Nancy Tunick
The country music landscape continues to rotate like the sleeve on a kaleidoscope with each twist yielding unexpected consequences. Through it all artists, big and small, continue to find ways to establish and nourish their careers. And those journeys can take various shape and form based upon the goals of everyone involved.
Indie and small label closures feel like they have been accelerating (i.e. Golden, Treehouse, Universal South, Lyric Street), but the shuttering has not slowed the march of new artists. Instead of waiting for label deals, many of these newcomers arrive self-contained as the CEOs of their own corporation, a simplified, but all inclusive 360 deal.
MusicRow spoke with Jerry Duncan, Owner of Jerry Duncan Promotions and Nancy Tunick, who co-owns GrassRoots Promotions with Teresa Johnston to find out what trends they are seeing and their expectations for the latter half of 2010.
“There is so much good indie music,” says Tunick. “It has raised the playing field to a new level. The environment is now crowded and competitive, but also exceptional as far as content for programmers is concerned. I see a huge difference in the number of artists on their own producing amazing music as compared to 3 or 5 years ago. Artists with their own virtual label get absolute control of branding themselves to consumers. The smaller label situation can also be positive, but fewer exist because they are based upon economies of scale that are similar to majors. Running a label with multiple artists requires significant staff and therefore revenue to support that overhead. Alternatively, being self-funded or having an investor means you don’t have to sell as much product or create as much revenue. You are your own industry and can lean on a variety of revenue streams. It’s easier to build ROI (return on investment) if you are the CEO of you, then you have the ultimate 360 deal.”
Jerry Duncan
“I don’t believe the label closings are indicative of a trend,” argues Duncan. “Looking back over the years there has always been a high turnover of indie labels. Ultimately 90-95% close. Actually, now is a really good time for indies because there are new opportunities. For example, the Internet, which allows all artists to easily sell music online and offers so many ways for fans to discover that new music. But to compete requires having a good plan. Look at some of the success stories: Average Joe has sold over a quarter million albums on Colt Ford and sold a lot on Brantley Gilbert already. Zac Brown broke through on an indie label. Broken Bow is a major force as a label now and they started as an independent. Jaron & the Long Road To Love started as an indie before getting picked up by a major. True, the odds are against you (as they always are) with independents, and breaking an artist takes more money and time than newcomers generally realize. You have to be in it for the long haul.”
According to Tunick there are two basic pathways. “The self-contained artist may not require the same level of success as those at a larger label because they have different ROI needs,” she says. “If an act is getting booking, merch, publishing and other revenue streams and not limited to just having a Top 10 single, then success can be defined much more broadly than just having a Top 10 record at radio. There are artists I consider ‘Country’s Middle Class’ that aren’t making millions, but are doing what they love, and presenting the gift of their music to others. They don’t have to deliver pizza or wait tables. So that is one scale for success. The Taylor Swift type of major label success is much rarer when you are on your own label mostly because you don’t have major market leverage. Success in the larger label arena is mostly about having a major market radio hit. Generally, when it does happen to an indie it is because the content is reactive.
“The indie example of the year was Jaron,” Tunick continues, “and that was a super reactive record. We worked with him while he was independent before he went to Big Machine. Each time that record was played a hundred people called. Reactive songs are in a different category than music generally. If an artist comes to me and says their goal is a major market top ten hit then my answer is, ‘Find a song that is going to be reactive. Not just excellent—reactive.'”
Duncan notes country’s march in the direction of becoming a singles based format and sees it also empowering smaller artists. “People download the songs they like and don’t have to commit to a full album,” says Duncan. “That is advantageous for independents, who no longer have to live or die on their ability to get on the shelves at Wal-Mart, a feat that was always difficult. For consumers, it also means that instead of waiting to hear several songs on the radio before taking the leap to buy an entire album—a process that can take 12 months or more, they can buy the track they already love. And if a consumer likes one song and buys it then certainly they are a candidate for buying the entire album down the road. Downloads have changed industry economics and consumer behavior.”
Tunick realizes that various segments of the country industry have yet to recognize and perhaps fully embrace the rising middle class. “Some may be slow catching up to the idea that indie artists on their own labels or smaller labels can be true marketplace competitors,” she says. “Everything is not gauged on whether there is a Top 10 major market hit. These artists have national fan bases and are supporting themselves and other people via their touring. Some existing organizations are designed to only support what they have known in the past, which is big stars, and aren’t used to dealing with the recently introduced artist middle class. I’m hoping those parts of our industry will catch up.”
Live Nation Ticket Sales Slide, Stock Tumbles
/by Sarah SkatesLive Nation gave the bad, but not unexpected, news to investors at a New York meeting yesterday (7/15), prompting an almost immediate reaction on Wall Street. LYV shares hit a low of 18 percent, and went on to close down 10.8 percent.
Live Nation Chief Executive Michael Rapino blamed the decline in ticket sales on a weak economy and also blamed the media for scaring artists out of touring.
Live Nation is also trying to get out of its agreement with TS Eventim, the ticketing software company it partnered with in 2007 in order to bring ticketing in house. The promoter is citing breach of contract, and TS Eventim denies the claim and says they intend to seek millions in damages.
Click here to see the full investor report.
Weekly Chart Report (7/16/10)
/by FreemanJason Meadows stopped by KWEY/Weatherford, OK to promote his new single, "You Ain't Never Been To Texas," from his forthcoming EP. (L-R): Meadows and KWEY PD Vanessa Valli.
SPIN ZONE
In an exciting chart day showdown, Blake Shelton’s “All About Tonight” manages the rare trick of ousting a newer single from the No. 1 position. Of course, it didn’t hurt Blake’s odds that his single picked up almost 200 spins in one chart cycle. The previous No. 1, “I’m In” by Keith Urban, slips to No. 2 despite a gain of 92 spins. Still, that song has only been charting for 10 weeks and could very well reclaim the top spot.
The speed of Keith Urban’s latest is echoed in other areas of the chart. Inside the top 10 are two eight-week-old singles—Lady Antebellum’s “Our Kind of Love” at No. 7, and Billy Currington’s “Pretty Good At Drinkin’ Beer” at No. 9. Through the 20s are Toby Keith’s “Trailerhood” only six weeks old, Justin Moore’s “How I Got To Be This Way” at eight weeks, The Band Perry’s “If I Die Young” at seven weeks, Darius Rucker’s “Come Back Song” at three, and Eric Church’s “Smoke A Little Smoke” at five.
Though we’re in the middle of summer Kenny Chesney’s “The Boys of Fall” made a huge impression on programmers, who spun it enough in its first reporting week to get a No. 49 debut and a gain of 565 spins. Reba’s latest, “Turn On The Radio” debuted a mere two spins behind Chesney at No. 50. Train’s Top 40 smash “Hey, Soul Sister” is still waiting to really catch fire, but the BigChampagne Internet Chart (link below) this week might give us a glimpse of things to come. On that chart, “Hey, Soul Sister” is currently hanging at No. 2, right behind Carrie Underwood’s “Undo It.”
RADIO NEWS
Congratulations to KITX/Hugo, OK PD Will Payne and wife Brandi on the birth of their son Hayes Burgess on Monday 7/12. Hayes weighed in at 8.86 pounds, and both baby and mother are doing well. Send congratulations to papa Will at will@k955.com.
Frozen Playlists: WYVY, KJAM, WDHR, KITX, WTRS, KYEZ, KSED
Upcoming Singles
July 19
Chris Young/Voices/RCA
Joe Nichols/The Shape I’m In/Show Dog – Universal
David Adam Byrnes/Sweet Distraction/Better Angels
Reba/Turn On The Radio/Starstruck/Valory
July 26
Miranda Lambert/Only Prettier/Columbia
Sugarland/Stuck Like Glue/Mercury
Matt Kennon/You Can Still Wear White/BamaJam
• • • • •
New On The Chart—Debuting This Week
Artist/song/label — chart pos.
Kenny Chesney/The Boys Of Fall/BNA — 49
Reba/Turn On The Radio/Starstruck/Valory — 50
Katie Armiger/Leaving Home/Cold River — 70
Braden Gray/I’m Not Hungover/ATP Records — 71
Danny Gokey/I Will Not Say Goodbye/19 Recordings/RCA — 73
Hoss Howard/Dirt Road/Legends And Lyrics — 76
Veronica Ballestrini/Don’t Say/Timbob — 79
Sonny Marshall/Wanna Be Like Him/Eddie One Records — 80
Greatest Spin Increase
Artist/song/label — spin+
Kenny Chesney/The Boys Of Fall/BNA — 565
George Strait/The Breath You Take/MCA — 465
Darius Rucker/Come Back Song/Capitol — 401
Reba/Turn On The Radio/Starstruck/Valory — 343
Lady Antebellum/Our Kind Of Love/Capitol — 317
On Deck—Soon To Be Charting
Artist/song/label — spins
Martin Ramey/Twisted/Curb — 207
Chuck Wicks/Hold That Thought/RCA — 206
Blackberry Smoke/Good One Comin’ On/BamaJam — 205
David Bradley/Soak It Up/Gecko Music — 205
Amber Hayes/C’Mon/Funl Music — 201
Two Week Most Added*
Artist/song/label — New adds
Kenny Chesney/The Boys Of Fall/BNA — 41
Reba/Turn On The Radio/Starstruck/Valory — 28
George Strait/The Breath You Take/MCA — 26
Katie Armiger/Leaving Home/Cold River — 14
Darius Rucker/Come Back Song/Capitol — 13
Joe Nichols/The Shape I’m In/Show Dog – Universal — 11
UMG artist Josh Turner stopped by the CMT studios to chat with Cody Alan about his new single “All Over Me.” (L-R): MCA VP/Promo Van Haze, Turner, Alan, and UMG VP/Radio Mktg. Katie Dean.
Bucky Covington visited WPOC/Baltimore to announce his appearance on their upcoming “Sunday In The Country” show in September. (L-R): Laurie DeYoung (Mornings), Covington, PD Meg Stevens and MD Justin Cole.
Tours: Judds’ Last Encore, Hank Jr’s Rowdy Friends
/by Sarah SkatesThe $500 “VIP Package” includes guaranteed seating in the first five rows, a post-show meet and greet with Wynonna and Naomi with an autographed commemorative plaque and digital photograph. A portion of the proceeds from VIP tickets will benefit St. Jude Children’s Research Hospital.
The Judds: The Last Encore tour will feature new Judds music, 25 years of fan-favorites, some of Wynonna’s solo hits and a few Christmas classics thrown into the mix.
••••••••••••••
Hank Jr.
Hank Williams Jr. announces the continuation of The Rowdy Friends Tour with a variety of special guests to join him on stage including Jamey Johnson, Eric Church, Colt Ford, Gretchen Wilson, Lee Brice, Josh Thompson, Sunny Sweeney and The Grascals. The shows will start in Evansville, Indiana, on Sept. 17, and will conclude in Raleigh, North Carolina, on Oct. 23.
The Rowdy Friends Tour 2010 is co-produced by Red Mountain Entertainment and Blue Deuce Entertainment.
Shelton Stages Online/Dance Club Contest
/by admin“The ‘All About Tonight’ Come-On Contest is a unique effort to involve fans at the club level, built around Blake’s well-known sense of humor and active fan base,” says Kelli Cashiola, VP of Brand Management, Warner Music Nashville.
As part of the dance venue promotions, clubs are hosting their own in-house “All About Tonight” Come-On Contests in August. Club-goers will have the opportunity to deliver their favorite pick-up lines in front of a live audience, who will then vote on the best submission for a chance to win an official prize pack. Details of the club contests vary from venue to venue.
The contest, organized by Marco Club Connection and held in more than 200 Country dance venues across the country, was originally geared toward club patrons, but exploded in popularity when Shelton began posting about it on Twitter and Facebook. Warner Music Nashville subsequently expanded the contest so that online fans could participate through the singer’s official website http://www.blakeshelton.com. For more info or to embed a widget visit MarcoClubConnection.com.
Syncs Help Sony/ATV Fight Slump
/by Sarah SkatesSony/ATV Music Publishing Nashville Pres./CEO Troy Tomlinson
This week’s announcement that Treehouse Records was being folded into Stroudavarious Records was the latest in a string of label changes which also included the shuttering of Lyric Street and Golden Music. In the changing environment, publishers like Sony/ATV are turning efforts to alternative income streams.
It’s not hard to calculate how the drastic drop in album sales is hurting publishers. Sony/ATV Nashville Pres./CEO Troy Tomlinson explains the chain reaction like this: “Fewer labels equals fewer artists which equals fewer albums being made, with fewer cuts and therefore fewer singles.”
In the wake of dwindling singles and sales—traditionally the biggest money makers—Sony/ATV is focusing more efforts on sync licensing as a growing income booster. Tomlinson has been building the then one-man department since he stepped into his current role about five years ago. “Now we have five people in the Nashville office who are responsible for TV, film, and commercials, as well as pitching songs for merchandising opportunities, lyric reprint opportunities, and overall marketing of our songs in more non-traditional ways,” he explains. “We’re fortunate that the Sony/ATV New York and L.A. offices work all day every day with our Nashville office. Once the makers of the film or commercial determine they need a country song to help convey their message, then I have New York or L.A. working immediately with the Nashville team to make our very best pitches for that spot.”
Tomlinson is also keeping an eye out for other burgeoning revenue streams, such as the proliferation of mobile devices. “As more people determine that they want it all in a mobile device, that has to ultimately provide us with opportunities for growth,” he says.
While music outlets and distribution methods are shifting, Tomlinson says the focus remains the same as always. “At the end of the day, we try lots of different things to stimulate revenue, but at the base of all of those, you still have to begin with a great song. You have to trust that the very best songs will be released and move people, which will result in income for the writers and publishers.”
Tomlinson relies on his passion for great music to maintain a positive outlook, but admits the current climate is bleak. “Even with all the things that we’re doing to generate more or new revenue, it won’t in any way in the near future offset what we have lost with regard to physical mechanicals. But, you can either adhere to the notion that the sky is falling, or you can make the very best of what opportunities come your way. We are blessed that we are still in a business that puts out a product that people want. And people want music more than ever, and have easier access to it than ever—although there are still obstacles to work out—I believe that in the long run it will be a positive for publishers and songwriters.”
Diverse Pathways To Artist Success
/by adminNancy Tunick
The country music landscape continues to rotate like the sleeve on a kaleidoscope with each twist yielding unexpected consequences. Through it all artists, big and small, continue to find ways to establish and nourish their careers. And those journeys can take various shape and form based upon the goals of everyone involved.
Indie and small label closures feel like they have been accelerating (i.e. Golden, Treehouse, Universal South, Lyric Street), but the shuttering has not slowed the march of new artists. Instead of waiting for label deals, many of these newcomers arrive self-contained as the CEOs of their own corporation, a simplified, but all inclusive 360 deal.
MusicRow spoke with Jerry Duncan, Owner of Jerry Duncan Promotions and Nancy Tunick, who co-owns GrassRoots Promotions with Teresa Johnston to find out what trends they are seeing and their expectations for the latter half of 2010.
“There is so much good indie music,” says Tunick. “It has raised the playing field to a new level. The environment is now crowded and competitive, but also exceptional as far as content for programmers is concerned. I see a huge difference in the number of artists on their own producing amazing music as compared to 3 or 5 years ago. Artists with their own virtual label get absolute control of branding themselves to consumers. The smaller label situation can also be positive, but fewer exist because they are based upon economies of scale that are similar to majors. Running a label with multiple artists requires significant staff and therefore revenue to support that overhead. Alternatively, being self-funded or having an investor means you don’t have to sell as much product or create as much revenue. You are your own industry and can lean on a variety of revenue streams. It’s easier to build ROI (return on investment) if you are the CEO of you, then you have the ultimate 360 deal.”
Jerry Duncan
“I don’t believe the label closings are indicative of a trend,” argues Duncan. “Looking back over the years there has always been a high turnover of indie labels. Ultimately 90-95% close. Actually, now is a really good time for indies because there are new opportunities. For example, the Internet, which allows all artists to easily sell music online and offers so many ways for fans to discover that new music. But to compete requires having a good plan. Look at some of the success stories: Average Joe has sold over a quarter million albums on Colt Ford and sold a lot on Brantley Gilbert already. Zac Brown broke through on an indie label. Broken Bow is a major force as a label now and they started as an independent. Jaron & the Long Road To Love started as an indie before getting picked up by a major. True, the odds are against you (as they always are) with independents, and breaking an artist takes more money and time than newcomers generally realize. You have to be in it for the long haul.”
According to Tunick there are two basic pathways. “The self-contained artist may not require the same level of success as those at a larger label because they have different ROI needs,” she says. “If an act is getting booking, merch, publishing and other revenue streams and not limited to just having a Top 10 single, then success can be defined much more broadly than just having a Top 10 record at radio. There are artists I consider ‘Country’s Middle Class’ that aren’t making millions, but are doing what they love, and presenting the gift of their music to others. They don’t have to deliver pizza or wait tables. So that is one scale for success. The Taylor Swift type of major label success is much rarer when you are on your own label mostly because you don’t have major market leverage. Success in the larger label arena is mostly about having a major market radio hit. Generally, when it does happen to an indie it is because the content is reactive.
“The indie example of the year was Jaron,” Tunick continues, “and that was a super reactive record. We worked with him while he was independent before he went to Big Machine. Each time that record was played a hundred people called. Reactive songs are in a different category than music generally. If an artist comes to me and says their goal is a major market top ten hit then my answer is, ‘Find a song that is going to be reactive. Not just excellent—reactive.'”
Duncan notes country’s march in the direction of becoming a singles based format and sees it also empowering smaller artists. “People download the songs they like and don’t have to commit to a full album,” says Duncan. “That is advantageous for independents, who no longer have to live or die on their ability to get on the shelves at Wal-Mart, a feat that was always difficult. For consumers, it also means that instead of waiting to hear several songs on the radio before taking the leap to buy an entire album—a process that can take 12 months or more, they can buy the track they already love. And if a consumer likes one song and buys it then certainly they are a candidate for buying the entire album down the road. Downloads have changed industry economics and consumer behavior.”
Tunick realizes that various segments of the country industry have yet to recognize and perhaps fully embrace the rising middle class. “Some may be slow catching up to the idea that indie artists on their own labels or smaller labels can be true marketplace competitors,” she says. “Everything is not gauged on whether there is a Top 10 major market hit. These artists have national fan bases and are supporting themselves and other people via their touring. Some existing organizations are designed to only support what they have known in the past, which is big stars, and aren’t used to dealing with the recently introduced artist middle class. I’m hoping those parts of our industry will catch up.”
Documentary Delves Into Haggard Life
/by contributorFrom the Nashville Scene by Jack Silverman
The new documentary Merle Haggard: Learning to Live With Myself, airs at 8 p.m. Wednesday, July 21, on WNPT-Channel 8 as part of PBS’ acclaimed American Masters series. It is from filmmaker Gandulf Hennig, whose specialty is cutting away the crust of legend to uncover the truth below.
Hennig’s latest work, a gripping tale of one of country music’s most elusive figures, offers a rare and probing look into Haggard’s world. Learning to Live With Myself paints a detailed picture, from Haggard’s early years in Oildale, Calif., and his troubled youth to his integral role in the Bakersfield Sound, his incredibly prolific and successful career (38 No. 1 hits between 1966 and 1987), and his status as an icon of hardcore country.
Full story here.
Kennedy Exits Cherry Heart
/by Sarah SkatesNashville-based Cherry Heart was originally founded in 1996 by industry veteran Gratton Stephens, and has since grown to include publishing and administration, artist management, a record label and most recently, sports and entertainment marketing.
According to Cherry Heart’s website, one of its business partners is the Sommet Group, which is currently under investigation by authorities.
Performers Named For Americana Awards
/by Sarah SkatesEmmylou Harris is among the performers slated for the Americana Music Awards.
Organizers of the 9th Annual Americana Honors & Awards ceremony have announced a stellar performance line-up for the Sept. 9 show at the Ryman Auditorium, including Emmylou Harris, the Avett Brothers, Rodney Crowell, Wanda Jackson, Rosanne Cash, Patty Griffin, Sam Bush, Ray Wylie Hubbard, Ryan Bingham, Corb Lund, Carolina Chocolate Drops, Joe Pug, and Will Kimbrough. Many more artists are expected to be added in the coming months. Tickets are $55 and go on sale Saturday, July 24.
Jim Lauderdale will continue his tenure as master of ceremonies, joined for another year by Buddy Miller and his all-star house band. More than 2,000 artists, music lovers and industry executives attend the annual show, which is the capstone of the Americana Music Festival & Conference.
Slated for September 8-11, the conference offers seminars, panels and networking opportunities at the Downtown Nashville Sheraton Hotel by day, and numerous showcases each evening.
The Honors & Awards are presented by the Gibson Foundation. Details about the conference and awards show here.
Idol Hopefuls Gather In Nashville
/by FreemanIdol Season 10 auditions will also take place in Milwaukee, New Orleans, East Rutherford, Austin, and San Francisco. Season Nine was the final one for show co-creator Simon Cowell, and there is no word yet on who will replace him in the upcoming season.