Lori McKenna
Lori McKenna delivered a beautiful rendition of “Humble and Kind” at the MusicRow Awards last week, just moments after accepting a plaque for writing the MusicRow 2016 Song of the Year.
Recorded by Tim McGraw, “Humble and Kind” marks McKenna’s third win for MusicRow Song of the Year, following “Stealing Kisses” (2007, recorded by Faith Hill) and “Girl Crush” (2015, recorded by Little Big Town and co-written with Liz Rose and Hillary Lindsey).
McKenna will release a new solo album, The Bird & The Rifle, on July 29 via Creative Nation/Thirty Tigers. During a visit to Nashville, the Boston-based songwriter (and mother of five) chatted with MusicRow about first seeing the music video for “Humble and Kind,” working with producer/honorary brother Dave Cobb, and stapling the pages together for a new book inspired by “Humble and Kind.”
Read more about the award in the 2016 MusicRow Awards print issue, available now.
–––
MusicRow: What does it mean to you to be embraced by the Nashville industry?
Lori McKenna: Nashville is such a close-knit town. What I have seen of this town is the way that writers support each other. Like with “Girl Crush,” we kind of knew we had something special because other songwriters reached out to say they loved the song and wished they had thought of that, or wished they were in the room that day. Songwriters are like that—very proud of each other when something happens. It gives Nashville a family feel, like we’re all on the same team.
What they will tell you about Nashville is, “You have to move here.” I’ve never moved here. I travel down a lot but I feel really lucky and blessed that this town has accepted me. I’m a very non-competitive person and I would just run for the hills if I ended up in a community of musicians that aren’t supportive of one another.
Pictured (L-R): Sherod Robertson, Lori McKenna, Kent Earls, Craig Shelburne. Photo: Moments by Moser
Describe the impact Tim McGraw and his family have made on your life?
The reason I have a job at all in this town is because of Faith and Tim. Missi Gallimore played them music of mine years ago. I remember we were on the Oprah show and she asked, “How have they changed your life?” I didn’t really know. It had all just happened. But time after time, they have continued to be amazing supporters—just like angels to me, both of them.
I know from going out on the road with them—the little bit of time I did—that they prioritize family. So it made sense to me to send Tim [“Humble and Kind”] after I wrote it. I felt like if someone was going to record the song it would be one of them. We have kids of similar ages, so we were going through things at the same time. So it’s just a matter of someone writing it down. It couldn’t have worked out any better. I couldn’t have asked for a better cut of the song. He made it so much bigger than this little prayer. And it’s affected all my kids.
How has “Humble and Kind” affected your kids?
I got to play the song at the Ryman for the Opry after I wrote it and all my kids came. They knew it was written for them and was a list of what I was thinking about for them. My kids pay attention to my songs, but I think this one hit a special spot for them because they know it’s completely driven by their influence on me or what my husband and I are trying to teach them.
My youngest said he passed some girl in the corridor at his school and she said, “Hey, David, always stay humble and kind.” [laughs]. He’s kind of proud of it in a certain way.
You wrote “Humble and Kind” alone. What is the significance of solo writes, in contrast to co-writes, which Nashville is known for?
As far as “Humble and Kind,” it really was because nobody was in my house that day. But it worked out in that I know where each line came from, or which conversation from which kid that line came from. If I was with someone else, you would have maybe had to sand those edges because they wouldn’t have had that conversation with my son. It worked out the way it did and I’m thankful for that. But co-writing is part of the community of this town, and why everyone supports each other. I can see if you lived here it would be hard to write alone.
Because I’ve always kept that artist side of me, I’ve learned that I need to write by myself sometimes. I need to not have anybody else in the room and make my own mistakes or get something good by myself. Sometimes I’ll have titles, and I’ll know that I could do it by myself or just that nobody else thought they were good titles. I make sure that I notch out time to keep that. Even if I don’t get a song, I still get that peace.
Were you pleased with the “Humble and Kind” video?
When Tim told me what they were doing, I couldn’t imagine what it would look like. I wrote that song at my dining room table one day when my kids were at school—which is why I am obsessed with the word “kitchen.” But my world is from the kitchen looking out. I don’t necessarily see the world much bigger than that.
It really blows my mind that you can take the same song, and the way I saw it, and put it in his mouth and have him see this whole world of things in it. I saw it as this small prayer for your kids that you would sing to put them to bed, or at the end of your show. He has a broader picture of who could listen, and be affected by the song. I had to watch it a couple times. It’s magical, and I love it.
What is your participation in the Humble and Kind book?
I wrote the epilogue and the lyrical content. Tim had the idea for people looking to give their kids a little token at graduation. It’s funny because when people say graduation you think of college and high school, and there are so many videos of kids singing the song. And even with the book, I thought, “What are they going to do when they get to the part about ‘sleeping with someone/and sleeping with someone you love’?” I realized they changed the word “sleeping” to “dancing.” I wouldn’t have even thought that! I thought, “They’re gonna have to staple the pages of the book together.” (laughs)
Dave Cobb worked with you on The Bird & The Rifle. How did his influence benefit the project?
I have four brothers and Dave reminds me of them. Not a specific one, but if I had a fifth brother it would be Dave. The minute I met Dave, I instantly liked him. I am not a person who could ever self-produce. I completely need help because I almost never hear anything else other than a voice and a guitar. I am very limited in that way. I liked the idea of taking these songs and plugging them into the way he works.
He played me a song off of that White Mansions record that he thought this record should sound like. He’s so inspired by that record, and it’s a big part of where his brain was at the time. When we went to record, they didn’t listen to any demos or work tape. I literally sang the song and then we went and played it. It was such a great experience because the lyric is very important to him. It was kind of like we recorded a live show, even though it was recorded over a few days because there was no rehearsal.
You’ve changed publishers since writing “Humble and Kind.” How has the transition been from UMPG Nashville to Creative Nation?
It’s always hard to move, unless you don’t have a great relationship with your publisher. I did. I love Universal. They were so great for me. The transition has been wonderful. These last two songs, “Girl Crush” and “Humble and Kind,” are Universal songs. The other thing about Nashville is it’s hard to burn a bridge—it’s a very nurturing town.
But really the biggest decision to move over was the artist piece of it and being in a smaller group. They are a family. But it was really Beth Laird. She is kind of magical to me. I’ve known her for years, when she was at BMI, yet she’s one of those people who can see what you’re doing and can kind of read your mind.
When I reached out to talk to her about my deal being up, and what I was doing that was and wasn’t working, she knew right away that I needed to pay more attention to the artist side of my career. Even though I would rather sit in my house and write songs all day and the artist thing is exhausting to me, for some reason I need the live part to feed the best writer in me.
Lori McKenna. Photo: Moments by Moser
Kenny Chesney Records Duet With P!nk, Moves Album To October
/by Craig_ShelburneKenny Chesney
Kenny’s Chesney’s upcoming album, Some Town Somewhere, will now be released on Oct. 28. Following the lead single, “Noise,” the album was originally scheduled to be available on Friday (July 8) via Blue Chair Records/Columbia Nashville.
Chesney said that he heard a song called “Setting the World on Fire” and called P!nk to make it a duet. As a result, the album release was postponed in order to include the song.
“Sure, it would be easier to just leave everything on schedule,” Chesney said. “But when you have something you know is great, and it captures the best part of being alive, why wouldn’t you slow down enough to make it happen in the moment? That’s what ‘Setting The World On Fire’ is all about—and I figure it may be a while before I make another record, and I don’t want to wait to share this because it’s so good.”
Sea Gayle Music Signs Bobby Pinson To Publishing Deal
/by Craig_ShelburnePictured (L-R): Sea Gayle’s Jake Gear and Brandon Gregg, Pinson, Driskill and BMI’s Perry Howard
Sea Gayle Music has signed a worldwide publishing agreement with award-winning songwriter Bobby Pinson.
Pinson has written seven No. 1 country singles and was named BMI’s Country Songwriter of the Year in 2009.
He has had more than 150 of his songs recorded, with cuts by Rascal Flatts, Luke Bryan, Jason Aldean, Toby Keith, Sugarland and more.
“Bobby is one of those talents that you hope to work with as a publisher. He is an exceptional songwriter and has a unique ability to connect music and life. We couldn’t be more excited to have him as part of the Sea Gayle team,” says Sea Gayle EVP/GM Marc Driskill.
Exclusive: Lori McKenna Feels Embraced By Nashville
/by Eric T. ParkerLori McKenna
Lori McKenna delivered a beautiful rendition of “Humble and Kind” at the MusicRow Awards last week, just moments after accepting a plaque for writing the MusicRow 2016 Song of the Year.
Recorded by Tim McGraw, “Humble and Kind” marks McKenna’s third win for MusicRow Song of the Year, following “Stealing Kisses” (2007, recorded by Faith Hill) and “Girl Crush” (2015, recorded by Little Big Town and co-written with Liz Rose and Hillary Lindsey).
McKenna will release a new solo album, The Bird & The Rifle, on July 29 via Creative Nation/Thirty Tigers. During a visit to Nashville, the Boston-based songwriter (and mother of five) chatted with MusicRow about first seeing the music video for “Humble and Kind,” working with producer/honorary brother Dave Cobb, and stapling the pages together for a new book inspired by “Humble and Kind.”
Read more about the award in the 2016 MusicRow Awards print issue, available now.
–––
MusicRow: What does it mean to you to be embraced by the Nashville industry?
Lori McKenna: Nashville is such a close-knit town. What I have seen of this town is the way that writers support each other. Like with “Girl Crush,” we kind of knew we had something special because other songwriters reached out to say they loved the song and wished they had thought of that, or wished they were in the room that day. Songwriters are like that—very proud of each other when something happens. It gives Nashville a family feel, like we’re all on the same team.
What they will tell you about Nashville is, “You have to move here.” I’ve never moved here. I travel down a lot but I feel really lucky and blessed that this town has accepted me. I’m a very non-competitive person and I would just run for the hills if I ended up in a community of musicians that aren’t supportive of one another.
Pictured (L-R): Sherod Robertson, Lori McKenna, Kent Earls, Craig Shelburne. Photo: Moments by Moser
Describe the impact Tim McGraw and his family have made on your life?
The reason I have a job at all in this town is because of Faith and Tim. Missi Gallimore played them music of mine years ago. I remember we were on the Oprah show and she asked, “How have they changed your life?” I didn’t really know. It had all just happened. But time after time, they have continued to be amazing supporters—just like angels to me, both of them.
I know from going out on the road with them—the little bit of time I did—that they prioritize family. So it made sense to me to send Tim [“Humble and Kind”] after I wrote it. I felt like if someone was going to record the song it would be one of them. We have kids of similar ages, so we were going through things at the same time. So it’s just a matter of someone writing it down. It couldn’t have worked out any better. I couldn’t have asked for a better cut of the song. He made it so much bigger than this little prayer. And it’s affected all my kids.
How has “Humble and Kind” affected your kids?
I got to play the song at the Ryman for the Opry after I wrote it and all my kids came. They knew it was written for them and was a list of what I was thinking about for them. My kids pay attention to my songs, but I think this one hit a special spot for them because they know it’s completely driven by their influence on me or what my husband and I are trying to teach them.
My youngest said he passed some girl in the corridor at his school and she said, “Hey, David, always stay humble and kind.” [laughs]. He’s kind of proud of it in a certain way.
You wrote “Humble and Kind” alone. What is the significance of solo writes, in contrast to co-writes, which Nashville is known for?
As far as “Humble and Kind,” it really was because nobody was in my house that day. But it worked out in that I know where each line came from, or which conversation from which kid that line came from. If I was with someone else, you would have maybe had to sand those edges because they wouldn’t have had that conversation with my son. It worked out the way it did and I’m thankful for that. But co-writing is part of the community of this town, and why everyone supports each other. I can see if you lived here it would be hard to write alone.
Because I’ve always kept that artist side of me, I’ve learned that I need to write by myself sometimes. I need to not have anybody else in the room and make my own mistakes or get something good by myself. Sometimes I’ll have titles, and I’ll know that I could do it by myself or just that nobody else thought they were good titles. I make sure that I notch out time to keep that. Even if I don’t get a song, I still get that peace.
Were you pleased with the “Humble and Kind” video?
When Tim told me what they were doing, I couldn’t imagine what it would look like. I wrote that song at my dining room table one day when my kids were at school—which is why I am obsessed with the word “kitchen.” But my world is from the kitchen looking out. I don’t necessarily see the world much bigger than that.
It really blows my mind that you can take the same song, and the way I saw it, and put it in his mouth and have him see this whole world of things in it. I saw it as this small prayer for your kids that you would sing to put them to bed, or at the end of your show. He has a broader picture of who could listen, and be affected by the song. I had to watch it a couple times. It’s magical, and I love it.
What is your participation in the Humble and Kind book?
I wrote the epilogue and the lyrical content. Tim had the idea for people looking to give their kids a little token at graduation. It’s funny because when people say graduation you think of college and high school, and there are so many videos of kids singing the song. And even with the book, I thought, “What are they going to do when they get to the part about ‘sleeping with someone/and sleeping with someone you love’?” I realized they changed the word “sleeping” to “dancing.” I wouldn’t have even thought that! I thought, “They’re gonna have to staple the pages of the book together.” (laughs)
Dave Cobb worked with you on The Bird & The Rifle. How did his influence benefit the project?
I have four brothers and Dave reminds me of them. Not a specific one, but if I had a fifth brother it would be Dave. The minute I met Dave, I instantly liked him. I am not a person who could ever self-produce. I completely need help because I almost never hear anything else other than a voice and a guitar. I am very limited in that way. I liked the idea of taking these songs and plugging them into the way he works.
He played me a song off of that White Mansions record that he thought this record should sound like. He’s so inspired by that record, and it’s a big part of where his brain was at the time. When we went to record, they didn’t listen to any demos or work tape. I literally sang the song and then we went and played it. It was such a great experience because the lyric is very important to him. It was kind of like we recorded a live show, even though it was recorded over a few days because there was no rehearsal.
You’ve changed publishers since writing “Humble and Kind.” How has the transition been from UMPG Nashville to Creative Nation?
It’s always hard to move, unless you don’t have a great relationship with your publisher. I did. I love Universal. They were so great for me. The transition has been wonderful. These last two songs, “Girl Crush” and “Humble and Kind,” are Universal songs. The other thing about Nashville is it’s hard to burn a bridge—it’s a very nurturing town.
But really the biggest decision to move over was the artist piece of it and being in a smaller group. They are a family. But it was really Beth Laird. She is kind of magical to me. I’ve known her for years, when she was at BMI, yet she’s one of those people who can see what you’re doing and can kind of read your mind.
When I reached out to talk to her about my deal being up, and what I was doing that was and wasn’t working, she knew right away that I needed to pay more attention to the artist side of my career. Even though I would rather sit in my house and write songs all day and the artist thing is exhausting to me, for some reason I need the live part to feed the best writer in me.
Lori McKenna. Photo: Moments by Moser
Dolly Parton Says She Did Not Make Presidential Endorsement
/by Craig_ShelburneDolly Parton
Dolly Parton has clarified her comments about this year’s presidential candidates after numerous media outlets said that Parton had endorsed Hillary Clinton.
In a story published on June 24 on the New York Times website, the following exchange was published:
In her statement released on Tuesday (July 5), Parton said:
In Pictures: Let Freedom Sing, Nashville’s Fourth of July
/by Craig_ShelburnePhoto: Penny Adams. All photos used by permission of Nashville Convention & Visitors Corp.
Estimated attendance for the 2016 Let Freedom Sing event was 125,000 to 150,000 people, according to a statement from the Nashville Convention & Visitors Corp. Sheryl Crow and Maddie & Tae were among the Fourth of July festival’s performers on stage at Ascend Amphitheatre.
Maddie & Tae. Photo: Ann Richardson
The figures account for attendance across the festival’s downtown footprint. Thousands more people were just beyond the designated area. The numbers are similar to last year’s tally, which was 150,000 people. With perfect weather, the annual event has drawn nearly 260,000 people.
Sheryl Crow with the Nashville Symphony. Photo: Donn Jones
Michael Guth Named COO Of Ryman Hospitality Properties’ Entertainment Segment
/by Craig_ShelburneIn this role, Guth will oversee all operations at the Grand Ole Opry, Ryman Auditorium and WSM 650 AM, including the retail, food & beverage and marketing departments that support these operations as well as the new venues the company has in the planning phase.
Colin Reed, chairman and chief executive officer of Ryman Hospitality Properties, said, “We are thrilled to have Michael on board as we enter into an important phase of growth for the Entertainment side of our business. Michael brings a wealth of operations, marketing and business development expertise to this new role for our Company. With his addition to our senior leadership team, we are creating the infrastructure we need to support the recent growth our Entertainment segment has experienced and also to accelerate the strategic initiatives we have outlined as part of our future plans for this business.”
Guth’s most recent role was chief operating officer for The Bleachers Corporation, a global digital media startup specializing in HD production and streaming for sports and entertainment events.
Prior to The Bleachers Corporation, Guth spent eight years as executive vice president of sales and marketing for The Madison Square Garden Company, where he was responsible for developing the overarching consumer vision, sales strategy and sponsor integration plan throughout the facility’s award-winning $1 billion transformation.
Guth began his career developing sales and marketing strategies for the New York Mets Baseball Club and The Coca-Cola Company before moving on to a number of leadership roles in media and product marketing that included serving as senior vice president of Time Warner Global Marketing.
Guth earned his undergraduate degree from Harvard College and his MBA from Harvard Graduate School of Business Administration.
In addition, the company has promoted its senior vice president of investments, design and construction, Bennett Westbrook, to executive vice president and chief development officer. In this expanded role, Mr. Westbrook will lead the venue development strategy for the Entertainment segment in addition to his oversight of investments, design and construction for the Hospitality segment.
Reed continued, “This is an exciting time for our Entertainment business, and Bennett will help accelerate our growth further by working closely with our Opry Entertainment Group president, Steve Buchanan, to bring new venue concepts to life in strategic locations across the country and beyond.”
CRB Elects Board of Directors For 2016-2017
/by Jessica NicholsonThe Country Radio Broadcasters recently elected its Board of Directors for 2016-2017.
Charlie Morgan, Sr. VP and Market Manager for Emmis Communications/Indianapolis, has been re-elected as President of the Country Radio Broadcasters, Inc. for the 2016-2017 term. In addition, R.J. Curtis (All Access Music Group) will return as Vice President and Beverlee Brannigan (Scripps Co.) will serve as Secretary.
Those elected and appointed to the Board include: Becky Brenner (Albright & O’Malley & Brenner Consulting), George Couri (Triple 8 Management), John Crenshaw (Cumulus Media), Mike Culotta, Ryan Dokke (Curb), Mike Dungan (UMG), Randy Goodman (Sony Nashville), Scott Huskey (Rusty Walker Programming Consultants, Inc.), Kurt Johnson (Townsquare Media), Keith Kaufman (Center Stage Tour Promotions), Dave Kelly (Big Machine Label Group), Mike McVay (Cumulus Media), Charlie Morgan (Emmis Communications), Rod Phillips (iHeartCountry), John Shomby (Cumulus), Joel Raab (Joel Raab Country Radio/Media), and Annie Sandor (Capitol).
Returning to the Board with continuing terms are: Chuck Aly (Country Aircheck), Brannigan (Scripps Co.), Johnny Chiang (KKBQ-FM), R.J. Curtis (All Access Music Group), Andy Denemark (United Stations), John Esposito (Warner Music Nashville), Dan Halyburton (Falls Media Group), Clay Hunnicutt (Big Loud Records), Jeff Kapugi (WUSN-FM), Jon Loba (BBR Music Group), Nick Martin (Big River Broadcasting), Royce Risser (UMG), and Tim Roberts (WYCD).
Charlie Monk continues as a Lifetime Director Emeritus.
“I am honored to serve again as President of the CRB Board,” said Morgan. “This promises to be another important year for Country Radio Seminar. With Bill Mayne as our Executive Director, our terrific returning staff and the incoming board, I feel we are set up for success.”
Country Radio Seminar 2017 is set for Feb. 22-24, 2017 in downtown Nashville at the Omni Hotel.
LifeNotes: Thirty Tigers Executive Bob Goldstone Passes
/by Craig_ShelburneBob Goldstone
Bob Goldstone, an owner and VP of Sales at Thirty Tigers, died from injuries sustained in a cycling accident near his home in Pegram, Tennessee, on Sunday (July 3).
Goldstone held a number of positions in the music industry before joining Thirty Tigers. He had been community relations director for Tower Records and was vice president of sales and marketing at Emergent Music Marketing. He had also worked at record labels such as Eminent, Mercury, Capricorn and I.R.S. Records, all the while being a visible part of the Nashville music community.
On Tuesday afternoon, Thirty Tigers President Davis Macias issued the following statement:
Guy Clark Biography Slated For October
/by Craig_ShelburneA comprehensive biography on songwriter Guy Clark will be published on Oct. 18 by Texas A&M University Press. Starting in 2008, and with Clark’s approval, author Tamara Saviano interviewed more than 200 of Clark’s friends and family members for the book, titled Without Getting Killed or Caught: The Life and Music of Guy Clark.
The book details Clark’s marriage to Susanna Clark and their friendship with songwriter Townes Van Zandt. It also includes 113 photos from all phases of his life and career. Saviano completed the 406-page book just before Guy Clark died in May. She is currently working on a documentary about the relationship between Guy and Susanna Clark and Van Zandt.
“It was like putting together a jigsaw puzzle. I went back to every part of Guy’s life and found the people who were there at that time,” Saviano says. “I learned details that nobody else knew, including his closest friends.”
Saviano is also part of the book’s narrative. She was managing editor of Country Music magazine when she met Clark in 1998. In 2006, she became his publicist for the album Workbench Songs, a role she repeated for 2009’s Someday the Song Writes You. In 2011, she produced the Grammy-nominated album This One’s For Him: A Tribute to Guy Clark, which was named the 2012 Americana Album of the Year by the Americana Music Association.
“I had no idea that I was going to grow to love the old curmudgeon, but I did,” Saviano said. “I felt I needed to make it very clear that I was not only a reporter. We had become good friends and Guy confided in me about many things. I’m not sure it was a typical relationship for a biographer and subject.”
Clark’s most notable songs include “Desperados Waiting for a Train,” “The Randall Knife,” “She Ain’t Goin’ Nowhere,” “L.A. Freeway” and “Texas, 1947.” He was inducted into the Nashville Songwriters Hall of Fame in 2004.
Pinnacle Closes Merger With Avenue Bank
/by Sherod Robertson“The completion of our legal merger with Avenue is an important step in our march to build Nashville’s bank,” said M. Terry Turner, president and CEO of Pinnacle Financial Partners. “Associates of both banks have worked incredibly hard to get us to this point and made it possible to close the acquisition only five months after the announcement.”
Joe Galante, former chairman of Sony Music, Nashville, David Ingram, CEO of Ingram Entertainment, and Marty Dickens, former regional executive with AT&T, were appointed to Pinnacle’s board. Additionally, Avenue’s music and entertainment team of Andy Moats, Ron Cox and Cooper Samuels will continue in their roles servicing clients under the new merger.
“The culmination of this merger benefits shareholders and clients of both firms,” said Ronald L. Samuels, Avenue’s chairman and chief executive officer, who will serve as vice chairman of Pinnacle’s board of directors and on Pinnacle’s senior leadership team. “Our teams have the same passion for delivering outstanding client service and the same commitment to Nashville, and we’ll be even better together.”
Based on financial information as of March 31, 2016, on a pro forma basis, the combined company has total assets of over $10.5 billion with offices in 14 Tennessee counties.
Avenue Bank will operate as a division of Pinnacle Bank until September of this year when both firms anticipate combining their operations and the brand converting to Pinnacle. Avenue Bank clients should continue to bank with Avenue as they always have, using their existing checks, ATM/debit cards, payment coupons, etc. until the operational conversion in the fall.