Urban Partners With AT&T, Samsung

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Keith Urban has secured an endorsement agreement with AT&T and Samsung Mobile, who will be the presenting sponsors of his Get Closer 2011 World Tour. The superstar will also endorse the new Samsung Infuse 4G smartphone, available exclusively through AT&T.
Launching June 16 in Biloxi, Miss., the tour’s North American leg includes more than 50 concert dates. The outing completed an Australian run in April.
From the road, Urban will record vignettes of his life on his Samsung Infuse 4G and post them to www.keithurban.net. At concerts fans will have the opportunity to appear in a video and photo with Urban via green screen technology and share their experience with friends instantly via email, Facebook or Twitter. Additionally, brand ambassadors will be at concerts capturing fan photos on the Infuse smartphone, and sending them instantly to the fans so that they can share the pics with friends and post to their social media sites.

Digital Licensing Changes To Impact PROs And Publishers

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Roger Faxon


Technologists and music industry futurists have noted the need to refine and simplify digital licensing for quite some time. But despite a mantra of innovation, the music industry often moves slowly, especially with regard to revenue streams and licensing. However, the wheels may have begun turning— at last.
Last May, EMI Music Publishing announced that it was planning to bundle online mechanical and performance licenses (for EMI April) and offer them directly to online services. Previously these functions were handled by ASCAP. EMI Music Chairman/CEO Roger Faxon says in an open opinion letter published in Billboard (6/11) that publishers have to find ways to make it easier for digital services to license music.
“The simple fact is that as the representatives of the greatest songwriting and recording talent in the world, we as an industry have a duty to encourage digital platforms and services to come to a market for the benefit of creators and consumers alike. Yet…[we] cling to an existing licensing framework that does little to advance the cause of creators.”
In a companion article in the same publication writer Ed Christman notes three “competitive challenges” that could affect the way performing rights organizations in the U.S. (ASCAP, BMI and SESAC) do business, and the amount of money they are able to collect. EMI’s decision to direct license a bundle of mechanical and performance digital rights for example is quite likely to spread amongst other top level publishers and divert money away from PROs. “It’s a move other leading music publishers are expected to make,” says Christman.
Two other important factors likely to be felt by performing rights collectors are efforts to create pan-European licensing and a central/global database of repertoire information.
ASCAP CEO John LoFrumento tells Billboard, “We see the efficiency of licensing in bundles and feel strongly it will…result in a new business model over the next few years.” Both BMI’s Sr. VP Corporate Strategy Richard Conlon and SESAC’s President/COO Pat Collins also see change coming, but are optimistic about its impact as technology also creates efficiencies and new opportunities.
With respect to databases, LoFrumento says he would welcome the PROs consolidating their backroom functions. “The idea of multiple back offices with multiple personnel doesn’t bode well for us,” he says.
“Services don’t care what specific rights are called or which part of the value chain those rights sit within,” says Faxon. “They just want to get the permission to do what they want to do in a timely and efficient manner. Rather than forcing services to adapt to our processes it is incumbent on us to adapt to their needs. Only by doing so will we speed digital development. The existing licensing framework was not designed for a world in which music is omnipresent—its overhaul is essential.”

2011 © www.musicreports.com

Much Ado About Bonnaroo

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Arcade Fire (L) and Eminem (R) are among the headliners at Bonnaroo 2011.


While a good portion of Nashville’s music industry will spend this weekend downtown for the CMA Music Festival, it’s a safe bet that another group will make the hour drive out to Manchester for Bonnaroo 2011.
The massive outdoor, multi-stage summer festival is now in its 10th year of existence and continues to grow more eclectic with every iteration. The 4-day lineup represents the farthest corners of musical diversity and is guaranteed to please crowds.
Headliners include Eminem, Arcade Fire, Widespread Panic, The Black Keys, Buffalo Springfield (feat. Richie Furay, Stephen Stills, Neil Young, Rick Rosas, and Joe Vitale), My Morning Jacket, Lil Wayne, Robert Plant & Band of Joy, Mumford & Sons, The Strokes, The Decemberists, Ray Lamontagne, Iron & Wine, Girl Talk, Dr. John with the Original Meters and Allen Toussaint, Alison Krauss & Union Station feat. Jerry Douglas and many, many more.
To help provide a little guidance for newbies, the nice folks over at emusic.com have put together a list of 40 must-see artists at Bonnaroo 2011. Check it out and play clips from the artists here. Similarly, Spin has a mixtape of 20 Bonnaroo artists for download from its Facebook page. Get it here and read about Spin’s 25 must-hear Bonnaroo artists here.

Putting The "Spin" on Americana

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The latest issue of Spin gives a big boost to the Americana scene, including a cover story about Mumford & Sons under the heading “The New Americana Revolution.”
“It’s a sign of the times,” states Jed Hilly, Executive Director of the Americana Music Association, which has been promoting the music for ten years. “It’s definitely a fast growing genre.”
Scott Avett of the Avett Brothers agrees, telling Spin, “I feel like in the past decade, this thing has been swelling.” Avett was interviewed for the “Meet the New Stars of Americana” story, which highlights his band as well as Old Crow Medicine Show, Those Darlins, the Civil Wars, and more.
Writer Amanda Petrusich explains the genre and its growing presence, noting that popular Mumford & Sons aren’t even American:

In music, it’s a catch-all term for songs that are influenced, in part, by the indigent, rural, acoustic traditions (namely blues, bluegrass, country, and old-time) of the American South. It’s populist, minimally produced, rowdy, and sincere. It’s also enjoying an unexpected commercial and cultural renaissance, particularly among the indie-rock set….
Indeed, more than any single musical thread, the idea uniting these bands is their joint pursuit of Americana “feeling” — a warm-and-friendly guilelessness that’s been largely absent from the pop landscape for years (and from indie rock almost forever).

Keep reading.

Anatomy of An Award Show-CMT Wins BossRoss Trophy

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Sugarland


Last night’s 2011 CMT Music Awards overachieved, and succeeded. Under the watchful gaze of CMT President Brian Philips, Sr. VP Music Events John Hamlin and Sr. VP Music Strategy Jay Frank and a great team, the production delivered its message of country music FUN across a multi-tiered construct of communication channels, social networks and live in front of a sold out audience of over 12,000 fans. Finally, to accommodate the on-demand “I want when I want it” crowd, there will be numerous re-airings over the next few weeks.
But what defines a hit award show recipe in 2011?
Without getting scholastic, it should be fast-paced, entertaining and sprinkled with humor. Great musical performances as well as special pairings are a requisite. It also needs a script that can connect the various moments without being predictable. Blend in high profile red carpet coverage and a comprehensive online strategy. Then sprinkle a bit of magic dust in the form of celebrity sightings that make fans feel they are peeking behind the curtain, stir and simmer for 2-3 hours.
So how did CMT stack up against the above ingredients? Let’s hand out some newly-minted BossRoss trophies where deserved. In the fast-paced, humor department, witness the opening prerecorded Taylor and Shania sequence where the dual femmes channeled Thelma and Louise. (If you haven’t seen it click here.)
Kid Rock was also right on the money this year and kept the show in motion (unlike last year’s on-camera drinking shots backstage with other artists fiasco). Loved the frequent camera cut aways to seated celebs, which kept the fan’s eyes stuck like glue to the CMT screen.
Great performances were there as well. Sugarland, The Band Perry, Lady Antebellum and a Kid Rock/Sheryl Crow duet all earned trophy status. @Musicrow tweeted after the Sugarland segment, “If Jennifer Nettles voice doesn’t touch your heart….check with your doctor, you might be dead #CMTAwards” and it was retweeted over 31 times! The show closer pairing of Jason Aldean and Ludacris was innovative, if not a perfect fit.
The script was brief but sharp. For example, imagine Martina McBride and Train’s Pat Monahan quipping about the dangers of cellphone mishaps (Anthony Weiner and Brett Favre) before announcing the Collaborative Video Award.
To discover CMT’s online strategy, start at their web site, click to facebook (310,000 likes) and then check out @followCMT (80,000 Twitter followers). A barrage of coverage was flowing out to fans before, during and after the show. Links to various short clips, comments, photos backstage comments and much more. The online team was also engaging the crowd in a two-way conversation. Online was treated as a key ingredient, not an afterthought. (Hand them another trophy.)
CMT makes no apology for its edgy, big-tent concept of country music and takes some heat as a result. Some fans complain about seeing Ludacris or Kid Rock and others on the country show. It’s a personal preference and when the ratings come back later today we’ll see how they fared. My guess is that even though they might complain some, they were mostly watching…
Perfection is elusive, but this production ranked “heavenly” in the increasingly packed sky of country music awards constellations.
 
For a complete list of CMT Winners click HERE
For another opinion on the show click HERE

Fun CMA Fest Photos

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The EMI Records Nashville promotion team and Alan Jackson gave radio programmers a first listen to his new single “Long Way To Go” last night (6/8) in Nashville. The song was written by Jackson and is the debut single from his studio album to be released this fall.

(L-R): Tom Becci, Capitol Records COO; Cindy Mabe, Capitol Records SVP Marketing; Alan Jackson; Mike Dungan, Capitol Records President and CEO; and Steve Hodges, Capitol Records SVP Promotion

• • • •

Teen artist Payton Rae celebrated the release of her 5-song EP, Dare To Live, with a live streaming concert at The Rutledge. Rae is taking part in her first official CMA Music Festival. She will be performing at the CMA Chevy Acoustic Stage in the “Sports Zone” on June 10 at 5 pm, Margaritaville on June 10 at 11 pm, and at Wild Bills on June 11 at 2 pm.

Pictured at the release party (L-R): Dare To Live producer Brian White, Payton Rae, songwriter/artist Karyn Williams, manager Laticia Lord, and Nashville Hootenanny’s David Malloy. Photo: Matt Andrews

• • • •

The Roys and Hollywood Yates (American Gladiator/WWE/Country artist) strike a pose aboard the Operation Troop Aid Hummer during the CMA Music Festival Kick-Off Parade. Following the parade, both artists performed during OTA’s show at Cadillac Ranch.

(L-R): Elaine Roy, Lee Roy and Hollywood Yates.

• • • •

The Dirt Drifters pictured with the Sounds Mascot at the CMA kick-off parade.

Star Songwriters To Play During Music Fest

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The Hard Rock Cafe Nashville will host performances by a slew of songwriters during CMA Music Festival. Kicking off tonight (6/9), the 5th Annual Songwriters Series will run through Saturday, June 11. Shows start at 10 PM. A portion of the proceeds will benefit Musicians On Call.
Thursday, June 9—BMI presents Luke Laird, Natalie Hemby, Thomas Rhett Akins, and Rhett Akins. After-Party featuring LoCash Cowboys.
Friday, June 10—ASCAP presents Dave Berg, Clay Mills, Ashley Gorley, and Chris Stapleton. After-Party featuring Matt Stillwell, Rachel Farley and
 Ty Stone.
Saturday, June 11, 2011—SESAC presents Monty Powell, Jon Nicholson, Rob Hatch, and Brian White. After-Party featuring Aly Sutton, Marthia Sides, and The Roys.
Tickets and details here.

Bobby Karl Works The CMT Awards

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Chapter 367


It’s a music-business axiom that the public doesn’t remember who won or lost at awards shows, just who performed well.
I doubt that even the industry really cares about the fan-voted trophy Buckles at the CMT Awards. I, for one, mostly paid attention to who sang the best.

Sugarland's Kristian Bush and Jennifer Nettles perform "Stand Up" at the 2011 CMT Music Awards. Photo Credit: Jason Merritt/Getty Images/CMT.com


That would be Sugarland, with its stirring duet performance of “Stand Up.” Two Joplin, MO sisters waved flags throughout the song, and its proceeds will go the Red Cross to benefit disaster victims.
Also in the winner’s circle were Big & Rich, plus Gretchen Wilson, for their “Fake ID.” It was on-the-money both vocally and with party attitude. Gretchen promises that their tour together will be, “one band, no breaks, hit after hit.”
Keith Urban’s raspy-cool vocal on “Long Hot Summer” and the Zac Brown Band’s charming rendition of “Knee Deep” were first-rate, as well. The surprise of the performances was probably the super-energetic snippet of “Fast as You” sung by CMT Next Superstar finalists Matt Mason and Steve Clawson.
Toby Keith has the distinction of being the only artist to perform on all 10 CMT Awards telecasts. Alas, he was somewhat pitch-y on “Made in America.” Ditto for Hunter Hayes. And the less said about the Colt Ford train-wreck snippet, the better.
In general, the show was notable as an exercise in country music’s self-loathing. As if the genre’s stars and songs aren’t “good enough” for television, many of them had to be tricked out with rock additions.
First of all, where is it written that Kid Rock has to be on every country awards show, never mind as a host? What’s worse, he and Wynonna actually mocked country music with their “Hell, Yes, I’m Country.”
Throughout the show, much was made of the presence of pop prince Justin Bieber, who tagged along with Rascal Flatts. Nashville rockers Paramore, whom we love, were trotted out inappropriately as presenters.
Lady Antebellum’s lovely “Just a Kiss” apparently wasn’t strong enough to stand on its own without the grafting of Prince’s “Kiss” onto its performance. Ludacris had to rampage in to join Jason Aldean on “Dirt Road Anthem.” I hate to break it to you producers, but fans of Ludacris likely aren’t watching this show, and his appearance won’t cause them to drop what they’re doing and tune in.

The Band Perry's Kimberly Perry performs "You Lie" at the 2011 CMT Music Awards. Photo Credit: Jason Merritt/Getty Images/CMT.com


Ably acquitting themselves musically were The Band Perry, Luke Bryan and snippet singers Thompson Square, Lee Brice and The JaneDear Girls.
One of the cutest moments on the show was the opening video starring Taylor Swift and Shania Twain in a Thelma & Louise parody. Donald Trump, Kenny Rogers, Glee’s Chord Overstreet, Ron White and Kid Rock were featured in it.
On occasions such as this, always thank the fans. “Country music fans are the best,” said Lady A’s Hillary Scott. “I’m honored that you fans all gathered together to vote me Male Video of the Year,” said Blake Shelton via video from the set of The Voice. “Thanks to everybody and to all the love that they show us,” chimed in Zac Brown.
Here’s my favorite: “It takes a village to raise an artist, and you are our village,” said Kimberly Perry of The Band Perry.

Luke Bryan performs "Country Girl (Shake It For Me)" at the 2011 CMT Music Awards. Photo Credit: Jason Merritt/Getty Images/CMT.com


Among my favorite quips was Sara Evans saying on the red carpet, “I hate gowns…I’m such a tomboy.” Jay DeMarcus joked of Bieber, “He reminds me of myself when I was a kid – extremely good looking and talented.” Quoth Shania Twain of her OWN reality show, “It’s been a really great growing, healing experience.” The red carpet walk, by the way, was moved indoors this year. Smart move: The heat index outside by show time was nearly 100 degrees.
“I was voted Best Hair in the NFL,” said pony-tailed linebacker Clay Matthews of The Green Bay Packers. “I’ve won two Super Bowls and Dancing With the Stars,” responded Pittsburgh Steelers receiver Hines Ward.
Sheryl Crow told the viewers that everyone was tweeting about her underwear showing during her performance. What is this culture coming to?
Indianapolis 500 winner Dan Wheldon escorted Sunny Sweeney to the Bridgestone Arena whoop-de-do. Also making the scene were Little Big Town, Martina McBride, Katie Cook, Evan Farmer, Ron White, a nicely amusing Laura Bell Bundy, Terry Bumgarner, Scotty McCreery, Lauren Alaina, Nicole Kidman, Gary Busey, Train lead singer Pat Monahan, Melissa Peterman, Cheryl Hines, Mary Steenburgen, Kristin Chenoweth, Ricky Schroeder and Shania’s handsome hubby Fred Thiebaud.
Missing in action, in addition to Blake, were big winners Taylor Swift and Miranda Lambert. Nevertheless, Jennifer Nettles proclaimed it, “The most fun awards show, ever.”
To read a differing opinion of the CMT Awards show, click here.

Luke Bryan performs "Country Girl (Shake It For Me)" at the 2011 CMT Music Awards. Photo Credit: Jason Merritt/Getty Images/CMT.com


Reunited Big & Rich pose with Gretchen Wilson on the CMT Music Awards Red Carpet. Photo Credit: Alan Mayor

Steve Popovich Passes

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When Steve Popovich signed Johnny Cash to Polygram in 1986, the label exec and polka aficionado presented the star with an accordion to welcome him to the label. Photo: Alan Mayor

Steve Popovich, one of the most colorful record executives in the history of Music Row, died suddenly on Wednesday (6/8) at age 68.

Often described as a “maverick,” he was the head of Mercury Records in 1986-88 and ran his own label, Cleveland International Records, from 1976 onward. At Mercury, he signed Johnny Cash, Kris Kristofferson, polka king Frank Yankovic, Lynn Anderson, Billy Swan and Johnny Paycheck. Under his stewardship, the label also marketed The Class of ’55, a landmark LP that combined the talents of Cash, Carl Perkins, Jerry Lee Lewis and Roy Orbison.

His Cleveland International roster featured the country comebacks of B.J. Thomas and Donna Fargo. He also brought Tom Jones to the country charts and produced his albums.
Beginning in 1966, Steve Popovich spent 10 years at CBS Records. There, he was instrumental in establishing the careers of Santana, Paul Simon, Bruce Springsteen, Mac Davis and Chicago. Known as one of the industry’s top radio promoters, he created pop “crossover” hits for Cash, Anderson, Marty Robbins and Ray Price.

Rising to an A&R vice presidency at Epic Records, he signed Michael Jackson, The Jacksons, Cheap Trick, The Charlie Daniels Band, Ted Nugent and Boston.

Photo credit: Scott Shaw, The Plain Dealer. Click for photo gallery.

At Cleveland International, he made a star of Meat Loaf. The artist’s Bat Out of Hell LP is one of the biggest-selling albums of all time, reportedly now at 40 million in worldwide sales. In 1995, Popovich sued Sony for unpaid royalties on the record and reportedly won nearly $7 million in an out-of-court settlement.

When Sony failed to use his Cleveland International logo on subsequent pressings of the record, Popovich sued again. This time, he was awarded $5 million in damages by a jury.

Steve Popovich was born July 6, 1942 in Nemacolin, PA as the son of a coal miner, and he was proud of his working-class roots. He moved to Cleveland as a teenager and played bass in a band called The Twilighters. His first record-industry job was unloading trucks at a Columbia Records warehouse in 1962.

During his two decades at CBS, Steve Popovich affected the careers of dozens of top stars. Boz Scaggs, Loggins & Messina, Janis Joplin, Tony Bennett, Taj Mahal, Andy Williams, Johnny Winter, Janet Jackson, Jeff Beck, The Hollies, Sly & The Family Stone and Nashville’s Dr. Hook, Joe Tex, Dave Loggins, Charlie Rich and Michael Martin Murphey were all promoted by him.

His Cleveland International roster included Ellen Foley, The Rovers, Ronnie Spector, Slim Whitman, Ian Hunter, The Iron City Houserockers and Southside Johnny & The Asbury Jukes. The company’s revival in 1995 included marketing music by David Allan Coe, Brave Combo, Eddie Blazonczyk and Michael Learns to Rock.

Among his other accomplishments as a Nashville executive, he brought the entire national PolyGram Records sales convention to Nashville in 1988. More than 150 of the label’s top executives convened for a week-long series of meetings at the Opryland Hotel.

As a producer and/or label executive, Popovich was responsible for six Grammy Award nominations. He was involved with the first polka-music Grammy and with The Class of ’55 Grammy in the spoken-word category. He was inducted into the Polka Hall of Fame in 1997.

Steve Popovich with his son Steve Jr. Photo: C.J. Flanagan/NashvilleScene.com

The widely loved executive died at his home in Murfreesboro. The cause of death has not been determined.

Son Steve Popovich Jr. is also in the Nashville music business, as a radio producer and artist manager. His father had remained near Music City in order to be with his son and two grandchildren. He is also survived by daughter Pamela Popovich and sister Barb Lemmo.

Funeral arrangements have not been finalized. The Cleveland Plain Dealer reports that Monreal Funeral Home in Eastlake, Ohio will be handling them and that burial will be in Western Reserve Memorial Gardens in Chesterland, Ohio.

2011 CMT Music Awards Winners

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Updated in real time as categories are announced. Winners in Red.
VIDEO OF THE YEAR
Best video of the year; awarded to the artist (male, female, group/duo or collaboration) and the video director. Final nominees announced during live telecast, with final voting held online at CMT.com during the show.

  • Jason Aldean– “My Kinda Party”
  • Kenny Chesney– “The Boys Of Fall”
  • Lady Antebellum– “Hello World”
  • Miranda Lambert– “The House That Built Me”
  • Rascal Flatts– “Why Wait”
  • Sugarland– “Stuck Like Glue”
  • Taylor Swift– “Mine”
  • The Band Perry– “If I Die Young”
  • Carrie Underwood– “Undo It”
  • Zac Brown Band– “Colder Weather”

MALE VIDEO OF THE YEAR
Best video by a male artist; awarded to the artist

  • Jason Aldean– “My Kinda Party”
  • Kenny Chesney– “The Boys Of Fall”
  • Toby Keith– “Bullets In The Gun”
  • Blake Shelton– “Who Are You When I’m Not Looking”
  • Keith Urban– “Without You”

GROUP VIDEO OF THE YEAR
Best video by a group; awarded to the artists

  • Lady Antebellum– “Hello World”
  • Little Big Town– “Little White Church”
  • Rascal Flatts– “Why Wait”
  • The Band Perry– “If I Die Young”
  • Zac Brown Band– “Colder Weather”

FEMALE VIDEO OF THE YEAR
Best video by a female artist; awarded to the artist

  • Sara Evans– “A Little Bit Stronger”
  • Miranda Lambert– “The House That Built Me”
  • Reba – “Turn On The Radio”
  • Taylor Swift– “Mine”
  • Carrie Underwood– “Undo It”

USAWEEKEND BREAKTHROUGH VIDEO OF THE YEAR
Best video from an artist’s major breakthrough album; awarded to the artist (male, female, or group/duo)

  • Lee Brice– “Love Like Crazy”
  • Aaron Lewis – “Country Boy”
  • Jerrod Niemann– “Lover, Lover”
  • The Band Perry– “If I Die Young”
  • Thompson Square– “Are You Gonna Kiss Me Or Not”

CMT PERFORMANCE OF THE YEAR
Musical performance on a television show, series or variety special on CMT; awarded to the artist (individual, group or duo)

  • Martina McBride and Train– “A Broken Wing” from CMT CROSSROADS: TRAIN AND MARTINA MCBRIDE
  • Reba– “If I Were A Boy” from UNPLUGGED: REBA
  • Darius Rucker and Adele– “Need You Now” from 2010 CMT ARTISTS OF THE YEAR
  • Keith Urban and John Mayer– “Sweet Thing” from CMT CROSSROADS: JOHN MAYER AND KEITH URBAN
  • Zac Brown Band and Jimmy Buffett– “Margaritaville” from CMT CROSSROADS: JIMMY BUFFETT AND ZAC BROWN BAND

COLLABORATIVE VIDEO OF THE YEAR
Best video that featured a special collaborative appearance by artists; awarded to the artists (individual, group or duo)

  • Jason Aldean with Kelly Clarkson– “Don’t You Wanna Stay”
  • Justin Bieber feat. Rascal Flatts – “That Should Be Me”
  • Kid Rock feat. Sheryl Crow– “Collide”
  • Aaron Lewis feat. George Jones and Charlie Daniels– “Country Boy”
  • Loretta Lynn, Miranda Lambert and Sheryl Crow– “Coal Miner’s Daughter”

DUO VIDEO OF THE YEAR
Best video by a duo; awarded to the artists

  • Steel Magnolia– “Last Night Again”
  • Sugarland– “Stuck Like Glue”
  • The Civil Wars– “Barton Hollow”
  • The JaneDear Girls– “Wildflower”
  • Thompson Square– “Are You Gonna Kiss Me Or Not”

VIDEO DIRECTOR OF THE YEAR
Best video director of the year; awarded to the director for his or her body of work from the past year

  • Deaton Flanigen (award eligible videos include: Kid Rock and Sheryl Crow’s “Collide” and the JaneDear Girl’s “Wildflower”)
  • Trey Fanjoy (award eligible videos include: Miranda Lambert’s “The House That Built Me” and Blake Shelton’s “Who Are You When I’m Not Looking”)
  • Chris Hicky (award eligible videos include: Carrie Underwood’s “Undo It” and Keith Urban’s “Without You”)
  • David McClister (award eligible videos include: The Band Perry’s “If I Die Young” and LeAnn Rimes’ “Swingin’”)
  • Roman White (award eligible videos include: Lady Antebellum’s “Hello World” and Kellie Pickler’s “Makin’ Me Fall In Love Again”)

BEST WEB VIDEO OF THE YEAR (New for 2011)
Best video created primarily for internet streaming; awarded to the artist (individual, group or duo)

  • Jason Aldean–“My Kinda Party” (Live From The CMT Webcast)
  • Luke Bryan–“It’s A Shore Thing”
  • Lady Antebellum–“Stars Tonight”
  • Blake Shelton–“Kiss My Country Ass”
  • Taylor Swift–“Mine” (Live from the Speak Now Album Release Party)