Backroad Anthem band members Craig Strickland (lead vocals/acoustic), Toby Freeman (lead vocals/electric), Eric Dysart (fiddle), Josh Bryant (lead electric), Brandon Robold (bass/vocals), and Isaac Senty (drums), met while leading worship at a church in Fayetteville, Ark., approximately three years ago, and discovered they shared a mutual passion for country music.

“We decided to make a country cover band to make money on the side, and we all had ‘real’ jobs,” says band member Craig Strickland. After the third performance sold out, the guys quickly realized the newly-formed band would soon become more than a side gig. Within six months of forming, the Backroad Anthem was opening for artists including Justin Moore and Eli Young Band.

They also brought their music to college students across the country. “We built a following outside Nashville by singing at sorority houses around the SEC/Big 12 like Mississippi State, Alabama, Kansas State, Georgia,” says Craig. “It’s amazing how when you walk up to a sorority house with six dudes and a fiddle, they will let you in,” he quipped.

The band offered a three-song acoustic preview at the MusicRow office this week. The performance included “No Show,” “Disco Ball,” and their current single, “Torn.”

“We started out in a Suburban,” Strickland recalled of the band’s early days. “My dad’s company boss gave us the Suburban and we were in that for three years.” Thanks to a generous, music-loving benefactor, the group recently upgraded. “We were playing this private event for this guy who just loves music and owns a few companies. He said he wanted to help us get out of the Suburban and into something a little bigger. We were like, ‘Keep talking…’” he laughed. “I went to lunch with him and I told him that in order to get to the status we want to be at, selling out arenas, at the top and playing music in front of thousands each night, we wanted people to come alongside us, either financially or by getting the word out.” The band is now traveling to gigs in a Mercedes Sprinter Van.

The new ride is being put to good use. Backroad Anthem has signed with WME, and performs upwards of 150 shows per year. Their schedule includes a hometown concert in Fayetteville on Oct. 23. They will play Nashville’s Exit/In on Nov. 17.

The band just earned the Discovery of the Day honor from MusicRow‘s Robert Oermann‘s weekly DISClaimer column.

Backroad Anthem’s debut four-song EP, Torn, is available now.

 

The Academy of Country Music (ACM) has announced the newly-elected Board of Directors for the 2015-16 term. Previously announced officers include Chairman Paul Barnabee, President Ken Tucker, Vice President Ben Vaughn, Treasurer Duane Clark, Parliamentarian Paul Moore, Sergeant-at-Arms Tim DuBois and Secretary Tiffany Moon.

“I’m excited to work with so many committed industry leaders who have invested their time and shown real devotion to hands-on involvement with the Academy,” said Barnabee. “As a team, we have helped the ACM brand accomplish record-setting feats this year and I know we all look forward to more excitement in 2016.”

This year, there were six qualifying professional categories elected by the Academy’s membership. In addition to those elected, director-at-large positions have been appointed by Chairman Paul Barnabee, President Ken Tucker and Vice President Ben Vaughn. Directors are elected from each category based on the number of members in that category. Each director serves staggered two-year terms, with half the board membership changing each year.

Newly elected members of the Board of Directors include (full board listing with categories also attached):

Tony Brown, TBE Enterprises
Enzo DeVincenzo, Red Light Management / 377 Management
Byron Gallimore, Streamsound
Rusty Gaston, THiS Music
Roger Gearhart, Graham Brothers Entertainment
Michael Knox, Michael Knox Productions / peermusic Nashville
Dustin Lynch
David Macias, Thirty Tigers
Chris Parr, MAVERICK
Kimberly Perry
Peter Strickland, Warner Music Nashville
Cole Swindell
Ed Warm, Joe’s Live

Newly appointed members of the Board of Directors include:

Chuck Aly, Country Aircheck
Bradley Collins, BMI
Crystal Dishmon, ShopKeeper Management
Kerri Edwards, KPentertainment
Pete Fisher, Grand Ole Opry
Brandon Gill, Morris Higham Management
Mark Hartley, Fitzgerald Hartley Co.
Pat Higdon, Patrick Joseph Music
Greg Hill, Hill Entertainment Group
Gayle Holcomb, WME
T.K. Kimbrell, T.K.O. Artist Management
Greg McCarn, Black River Records
Doc McGhee, McGhee Entertainment
Daniel Miller, Fusion Management
Carmen Romano, FBMM
Fran Romeo, Romeo Entertainment Group

FULL ACM BOARD OF DIRECTORS 2015-2016

OFFICERS

Chairman Paul Barnabee, Sony Music Nashville
President Ken Tucker, Apple
Vice President Ben Vaughn, Warner/Chappell Nashville
Treasurer Duane Clark, FBMM
Parliamentarian Paul Moore, PGM Connections, LLC.
Sergeant-at-Arms Tim DuBois, Artist Management Partners
Secretary Tiffany Moon, Academy of Country Music

AFFILIATED

Tony Brown, TBE
Buddy Cannon, Cannon Productions
Michael Knox, Music Knox / peermusic Nashville
Mike Kraski, Tenacity Management
Kathy Armistead Olen, Atticus Brand Partners

ARTIST/ENTERTAINER/MBI

Lee Brice
Dustin Lynch
Kimberly Perry
Cole Swindell

CLUB/CASINO/CONCERT-VENUE OPERATOR

Roger Gearhart, Graham Brothers Entertainment
Jerry Hufford, Buck Owens’ Enterprises
Troy Volhoffer, Premier Global Partners
Ed Warm, Joe’s Live

COMPOSER

Lee Thomas Miller

MANAGER

George Couri, Triple 8 Management
Enzo DeVincenzo, Red Light Management / 377 Management
Chris Parr, MAVERICK

MEDIA/PUBLIC RELATIONS

Ebie McFarland, Essential Broadcast Media

MUSIC PUBLISHER/PRO

Frank Liddell, Carnival Music
Rusty Gaston, THiS Music

ON-AIR PERSONALITY

Bob Kingsley, Bob Kingsley’s Country Top 40

RADIO

Charlie Cook, Cumulus Nashville

RECORD COMPANY

Byron Gallimore, Streamsound
Cindy Mabe, Universal Music Group Nashville
David Macias, Thirty Tigers
Peter Strickland, Warner Music Nashville

TALENT AGENT

Curt Motley, PARADIGM Agency

TALENT BUYER/PROMOTER

Brad Garrett, Police Productions
Brian O’Connell, Live Nation

TV/MOTION PICTURE

Tom Forrest, taillight

DIRECTORS AT LARGE

Chuck Aly, Country Aircheck

Bradley Collins, BMI

Ross Copperman

Benson Curb, Curb Records

Dallas Davidson

John Dickey

Crystal Dishmon, Shopkeeper Management

Kerri Edwards, KPEntertainment

Seth England, Big Loud Shirt Music Publishing*

Chris Farren, Combustion Music

Pete Fisher, Grand Ole Opry

Leslie Fram, CMT

Jay Frank, Universal Music Group

Brandon Gill, Morris Higham Management

Jimmy Harnen, BMLG

Mark Hartley, Fitzgerald Hartley Co.

Pat Higdon, Patrick Joseph Music

Mary Hilliard Harrington, The GREENROOM

Greg Hill, Hill Entertainment Group

Gayle Holcomb, WME

Laura Hutfless, FlyteVu

T.K. Kimbrell, T.K.O. Artist Management

Jon Loba, BBR Music Group

Greg McCarn, Black River Records

Doc McGhee, McGhee Entertainment

Shawn McSpadden, Red Light Management

Daniel Miller, Fusion Management

Chris Oliveria, CBS Radio*

Carmen Romano, FBMM

Fran Romeo, Romeo Entertainment Group

Kimberly Schlapman

Lane Wilson, WME

*Selected by the officer leadership team to fill the remaining period of vacated one-year director-at-large terms.

PAST CHAIRS

Darin Murphy, CAA
Ken Robold, Sony Music Nashville
Butch Waugh
Bill Mayne, Country Radio Broadcasters
John Grady, Crush Management
Rod Essig, CAA

IEBA Honors Judy Seale

International Entertainment Buyers Association (IEBA) has recognized Judy Seale with the organization’s International Buyer of the Year honor, during its 45th annual conference in Nashville.

Seale is the leading lady behind Judy Seale International, which coordinates for numerous festivals in Europe and Asia. Since 1987, Judy Seale has produced more than 400 international tours and festivals, featuring artists from the genres of country, rock, and classic rock.

“It’s very humbling to be recognized by such a prestigious organization as IEBA,” remarked an appreciative Seale during her acceptance speech.

“My thanks go to all the agents, managers, publicists, and entertainers who have supported me throughout the years. Special thanks to The Bellamy Brothers who have introduced me to the phenomenon of performing before sold out audiences of country music fans in strange places like The Faroe Islands, New Caledonia, India, Sri Lanka, Qatar, and next year Iceland. I also want to recognize someone who is here with us in spirit tonight – Jeff Walker. He was one of my biggest supporters and a dear friend. Last of all, thanks to everyone who has supported my efforts to secure quality celebrity entertainment for our troops deployed overseas in harm’s way,” Seale continued.

 

ACM Welcomes Olivia Lane

The Academy of Country Music welcomed Big Spark Music Group recording artist Olivia Lane to the office while she was in Los Angeles recently.

While at the Academy, she performed her current single, “You Part 2,” and signed up for professional ACM membership, as part of the Academy’s complimentary one-year membership offered to support emerging artists.

Some of Nashville’s ace song creators showed off multiple talents during a joyous celebration of Keith Urban‘s 19th No. 1 song, “John Cougar John Deere John 3:16,” also the title track for his upcoming album.

Kicking off the early morning bash with an energetic performance, Urban was flanked by Shane McAnally, Josh Osborne, Ross Copperman and Dann Huff in an all-star rendition of “John Cougar John Deere John 3:16.” Urban traded vocal lines with McAnally, Osborne and Copperman, while Huff added several delectable guitar licks. They ended with Urban ad libbing atop a chorus provided by the writers and musicians.

“This has to be the earliest No. 1  party in history,” said BMI’s Jody Williams. Nashville’s music industry clearly didn’t mind, as a throng of supporters poured into elegant event space The Rosewall to celebrate.

Among those honoring the writers, artist and producers were ASCAP’s Mike Sistad, Randy Gimmett of Global Music Rights (celebrating their first No. 1 party in Nashville for writer McAnally), Black River Music Publishing’s Celia Froehlig, Robin Palmer and Robert Carlton of Smack Songs, Universal Music Group Nashville president Cindy Mabe, Country Music Association CEO Sarah Trahern, Country Radio Broadcasters’ Brooke Sanders and Holly Lane.

Avenue Bank’s Cooper Samuels announced the bank would make a donation to My Life Speaks on behalf of the songwriters.

EMI Blackwood/Sony ATV’s Josh Van Valkenburg was quick to thank producer Huff. “Thank you for putting modulation back into a country song,” he said.

“The reason I’m in Nashville is because of Keith Urban,” Copperman from the stage at The Rosewall. “Somebody handed me his record. I grew up listening to rock ‘n’ roll and [Keith’s album] was one of the first country albums I’ve ever heard and I thought, ‘Wow, that’s the kind of music I want to do.’ This song is my proudest song I’ve ever been a part of, and I’m glad to share it with these guys.”

Osborne also shared how proud he was of the song, and recalled a humorous anecdote about landing an Urban cut. “I was telling Keith how much he loved the Fuse record. Keith goes, ‘Well, the only thing it’s missing is a Josh Osborne song.’ I replied, ‘To be fair, most of your albums have had that problem,'” he said, drawing a round of laughter from the industry crowd.

Urban thanked McAnally for sending him the song. “That was a great email to get. It was hot out of the oven, and I’m one of those artists that goes, ‘How come that artist got that song?’ and I’m wondering how people get the song, and I became one of those guys that got the song. It’s an amazing feeling and that’s apparently how it happens. You just have to answer your email promptly,” he stated. “I think I’ve become good at responding to songs pretty quick, because if I don’t, somebody will.”

“It’s what this town and genre is about, simple gratitude and a feeling of just being blessed to do what we do,” Urban summed. “These No. 1 parties are important because…they are really about everyone who works behind the scenes who never get recognition.”

By James Rea

Jamie O’Neal appeared on The Producer’s Chair, Thursday, Oct. 29, 2015 at Douglas Corner at 6 p.m.

Whether you’re a budding artist looking for a producer, or a seasoned one, you may want to consider Jamie O’Neal … but only if you’re prepared to sing your ass off.

When O’Neal (whose birth name was Jamie Murphy) was 2 years old, her parents Jimmy and Julie Murphy, both professional musicians, moved to Hawaii. When O’Neal was 9, her parents took the family to Las Vegas, where they performed at the Golden Nugget casino in an act called The Murphy Family. Talent must be in the genes because O’Neal’s sister, Minnie Murphy, also became a recording artist.

O’Neal’s career came together at 29 when she signed her first publishing deal with the one and only Harold Shedd at the Music Mill. (NSAI has since bought the Mill and their offices are there.)

She recalls, “When I got first got to Nashville, Russ Zavitson said the magic words to me that I will never forget. He said, ‘Harold’s wanting me to sign you and why should I have to sign you? What makes you so special? How do I know you can even write?’ I remember telling Russ, ‘I think I can sing just as good as anybody else and I will prove it to you. Give me three months of a trial. If you don’t like what I do in three months, then you can send me home. If you like what I do, then you pick up my option.’ And he said, ‘Well, that’s fair.’ That’s how we worked out our deal. That was it. It was three months. There wasn’t a big negotiation of ‘I want this and I want that.’ He gave me three months. And I wrote everyday. Sometimes twice a day. They ended up picking up the option and I ended up staying.”

The incredible part is that O’Neal doesn’t play an instrument.

“I write with my voice,” she says. “A lot of times I start with a drum loop or something on my iPad. And I’ll sing the melody in the car which allows you a lot of freedom because I have always relied on my vocals. To me, I go by instinct and my ears. My whole life has been that way. I’m pretty quick at harmonies, layering parts and writing melodies. I totally rely on my ears and instinct for everything.”

As a songwriter, she has landed cuts with LeAnn Rimes (“Surrender”), Reba (“Pink Guitar”) and Martina McBride (“How Far”). She also placed songs on the soundtracks of Bridget Jones’ Diary and When We Were Soldiers, as well as on the ABC smash Desperate Housewives. No doubt O’Neal’s vast experience in business matters, coupled with her compassion for artists, led to the formation of Momentum Label Group in 2012. Her decision to start producing outside artists really kicked in when her father Jim Murphy discovered their flagship artist Rachele Lynae. It appears that everything has come full circle, when it comes to family.

In 2014 O’Neal and her engineer/musician husband Rodney Good produced her current album in their studio. Eternal is an 11-song collection that infuses country classics with fresh energy — featuring O’Neal’s own unique take on tunes such as “Leavin’ On Your Mind” (Patsy Cline), “The Sweetest Thing” (Juice Newton) “Help Me Make It Through The Night” (Kris Kristofferson), “I’ve Done Enough Dying Today” (The Gatlin Brothers), and the George Jones and Tammy Wynette classic duet, “Golden Ring,” which features O’Neal with Andy Griggs.

Asked what she learned from Keith Stegall, her producer while she was signed at Mercury, O’Neal replies, “I think listening to the artist. That’s how he was. He pleases you and he lifts things to the next level and makes it even better by bringing what he brings to the table. That’s one thing that he’s great at, including the artist in ideas. I’ve been in the studio with some people who make me feel like the little woman in the corner recording and ‘We’ll get to you later, honey, with your ideas and things.’ He wasn’t like that at all.”

O’Neal says the decision to launch Momentum came from seeing other independent labels in Nashville thriving.

“We started thinking, ‘We can do this ourselves,’” she says. “The indie thing really started happening and we started thinking, ‘Why can’t we be an indie? Why can’t we be the team behind this?’ There were several models to look at who have had success, like Broken Bow, Black River, Big Machine. That’s a huge machine! We’re doing it in a smaller way but even if you’re smaller to start out with, we have bigger dreams and plans down the road. Developing Rachele Lynae, developing other artists down the road and still writing and recording my own music is the goal.”

Asked if Lynae required a great deal of artist development, O’Neal says, “Not as far as knowing who she was and what she wanted to do with her voice. I feel like in the studio, I help her find the best that she can be, and bring the best vocal out of her.”

O’Neal also helped with Lynae’s presentation. “She had never been a big shopper. She wasn’t really into her looks and style. She’s very down to earth. I took her shopping and introduced her to different stylists. She’d never colored her hair, never put highlights in her hair. I enjoy A&R and coaching, everything that comes with it. There is so much development in the early stages. Also with Rachele’s family, we all work together very closely with her career. Her sister sings with her. Her Mom is very hands on in her day-to-day.”

Because she’s seen so many sides of the business, O’Neal understands what indie labels can offer that major labels can’t.

“I think artists taking ownership. Having a bigger piece of what you’re doing,” she explains. “Because we are a smaller label, the creativity is there for everyone to throw their ideas into the pot. It’s not like we have eight singles and eight artists waiting to get out and onto the radio. A lot of what these labels are able to do is trade off: ‘Hey, I’ll give you a flyaway if you play my new artist.’ And they’ll add that record because they get this big contest with the bigger artists. We don’t have that trading power and that I think unfortunately, those trade offs never go away. But the independents can break artists. Look at Kelsea Ballerini. It can happen. With enough time, money and the right song you can break through.”

As a producer, O’Neal says that vocal performance is the foremost thing on her mind.

“When you are a singer in the booth, it’s one thing to have the producer focusing on the musicians and what they want the track to sound like. But a lot of producers can’t sing,” O’Neal says. “So they can’t tell you how to phrase something. I think for me the number one thing I would say that I’m best at is how to phrase something or sing an ad lib. … If an artist were to say something about me I would hope it would be that I made them better vocally. That I bring out the best vocal in someone. I’m going to make you sing your butt off when you’re out there in the booth because I think that’s what it’s all about.”