along. We wanted to bridge ourselves into something more serious from “Break Up With Him” to something that is more substantial as far as songwriting, which would probably be “Song For Another Time.” So we felt that “Snapback” was a good middle ground, as far as the sound of the song, from a fun summery song to more serious subject matter.
We’re lucky we even have “Song For Another Time” on the album because we thought we were done recording the album. We were out on the road and Matt Jenkins was out with us and played through the song at soundcheck and we fell in love with it. So we convinced everybody to let us fly home for one day and assemble the entire team to record that one song.
What are the challenges new artists faces that songwriters don’t?
There are a lot of challenges. One would be finding time to write. We spent so much time in town writing every day to play 200 shows a year. All of a sudden you have all kinds of other things to do. You don’t have that time to write and lose that sense of songwriting community you have built. We’re lucky that we write together, but being a new artist definitely eats into your writing time—out there doing what you need to do to push your album.
Early on you’ve been given the stage at many stadiums, what have you learned works or doesn’t work when compared to a smaller stages?
Anything that works in a stadium will work in a smaller venue. It just doesn’t go the other way—things that work in smaller venues don’t necessarily work in stadiums. We learned to work on our transitions from song to song to eliminate dead space. Especially with a new artist, you have to keep the set list moving and energy high. We still watch Kenny [Chesney’s] show every night and take notes.
What can we expect in the next phase of Old Dominion?
We’re writing a lot now. We’ve figured out the groove of writing on the road and thinking ahead at what our next album will be like. We’re playing some of them in our set right now to gauge the fan response. We’ve got all kinds of shows, some 160 shows this year, so touring through the fall.
In countless ways, we’re lucky we’re songwriters together in this band. It’s not just one person but the whole band contributing. We’re lucky to be out here constantly bouncing ideas off each other and our fans to get their response.
Updated: Music Publishing Industry Concerns Grow Following Department Of Justice Ruling
/by Craig_ShelburneUpdated 8:15 a.m.: ASCAP CEO Elizabeth Matthews has released a statement regarding the Department of Justice’s ruling. Her full commentary is published below.
The Nashville music publishing community responded with disappointment, shock and surprise when the Department of Justice unexpectedly introduced a 100 percent licensing model involving PROs.
The decision on 100 percent licensing means that a song co-written by an ASCAP songwriter and a BMI songwriter would be available to license with approval from just one PRO. It also means that if a songwriter owns only a portion of the song, he or she can license the full song, as long as that songwriter ensures the other credited writers are getting paid. Under the current system, known as fractionalized licensing, each copyright owner in the song takes care of licensing their portion.
Meanwhile the ruling declined requests from major publishing companies to have a right to negotiate licensing rates with digital music providers like Pandora and Spotify. The original consent decree was enacted in 1941, and pertained specifically to ASCAP and BMI, but the music industry has lobbied for the last two or three years to modernize the law. Their requests were all denied in the ruling.
Technically, both PROs must consent to the changes. The next step is approval from federal rate court judges.
Following the announcement of these decisions on Wednesday (June 29), BMI President & CEO Mike O’Neill, Sony/ATV Music Publishing President/CEO Martin Bandier, and Bart Herbison and Lee Thomas Miller from Nashville Songwriters Association International (NSAI) offered statements expressing their disappointment.
Artist Updates: LANco, Chris Lane, Rodney Atkins, Cordovas
/by Craig_ShelburneLANco Takes Video Premiere To The Big Apple
LANco performs in New York City.
Arista Nashville five-man band LANco celebrated the world premiere of its debut music video, “Long Live Tonight,” in New York City on Tuesday (June 28), as the clip aired on the Sony Digital Billboard in Times Square at 43rd and Broadway.
“Times Square is something you see in the movies or maybe get to visit in your life, but you never dream that one day your face will be on one of those giant screens,” shared LANco lead singer Brandon Lancaster. “This was truly a surreal and incredible experience.”
Chris Lane Anticipates Girl Problems In August
Chris Lane. Photo: Delaney Royer
Big Loud Records artist Chris Lane will release his debut album, Girl Problems, on Aug. 5. Lane recorded the album with producer Joey Moi. He’s currently in the Top 10 at country radio with “Fix.”
“While in the studio working on the album, I started to notice a trend … every song seemed to be about some type of ‘girl problem’,” Lane said with a laugh. “So it was only fitting to title the album Girl Problems!”
Rodney Atkins Hooks Deal With Fishly
Rodney Atkins
Curb Records artist Rodney Atkins is gearing up for summer fun by partnering with Fishidy, a waterway-based social network for fishermen of all skill levels to connect with local anglers, track fishing activity via interactive maps and guides, log their catches and even share tips to improve their fishing skills. From now through August 31, fans can enter to win an all-expenses-paid trip and day of fishing with Atkins when they create a free Fishidy account.
“I love spending time outdoors, whether it’s teaching my son how to hunt and fish, or just getting away for a little while to unplug and recharge,” Atkins said. “I’m always looking for new places to visit and trying to improve my own skills, so I’m excited to partner with Fishidy as a way to share that experience with others who are as passionate about fishing and enjoying the outdoors as I am.”
Cordovas Sing At War Memorial Auditorium
Nashville band Cordovas have filmed The Attic Sessions at War Memorial Auditorium. The four-piece band is made up of Joe Firstman (acoustic guitar, vocals), Lucca Soria (acoustic guitar, vocals), Jonny Loyd (accordion, vocals), and Graham Spillman (hand percussion, vocals).
They formed in 2011 when Firstman joined with Soria, Loyd, and Spillman to develop a sound that embodies bluegrass, country, and jam-based rock. Many of their songs are based around the idea of coming home, literally and spiritually. This fall, they will appear at the Americana Music Festival in Nashville and release their second album, produced by Kenneth Pattengale of The Milk Carton Kids.