Danielle Bradbery
During her Spotify House set at CMA Fest this year, singer-songwriter Danielle Bradbery announced that her first album in over six years was coming in September. She also shared that it would be her first independent project.
The talented songstress first entered the public eye at age 16 when she won season four of NBC’s The Voice. She released her self-titled debut album in 2013, and followed it in 2017 with I Don’t Believe We’ve Met, which reached the top 10 of the Billboard Country Albums chart. Both projects infused Bradbery’s award-winning voice with a pop-country sound.
Since then Bradbery has turned heads with a handful of singles, like the Gold-certified “Stop Draggin’ Your Boots” and fan-favorite “A Special Place” as well as “Never Have I Ever,” “Break My Heart Again,” “Runaways,” “The Day That I’m Over You” and “Monster.”
But when she went to work on her first independent album, Bradbery felt that she still had so much to share with her fans. The final result was a project with seven relatable, true-to-life songs with a fully-embraced pop sound.
“Over the past few years I have played peekaboo with some pop and R&B sounds. That has always been such a genuine love in my personal music taste,” Bradbery tells MusicRow. “I love all different types of genres. I grew up listening to everything. Country music feels like home but I’ve been working on bringing other things that inspire me into [my music] and really trying to nail what that sound is.
“I feel like I’m finally getting the hang of that—just making music that I genuinely love and not really putting a label on it.”
Bradbery’s unbridled creativity allowed for an album that sounds unapologetically her. Its honesty and self-acceptance highlights a new era for the singer, and it’s infectious to boot.
“I learned so much [being a label artist] and I’m grateful to say that I was able to bring those tools into doing an independent album,” she says. “It’s different, though. I have a lot of creative control, which is awesome. It’s a freeing feeling.”
On the album, Bradbery takes the listener on a journey of complicated feelings. She’s love-struck on “Wake Me Up” and drunk with intimacy on “Windows.” On track three, “Broken Boy,” she’s facing disappointment and relationship anxiety, then she’s pleading with God to heal her partner’s brokenness on “You Could.” By track five, “Wedding or a Funeral,” Bradbery is grieving the relationship.
Track six, “Real Ones,” acts as a love letter to her supporters, the ones who are by her side no matter how successful or valuable she seems to the outside world. Bradbery closes the album reclaiming the insults that have been hurled her way with “That’s Why (You Love Me),” which almost serves as a mission statement for the self-acceptance that can be heard throughout the album.
The collection is so true to her that she named it Danielle.
“After all these years, people have watched me grow up from being 16 on The Voice—such fragile years—to my 20s—also fragile years—and now being 28. It felt like it was time to let down the curtain. After all this time, I wanted to share myself on first name basis with my true fans that have followed me all the way, and the new ones. It’s the raw, 20s version of Danielle, so I decided to name it Danielle.”
Bradbery says the song that set the tone for the album was one of the “most vulnerable” ones, “You Could,” which she wrote with Emily Weisband, Sam Sumser and Sean Small. The stand-out track is striking, with Bradbery begging, “Fix him. Make him love me like I wish he would.”
“That is the first song that I’ve really talked about my faith,” she says. “I was in a toxic relationship and had a conversation with God, saying, ‘I can’t fix him. My tank is empty and I can’t do it, but you can.'”
Another stand-out track is the Weisband, Josh Miller and Michael Lotten-penned “Wedding or a Funeral.” Its haunting vibe sticks out on a playlist, and its lyrics about the internal turmoil you feel as you watch your ex move on struck a chord with fans, becoming a favorite early on.
“I didn’t know what to think of that song at first. It’s such a cool song, and it was very fitting with my experiences with this whole last relationship,” she says. “My producer [Sam Sumser] was like, ‘Put your vocal on it. Let’s just feel it out.’ As soon as I started singing it in the booth, I knew it was a good call.”
One of Bradbery’s personal favorites is “Wake Me Up,” a track written by Kendall Brower, Fran Litterski, Anna Kline and Daniel Emilio Perez.
“That song came to me from Kendall, who was one of my main girls through this project. I decided to start the record with it because it was just so fitting for an album after six years. It gives a feeling of rebirth.”
Another fan-favorite, “Broken Boy,” finds Bradbery in a mood she communicates so well: anxiety and sadness.
“I’m such emotional person. I’m such a lover and a caretaker. I feel very heavily,” she says with a laugh. “I grew up listening and singing along to Carrie Underwood, who does sad songs so well. Those were the types of songs that always challenged me when I was singing along with them, so it’s just become a theme.
“Piano is also a weakness for me. It’s one of my favorite instruments. That’s just been my bread and butter,” Bradbery adds. “At first I was like, ‘I don’t want to be boring. I have to sing these songs live, so I have to do them a certain way for it not to be a sleeper, but I’m slowly getting to a point where I’m just really living in it.”
With all seven tracks, the artist hopes that Danielle is a window to her soul.
“We really took the time to be very intentional and tell a story about what’s been going on. I feel like did a pretty good job at going in order as best as we could,” she sums. “There’s a lot of just special moments on this album, and there’s a lot of surprises coming after that. I’m just so excited to continue this whole journey.”
Bradbery will treat the The Basement East in Nashville to some of her new music next Friday (Sept. 27). Tickets are available now.
CMA Foundation Celebrates 2024 Music Teachers Of Excellence
/by Liza AndersonThe 2024 Music Teachers of Excellence class. Photo: John Russell/CMA
The CMA Foundation hosted its eighth Music Teachers of Excellence ceremony, presented by One Country, on Tuesday (Sept. 17) at the Country Music Hall of Fame and Museum in Nashville.
The event honored 30 educators—10 from Metro Nashville Public Schools, 10 from districts across the state of Tennessee and 10 from across the United States—who were selected for their commitment to bringing a high-quality music program to their students and the musical impact they’ve had on their schools.
Themed around the way music brings color into of our lives, the ceremony was first accented with black and white decor and incorporated more and more color into the room as the evening progressed, creating a vibrant atmosphere at the after party.
The celebration included dinner with over 30 artists from the country music community and multiple performances. Videos illustrating the significance of music education were also shown throughout the night, including a message from Berklee College of Music student Lourde Childs on his journey through music
Tullman Family Office President and Let Music Fill My World Founder Cayley Tullman spoke on behalf of her organization about the importance of ensuring every child in America has access to music education in their school. Walker Hayes took to the stage alongside students from Metro Nashville Public Schools for a performance of “If Father Time Had a Daughter.” One Country CEO Chase Locke and Tenille Townes spoke to the power of music in a person’s life and the impact that goes beyond the classroom. Childs then joined Kassi Ashton for a rendition of “Somewhere Over the Rainbow,” earning a standing ovation, before Charlie Worsham gave a testimony on how his music career began and recognized the 10 Metro Nashville Public Schools recipients. Next, Priscilla Block sang “Peaked In High School” and Tigirlily Gold expressed their thanks to the sponsors and organizers of the event for celebrating the honorees with a beautiful ceremony and highlighted the 10 educators from across the state of Tennessee. Riley Green followed with a performance of “Jesus Saves,” and Tiera Kennedy and Angie K spoke about their own personal experiences with music education, sharing the support and guidance their music teachers provided in their early years, before focusing on the 10 recipients from across the country. Jordan Davis closed the night with a performance of “Next Thing You Know,” before Alana Springsteen gave a final thank you message and kicked off the after-party.
Additionally, the CMA Foundation gave $5,000 to each honoree—half to help enhance their music program and half for personal use. The CMA philanthropic arm was also able to secure sponsorship for all 30 of its 2024 Music Teachers of Excellence class members through the “Sponsor A Teacher” campaign. To date, it has invested over $1.3 million in its Music Teachers of Excellence honorees to ensure they have the support and funding needed to create thriving programs within their schools and communities.
Applications for the 2025 Music Teachers of Excellence class are open now through Thursday, Feb. 20. For more information, click here.
Radio Hall Of Fame Inducts 2024 Class In Nashville
/by Lorie HollabaughThe 2024 Class of Radio Hall of Fame Inductees with their awards at the Radio Hall of Fame Induction Ceremony. (L-R): Kraig Kitchin, Phil Hendrie, Lorianne Crook, Matt Siegel, Mary McCoy, Barry Mayo, Charlie Chase, Lee Harris and Jaime Jarrín. Photo: Kris Rae Orlowski
The Radio Hall of Fame inducted its 2024 class of honorees last night (Sept. 19) at a ceremony and dinner at the Omni Nashville Hotel.
Lon Helton, a 2022 Radio Hall of Fame Inductee, was Master of Ceremonies for the event, with Radio Hall of Fame Co-Chairmen Kraig Kitchin and Dennis Green welcoming the attendees with opening remarks.
Among the eight broadcasters who were inducted during the ceremony were Lorianne Crook & Charlie Chase (Crook & Chase), who received their honor from Reba McEntire and John Zarling. Other honorees included Lee Harris (inducted by Scott Herman); Mary McCoy (inducted by Larry Galla); Phil Hendrie (inducted by Patrick Reynold); Matt Siegel (inducted by Tom McConnell); Jaime Jarrin (inducted by Orel Hershiser); Barry Mayo (inducted by Tony Gray) and Kraig T. Kitchin (inducted by Jim Rome).
Six inductees for the class were determined by a voting participant panel comprised of more than 900 industry professionals, and two inductees were voted on by the Radio Hall of Fame Nominating Committee.
Post Malone & Blake Shelton Hold Spot At No. 1 On The MusicRow Radio Chart
/by John Nix ArledgeBlake Shelton and Post Malone perform onstage at Spotify House during CMA Fest 2024. Photo: Brett Carlsen/Getty Images for Spotify
Post Malone holds the top position on the MusicRow CountryBreakout Radio Chart this week with his hit “Pour Me A Drink” featuring Blake Shelton. This marks the single’s third week at the top.
The track comes off of his recent F-1 Trillion album and was written by Post, John Byron, Louis Bell, Rocky Block, Charlie Handsome and Jordan Dozzi.
Post is currently on the road headlining his “F-1 Trillion Tour” with support from Muscadine Bloodline. The star closed out his show at Boston’s Fenway Park on Wednesday night (Sept. 18) with guest appearances from Ernest and Hardy. The tour will come to a close near the end of October with another big stop at Nashville’s Nissan Stadium.
“Pour Me A Drink” currently sits at No. 6 on the Billboard Country Airplay chart and No. 3 on the Mediabase chart.
Click here to view the latest edition of the MusicRow Weekly containing the MusicRow CountryBreakout Radio Chart.
Randy Travis Adds 2025 Dates To ‘More Life Tour’
/by Lorie HollabaughRandy Travis. Photo: Marisa Taylor
Randy Travis will embark on his “More Life Tour” in 2025, beginning in January.
Travis, his original touring band and special guest vocalist James Dupré will provide a journey through Travis’ chart-topping hits, enhanced by video highlights from his celebrated career in music, film and TV. Tickets are available now (Sept. 20.)
Although Travis won’t perform vocally due to the stroke he suffered in 2013, he will appear on stage with wife, Mary, engaging with fans and interacting with the band. Dupré and the band will perform all of Travis’ iconic No. 1s, including “On the Other Hand,” “Forever and Ever, Amen” and “Three Wooden Crosses.”
“’The More Life Tour’ celebrates something so much more than a musical moment in time—it’s a gift to me to spend time with my fans, and my band, as James Dupre perfectly presents the songs that best define my career. We look forward to seeing you all somewhere along the way,” Travis shares.
“I’m thrilled and honored to hit the road again with my hero and friend, Randy Travis. I’m looking forward to meeting and singing along with all the Randy Travis fans in 2025,” says Dupré.
The 2024 “More Life Tour” kicked off at the Ryman Auditorium in June, following the release of Travis’ single, “Where That Came From.” With the assistance of AI, the track marked Travis’ first recording in over a decade, reuniting with producer Kyle Lehning and a team of talented musicians. Additionally, the Travises recently testified before Congress in Washington in support of the American Music Fairness Act.
Danielle Bradbery Leans Into The Sound Of Her Soul On New Indie Album [Interview]
/by LB CantrellDanielle Bradbery
During her Spotify House set at CMA Fest this year, singer-songwriter Danielle Bradbery announced that her first album in over six years was coming in September. She also shared that it would be her first independent project.
The talented songstress first entered the public eye at age 16 when she won season four of NBC’s The Voice. She released her self-titled debut album in 2013, and followed it in 2017 with I Don’t Believe We’ve Met, which reached the top 10 of the Billboard Country Albums chart. Both projects infused Bradbery’s award-winning voice with a pop-country sound.
Since then Bradbery has turned heads with a handful of singles, like the Gold-certified “Stop Draggin’ Your Boots” and fan-favorite “A Special Place” as well as “Never Have I Ever,” “Break My Heart Again,” “Runaways,” “The Day That I’m Over You” and “Monster.”
But when she went to work on her first independent album, Bradbery felt that she still had so much to share with her fans. The final result was a project with seven relatable, true-to-life songs with a fully-embraced pop sound.
“Over the past few years I have played peekaboo with some pop and R&B sounds. That has always been such a genuine love in my personal music taste,” Bradbery tells MusicRow. “I love all different types of genres. I grew up listening to everything. Country music feels like home but I’ve been working on bringing other things that inspire me into [my music] and really trying to nail what that sound is.
“I feel like I’m finally getting the hang of that—just making music that I genuinely love and not really putting a label on it.”
Bradbery’s unbridled creativity allowed for an album that sounds unapologetically her. Its honesty and self-acceptance highlights a new era for the singer, and it’s infectious to boot.
“I learned so much [being a label artist] and I’m grateful to say that I was able to bring those tools into doing an independent album,” she says. “It’s different, though. I have a lot of creative control, which is awesome. It’s a freeing feeling.”
On the album, Bradbery takes the listener on a journey of complicated feelings. She’s love-struck on “Wake Me Up” and drunk with intimacy on “Windows.” On track three, “Broken Boy,” she’s facing disappointment and relationship anxiety, then she’s pleading with God to heal her partner’s brokenness on “You Could.” By track five, “Wedding or a Funeral,” Bradbery is grieving the relationship.
Track six, “Real Ones,” acts as a love letter to her supporters, the ones who are by her side no matter how successful or valuable she seems to the outside world. Bradbery closes the album reclaiming the insults that have been hurled her way with “That’s Why (You Love Me),” which almost serves as a mission statement for the self-acceptance that can be heard throughout the album.
The collection is so true to her that she named it Danielle.
“After all these years, people have watched me grow up from being 16 on The Voice—such fragile years—to my 20s—also fragile years—and now being 28. It felt like it was time to let down the curtain. After all this time, I wanted to share myself on first name basis with my true fans that have followed me all the way, and the new ones. It’s the raw, 20s version of Danielle, so I decided to name it Danielle.”
Bradbery says the song that set the tone for the album was one of the “most vulnerable” ones, “You Could,” which she wrote with Emily Weisband, Sam Sumser and Sean Small. The stand-out track is striking, with Bradbery begging, “Fix him. Make him love me like I wish he would.”
“That is the first song that I’ve really talked about my faith,” she says. “I was in a toxic relationship and had a conversation with God, saying, ‘I can’t fix him. My tank is empty and I can’t do it, but you can.'”
Another stand-out track is the Weisband, Josh Miller and Michael Lotten-penned “Wedding or a Funeral.” Its haunting vibe sticks out on a playlist, and its lyrics about the internal turmoil you feel as you watch your ex move on struck a chord with fans, becoming a favorite early on.
“I didn’t know what to think of that song at first. It’s such a cool song, and it was very fitting with my experiences with this whole last relationship,” she says. “My producer [Sam Sumser] was like, ‘Put your vocal on it. Let’s just feel it out.’ As soon as I started singing it in the booth, I knew it was a good call.”
One of Bradbery’s personal favorites is “Wake Me Up,” a track written by Kendall Brower, Fran Litterski, Anna Kline and Daniel Emilio Perez.
“That song came to me from Kendall, who was one of my main girls through this project. I decided to start the record with it because it was just so fitting for an album after six years. It gives a feeling of rebirth.”
Another fan-favorite, “Broken Boy,” finds Bradbery in a mood she communicates so well: anxiety and sadness.
“I’m such emotional person. I’m such a lover and a caretaker. I feel very heavily,” she says with a laugh. “I grew up listening and singing along to Carrie Underwood, who does sad songs so well. Those were the types of songs that always challenged me when I was singing along with them, so it’s just become a theme.
“Piano is also a weakness for me. It’s one of my favorite instruments. That’s just been my bread and butter,” Bradbery adds. “At first I was like, ‘I don’t want to be boring. I have to sing these songs live, so I have to do them a certain way for it not to be a sleeper, but I’m slowly getting to a point where I’m just really living in it.”
With all seven tracks, the artist hopes that Danielle is a window to her soul.
“We really took the time to be very intentional and tell a story about what’s been going on. I feel like did a pretty good job at going in order as best as we could,” she sums. “There’s a lot of just special moments on this album, and there’s a lot of surprises coming after that. I’m just so excited to continue this whole journey.”
Bradbery will treat the The Basement East in Nashville to some of her new music next Friday (Sept. 27). Tickets are available now.
CeCe Winans, Natalie Grant, More To Perform At 55th Annual GMA Dove Awards
/by Lorie HollabaughThe first round of performers has been announced for the 55th Annual GMA Dove Awards, taking place on Oct. 1 at the Allen Arena in Nashville.
Those set to perform include nominee CeCe Winans and Crowder as well as Forrest Frank, Joseph Habedank, Maverick City Music with nominee Naomi Raine, Natalie Grant and the award show’s host Tauren Wells.
The in-person event is sold out, but the ceremony will air exclusively on TBN and TBN+ and simulcast on SiriusXM The Message, on Oct. 4 at 8 p.m. and 10 p.m. ET. An encore presentation of the broadcast will air on TBN and TBN+ on Oct. 11 at 8 p.m. ET and 10 p.m. ET.
Jelly Roll & Kane Brown To Headline ‘New Year’s Eve Live: Nashville’s Big Bash’
/by Liza AndersonJelly Roll; Photo: Eric Ryan Anderson. Kane Brown; Photo: Alex Alvga
Jelly Roll and Kane Brown are set to headline New Year’s Eve Live: Nashville’s Big Bash, which will return to Bicentennial Capitol Mall State Park and air live Tuesday, Dec. 31 on CBS.
Those in Nashville will be able experience the event for free at Bicentennial Park’s main stage, where the famous Music Note drops at midnight. Additional performers will be announced at a later date.
New Year’s Eve Live: Nashville’s Big Bash will once again be executive produced by Robert Deaton and Mary Hilliard Harrington in partnership with Music City Inc., the foundation of the Nashville Convention & Visitors Corp (NCVC), and directed by Sandra Restrepo.
The special will available to stream on Paramount+ both live and on-demand for Showtime subscribers and on-demand for Essential subscribers the next day.
DISClaimer Single Reviews: Brantley Gilbert Delivers ‘Hypnotic Single Of Swirling Atmosphere’
/by Robert K OermannBrantley Gilbert. Photo: Alexa Campbell
It’s diversity day in this week’s competition for the DISCovery Award.
The romantic white guy is Ryan Larkins. The striking Black-country entry comes from Kevin Smiley. And in her debut solo outing, Shawna Thompson takes the prize with an assist by her superstar “revival” harmony singers Gill and Skaggs.
The Disc of the Day award belongs to Brantley Gilbert and his tattoos.
TUCKER WETMORE / “Silverado Blue”
Writers: Brett Sheroky/Dan Wilson/Tucker Wetmore; Producer: Chris LaCorte; Label: UMG Nashville/Back Blocks Music
– He misses her so much that his truck is turning from red to blue. Loaded with twang. Youthful sounding.
SAM HUNT / “Country House”
Writers: Josh Osborne/Michael Lotten/Ross Copperman/Sam Hunt; Producer: Michael Lotten; Label: MCA Nashville
– Laid back and a little funky, this extols the virtues of country living. It’s a romantic fantasy, and it settles easily on the brain.
KEVIN SMILEY / “Paralyzed”
Writers: Franky Fade/Kevin Smiley; Producers: Fatboyrdee, Mynority; Label: Rebel Music/gamma.
– This is more than a little bleak, a portrait of a self-destructive youngster caught in the throes of substance abuse. With a spare production, drowsy-dead vocal and scary lyrics, it is strikingly compelling and chilling. Millions can relate to this.
MADDIE & TAE / “Sad Girl Summer”
Writers: Josh Kerr/Maddie Font/Matt McGinn/Taylor Kerr; Producer: Corey Crowder; Label: Mercury Nashville
– Shake off that loser dude who made you cry. Get out there in a honky tonk and kick up your heels. Feisty, frisky, female fun.
RYAN LARKINS / “Home State”
Writers: Emma-Lee/Ryan Larkins/Seth Mosley; Producer: Seth Mosley; Label: Red Street Records
– Larkins is a MusicRow songwriting award winner this year. This warm baritone vocal performance and romantic “road” lyric prove that his single “Bones” is no fluke. This fellow has the goods. By all means, play him.
PARKER McCOLLUM / “What Kinda Man”
Writers: Jeremy Spillman/Natalie Hemby/Parker McCollum; Producers: Eric Masse, Frank Liddell; Label: MCA Nashville
– With four consecutive No. 1 singles, McCollum has emerged as a leader of the new generation of country artists. This rollicking toe tapper continues his winning streak. Furiously rocking, shrieking guitars and thudding percussion propel this wild ride with McCollum’s wailing vocal out front.
ASHLAND CRAFT / “Morning Person”
Writers: Ashland Craft/Dallas Wilson/Faren Rachels/Trannie Anderson; Producers: Ashland Craft, Jess Grommet, Lee Starr; Label: Leo33
– Very cool. As a singer, she has a wonderfully soulful catch in her throat. The song is about falling in love so hard that you switch from being a night owl to being a morning person, waking up next to your dreamy romance. Leo33 is the label that launched CMA new-artist nominee Zach Top. It sure sounds like it is going two for two with this talented gal. I’m in.
BRANTLEY GILBERT / “Tattoos”
Writers: Brantley Gilbert/Cole Taylor/Jake Mitchell/Randy Montana; Producers: Brantley Gilbert, Brock Berryhill, Jake Mitchell, Scott Borchetta; Label: The Valory Music Co.
– “My body is a temple, but my temple is a canvas,” He proudly displays his body art, because his tattoos tell the story of who he is. A hypnotic single of swirling atmosphere. Highly recommended. Just so you know: he drops an “F” bomb in the lyric.
BYRON HILL / “Mountain Folks Are Always High”
Writers: Byron Hill/Glen Carlton Duncan; Producer: Byron Hill; Label: BHP Recordings
– Nashville Songwriters Hall of Famer Byron Hill is noted for hits he’s written for George Strait (”Fool Hearted Memory”), Tracy Byrd (”Lifestyle of the Not So Rich and Famous”), George Jones (”High Tech Redneck”), Alabama (”Born Country”), Johnny Lee (”Pickin’ Up Strangers”), Sammy Kershaw (”Politics, Religion and Her”), Gary Allan (”Nothing on but the Radio”), Neal McCoy (”If I Was a Drinkin’ Man”) and other mainstream country stars. But he’s always had a bluegrass heart, and that’s what you’ll hear on his new CD That Old Mountain. Its single is a skipping, merry, light-hearted ditty about being high on life. Gentle, acoustic, sunny and warm. Very endearing.
SCOTTY McCREERY / “Fall Of Summer”
Writers: Brent Anderson/Derek George/Frank Rogers/Monty Criswell/Scotty McCreery; Producers: Aaron Eshuis, Derek Wells, Frank Rogers; Label: Triple Tigers
– A summer romance fades into the sunset in this evocative, nostalgic, wistful, yearning number. Breezy heartache.
SHAWNA THOMPSON / “Bama Clay”
Writers: Keifer Thompson/Leslie Satcher/Shawna Thompson; Producers: Chad Carlson, Keifer Thompson; Label: Sun Label Group
– Stepping out from her role in Thompson Square, Shawna is putting out a straight-ahead honky-tonk album called Lean on Neon. Its righteous focus track finds her harmonizing with Vince Gill and Ricky Skaggs while dobro, fiddle, mandolin and percussion lay down a solid bedrock of swampy sound. The celebratory gospel lyric points to a better world on high. Super soulful. The excellent production is courtesy of hubby Keifer. Essential listening.
GRAHAM BARHAM / “M.I.A”
Writers: Beau Bailey/Cole Miracle/Gabe Foust/Graham Barham; Producers: Gabe Foust, Will Bundy; Label: Sony Music Nashville
– Cleverly written. The rapid-fire lyric puts us in a bar drinking alone and feeling broken-hearted because she went M.I.A.
The MLC Launches Free Online Micro-Course & Enhanced Student Ambassador Program
/by Liza AndersonThe Mechanical Licensing Collective (The MLC) has launched a free online micro-course and expanded its Student Ambassador Program.
“We’re thrilled to offer our first online micro-course as a way for students to learn about mechanical licensing and The MLC’s role in a self-paced course structure, that includes the opportunity to test their understanding,” says Serona Elton, Head of Educational Partnerships, The MLC. “Additionally, our enhanced Student Ambassador Program not only provides professional development and networking opportunities for students, but it also empowers students to play an active role in helping music creators collect the revenue they are entitled to.”
“The MLC 101: Introduction to The MLC” micro-course is available to all college students seeking to deepen their understanding of the organization’s role in ensuring songwriters, composers, lyricists and music publishers receive their mechanical royalties from streaming and download services in the U.S. Students can finish the course in under three hours and will receive a certificate of completion as well as a digital badge upon successfully completing the optional final test.
The MLC’s enhanced Student Ambassador Program aims to provide all students currently enrolled in college or university courses the opportunity to engage with the organization through a 10-week program of activities that includes interacting with local songwriters, access to exclusive virtual and in-person events and sharing information about The MLC on their college campus, with no cost to participate and no geographic limitations.
The volunteer program is valid for one academic period and may be renewed if all program requirements are successfully met. Students must complete the application process through The MLC’s online platform. Applicants are required to submit proof of current enrollment at an accredited college, university or institute in the United States and must successfully pass an online video assessment. Applications for the fall 2024 academic period will be accepted through Sept. 30.
For more information, click here.
Kasey Tyndall Signs With MNRK, Releases New Single
/by Lorie HollabaughKasey Tyndall. Photo: Rachel Deeb
Kasey Tyndall has signed with MNRK and has released “Not As I’ve Done,” the first single from her forthcoming self-titled debut album for the label.
“Bringing Kasey to MNRK is one of the highest points of my 17 years here,” says Scott Givens, MNRK’s SVP of Rock. “She is a world class talent who masterfully pushes the boundaries of country and rock. All of us at MNRK are excited to put the full weight of the company behind her as she moves into the next stage of her career.”
Written by Tyndall, “Not As I’ve Done” serves as a blueprint on life for her 16-month-old daughter Sterling, is being released timed to National Daughters Week.
“I wrote this single as a map for my daughter as she grows up. My goal was to express how mommas feel as you go through life and to help your children not make those same mistakes that wish you could go back on. I can’t wait for fans to listen and get a peek at this next chapter of my music and life,” says Tyndall.
Tyndall is currently opening for Ian Munsick and Ella Langley in cities across the country through November.