CMA Reveals Ballot Schedule For 2024 Awards

The Country Music Association (CMA) has revealed the 2024 CMA Awards ballot schedule. The 58th annual CMA Awards will take place in Nashville this November.

The eligibility period for all awards is July 1, 2023 through June 30, 2024. The nomination ballot, along with instructions, will be emailed to CMA members in good standing on July 8. This ballot will close on July 17 at 6 p.m. CST.

On Aug. 6, members will receive the second ballot. Voting on this ballot will close on Aug. 20 at 6 p.m. CST. The final nominees in all 12 categories will be announced in late summer.

The final round of voting to determine the winners will take place from Oct. 1 through Oct. 29.

All voting will take place online and will be tabulated by Deloitte.

For voting eligibility, you must apply for CMA membership by June 1.

Additionally, applications for the 2024 CMA Broadcast Awards for Broadcast Personality, Station, and National Broadcast of the Year are now open through June 30 at 5 p.m. CST. Entries for these awards must reflect performances and events from June 1, 2023 through May 31, 2024.

CMA Industry Honors nominations are also open now through July 14.

The MLC Seeking Publisher Candidate Suggestions For Board Of Directors & Committees

The Mechanical Licensing Collective (MLC) is seeking suggestions for publisher candidates for its Board of Directors. They are also seeking publisher candidates for its Unclaimed Royalties Oversight, Dispute Resolution and Operations Advisory committees.

There are two publisher representative positions on the Board of Directors. Under the MLC Bylaws, a publisher candidate qualifies as a music publisher which songwriters have assigned exclusive rights of reproduction and distribution of musical works.

Additionally, the MLC has six committee publisher seats open. Two are on the Unclaimed Royalties Oversight Committee, where they will recommend policies and procedures to the board pertaining to the distribution of unclaimed accrued royalties. The two seats on the Dispute Resolution Committee will recommend policies and procedures to the board for the processing of royalties related to works that are subject to disputes over ownership. Lastly, the two seats on the Operations Advisor Committee will make recommendations to the board regarding the operations of The MLC.

Elections will take place this summer, and elected candidates will serve for three-year terms and are eligible for re-election. The board and committees meet regularly, with all meetings taking place virtually so travel is not required. More information on the Board of Directors and advisory committees can be found here.

Suggestions for publisher seats will be accepted until May 31.

Chris Janson Announces Summer Tour Dates

Chris Janson has announced summer dates for “Whatcha See Is Whatcha Get: On Tour 2024,” kicking off this Friday (May 3).

The trek will visit Bakersfield, Albuquerque, Buffalo, Oshkosh and more through Aug. 30. Tickets are available now. For more information, click here.

Additionally, the artist recently released the music video for his current single and the tour’s namesake, which features global star Dwayne “The Rock” Johnson.

Fans can also catch Janson out on the road with Cody Johnson for select dates of “The Leather Tour” as well as with his friend and CMT Crossroads partner Bret Michaels for his upcoming “Parti-Gras 2.0” journey, kicking off July 12.

Luke Combs Breaks More Attendance Records

Luke Combs plays Beaver Stadium at Penn State University in University Park. Photo: David Bergman

Country mega-star Luke Combs performed to record-breaking crowds during the first three weekends of his 2024 “Growin’ Up and Gettin’ Old” stadium tour.

Combs achieved the highest single-night and two-night attendance at Milwaukee’s American Family Field with a combined 90,828 attendees. He earned the highest two-night attendance at Buffalo’s Highmark Stadium with 99,671 attendees and the highest-selling and highest-grossing concert at University Park, Pennsylvania’s Beaver Stadium with 73,339 attendees.

Luke Combs plays Beaver Stadium at Penn State University

“We are happy to share American Family Field has reached new attendance records with Luke Combs’ ‘Growin’ Up and Gettin’ Old Tour.’ The combined Friday and Saturday shows exceeded previous total attendance record for back-to-back concerts at the ballpark, set in 2023,” says Jason Hartlund, EVP and Chief Commercial Officer of the Milwaukee Brewers. “Moreover, Combs performance on Saturday surpassed the previous ballpark attendance record for one show, selling 44,752 tickets. It is clear that Wisconsin loves a good stadium tour and Luke Combs certainly delivered in every way possible.”

Pete Guelli, the Chief Operating Officer of the Buffalo Bills, says, “The Buffalo Bills are grateful to Luke Combs and his Bootleggers for visiting us for two incredible concerts at Highmark Stadium. As the first artist in nearly 40 years to play back-to-back nights at our stadium, Luke created magical memories for concertgoers in Buffalo as part of the second stop of his ‘Growin’ Up and Gettin’ Old Tour.’ Reminiscent of a late-season Bills game, the cool April temperatures only added to the atmosphere of Luke’s shows, as proven by the nearly 100,000 fans in attendance.”

Furthermore, Dr. Patrick Kraft, Vice President for Intercollegiate Athletics at University Park’s Beaver Stadium, adds, “What a terrific night in Beaver Stadium with Luke Combs and his ‘Growin’ Up and Gettin’ Old’ tour! The fans packed the stadium and brought great energy all night long. This record-breaking night added another storied chapter in the history of Beaver Stadium and we look forward to many more events like this in the future!”

Combs will continue his “Growin’ Up and Gettin’ Old” tour through this summer. He also leads the nominees for the upcoming 59th Annual ACM Awards with eight nominations.

Weekly Register: Shaboozey Rises To No. 1 On Country Streaming Songs Chart

Shaboozey. Photo: Daniel Prakopcy

Shaboozey‘s “A Bar Song (Tipsy)” rises to No. 1 on the country streaming songs chart this week with 20 million new streams, adding to 32 million ATD, according to Luminate data.

Zach Bryan and Kacey Musgraves‘ “I Remember Everything” moves down to No. 2 with 16 million streams, adding to 688 million ATD, and Beyoncé‘s “Texas Hold ‘Em” shifts to No. 3 with 12 million new streams, adding to 211 million ATD. Bryan’s “Something In The Orange” bides at No. 4 with 11.1 million streams, adding to 1.36 billion ATD, while Morgan Wallen‘s “Last Night” falls to No. 5 with 11 million new streams, adding to 1.34 billion ATD.

On the country albums chart, Beyoncé’s Cowboy Carter remains at the top with 66K in total consumption (11K album only/68 million song streams). Wallen’s One Thing At A Time follows at No. 2 with 64K (1.3K album only/80 million song streams), and his Dangerous: The Double Album continues at No. 3 with 37K (333 album only/47 million song streams). Bryan’s self-titled project persists at No. 4 with 35K (2.8K album only/42 million song streams), while his American Heartbreak holds No. 5 with 27K (766 album only/35 million song streams).

Scotty McCreery Takes ‘Cab In A Solo’ To The Top Of Mediabase Chart

Scotty McCreery. Photo: Jeff Ray

Scotty McCreery has notched his sixth No. 1 hit on the Mediabase country chart with “Cab In A Solo.”

The track is the lead single from McCreery’s upcoming fifth studio album Rise & Fall, arriving May 10. Written by McCreery, Brent Anderson and Frank Rogers, “Cab In A Solo” was most added at country radio upon its debut, and marks the artist’s fastest song to reach No. 1.

The newest member of the Grand Ole Opry was in Napa Valley, California last week for in Live In The Vineyard Goes Country (LITVGC) and while in the area, he gave an intimate performance at Silver Oak Winery where attendees appropriately drank a 1998 Silver Oak cabernet sauvignon from solo cups.

“I have loved this song from the moment Brent, Frank and I started writing it,” says McCreery. “It may be all about heartbreak but it’s so fun to sing. I’m thrilled to see it reach No. 1. Thanks to the fans for supporting it and country radio for playing it!”

MacKenzie Porter Shares Six Years Of Confessions On Debut Album [Interview]

MacKenzie Porter. Photo: Bree Marie Fish

Country singer-songwriter MacKenzie Porter has been making waves in the industry since she started her career in Canada.

After some success up north, the Big Loud singer cemented her success in the U.S. with her hit duet with Dustin Lynch “Thinkin’ Bout You,” which spent six weeks at No. 1. Now she’s ready to make an even bigger splash with her debut album Nobody’s Born With A Broken Heart, which released on Friday (April 26). Prior to its release, Porter took some time to speak with MusicRow about how the record came to be.

Born and raised in Alberta, Canada, Porter cut her teeth there before heading to Nashville. “I started playing songs up in Canada. I’ve had a lot of success up there and the goal was always to come down and have a single at U.S. radio, but also build this other fan base at the same time,” shares Porter.

“I feel like I’ve learned so many things through touring and radio up there that now I feel really equipped with the tools [I needed] go into my first record here,” Porter expresses about her move to the U.S. country scene.

While up in Canada, Porter saw not only the growth of her Canadian fan base, but also that the U.S. “Because streaming services are worldwide, I have been able to build both [fan bases] simultaneously.”

When discussing the making behind the project, Porter describes it as six years in the making. “Six years ago is roughly when I signed my record deal. A lot of it at the beginning was developmental. I was trying to get into the best writing rooms and figure out what my sound was and what my brand was.

“At the same time, I was also doing a lot of acting,” she says, referring to her time on the television show Travelers where she played the main role of Marcy Wharton. “I was on a TV show for three years that took up a lot of my time, so I was filming that for five months out of a year and trying to develop [as an artist] at the same time.”

While filming took up a lot of her time, Porter was able to discover her artistry slowly, and felt ready to introduce herself musically when the television project ended.

“I say six years because that’s when I started writing for my debut record, even though there was no [intention to write an album then],” she says. “It was all just writing towards who am I and what my sound is as an artist.”

Reflecting on that time writing for her sound, she revealed that some songs from that time made it onto this record, but she also found inspiration in the studio while recording.”I would say the majority [of the songs] are newer, but there’s a couple that just lived in my catalog that I would come back to all the time, such as ‘Sucker Punch.’”

The album includes a total of 19 tracks, with Porter as a co-writer on nine of those. Working with a host of her frequent writing partners, such as Parker Welling, Lydia Vaughan, Luke Niccoli and more, the album features vulnerable lyrics and clever lyrical hooks such as “Pay Me Back In Change,” “Strong Things,” “Foreclosure” and more. She also introduces newer writer Emma Klein, who solo-penned “Pay Me Back In Change.”

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Picking the title of the record, Nobody’s Born With A Broken Heart, was an easy choice for Porter. The songs show someone’s journey through life, cultivating from her own experiences.

The message I want to get across is in life we all have these experiences, whether it’s actual heartbreak in a relationship, work heartbreak, family heartbreak or whatever your situation may be. You always feel a little broken from different situations that you had envisioned to go a different way in your head, and overall that builds who you are as a person,” Porter reflects. “All of these songs are like little moments of heartbreak for me that have really built who I am proud to be today and that was the whole meaning of the record.”

Sonically, Nobody’s Born With A Broken Heart bridges the gap between country and pop, but as Porter points out, there is plenty of fiddle, mandolin and banjo. She calls it a, “new age, young, honest sound.”

When asked about a hidden gem on the record, Porter pointed out that she was most excited for listeners to hear “Coming Home To You,” the one love song on the record.

I’m in this phase of life where [that song] really hits home for me,” she says. “I think people in the same phase of life that I’m going through will also really relate to it.”

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Porter’s most vulnerable track on the project, “Nightingale,” was a song she wrote for herself about her journey in the industry.

When I first moved to Nashville, I was so confident in myself, my story and my ability to write. I would just go up to anybody and say, ‘You should give me a record deal because I’m awesome,'” she quips. “After years of hearing ‘no’ a million times, there were moments where I had lost that. I don’t want to be like that—I want to be the girl who is totally carefree and has no doubt in her mind. I wrote ‘Nightingale’ to myself to keep singing, keep writing your songs and have no fear in this industry.”

When looking at all the writing credits on the record, Lainey Wilson‘s name definitely pops out on “Chasing Tornadoes.”

My producer Joey Moi sent me that song one day,” Porter shares. “It was before the record was finished, we were looking for the next single and I loved the energy of it. I didn’t really have anything that sounded like that or had that kind of energy. I’m a big fan of Lainey, but it felt like a song that felt like me too.”

The project wraps up with the title track “Nobody’s Born With A Broken Heart.” Porter felt that it was a perfect way to wrap up the album because of the very last line of the song, “Maybe this love will put back the parts because nobody’s born with a broken heart.”

“It gives this hopeful outro to the entire thing. Even though the songs are about heartbreak, I’m a very positive person. I can be so upset about something and then the next day, I get back up and try again. That’s how I wanted to make sure I left the audience—knowing that I feel that way and that’s how they should feel in life in those situations too.”

Porter also shared that the meaning of the project changed during the creation process, when she found out she was pregnant with her first child.

“Now [the title] means another thing. My daughter [was] born so perfect and she’s going to experience a bunch of things in life that are probably going to chip away at her little heart,” Porter shares. “It will be good for her. It will show her that she went for it in life, she took risks and she loved people—and maybe they didn’t pan out the way she wanted, but that is a beautiful thing too because it’s always better to go for something and fail than not go at all.” 

Porter is gearing up to take her new music out on the road this year, with scheduled festival appearances and headlining dates across the U.S. and Canada. She will also serve as support on select dates of Parker McCollum‘s “Burn It Down Tour.”

She is most excited to play up-tempo tracks “Rough Ride For A Cowboy,” “Have Your Beers” and more to amp up the crowd during her set. She also will share some acoustic, honest moments with the crowd with tracks such as “Pay Me Back In Change,” “Confession” and “Coming Home To You.” With her eyes on the road, Porter can’t wait to see how fans resonate with Nobody’s Born With A Broken Heart.

Concord Label Group Elevates Jill Weindorf & Joe Dent

Concord has promoted Jill Weindorf to Executive Vice President of Marketing and Joe Dent to Executive Vice President of Operations. The move, orchestrated by newly appointed Chief Executive of Concord Label Group Tom Becci, aims to modernize Concord’s structure to support and develop a growing roster of talent. Weindorf is based in Los Angeles and Dent in Concord’s Nashville headquarters.

Weindorf began her career at Elektra Records, leading marketing campaigns for stars such as Paul McCartney, Nathaniel Rateliff, Ghost and more. Over her 17 year tenure, she has demonstrated a passion for artists’ careers and a deep understanding of the marketing landscape. In her new role, she will lead marketing efforts across Concord’s eight active labels including radio promotion, sync marketing, digital marketing, brand management and creative/design.

“Music is about connection and Jill’s ability to devise a marketing strategy in concert with an artist, while considering their priorities, who they are, the place they want to be, and then work tirelessly in support of that plan is unparalleled. Having Jill in this role will certainly allow Concord to remain competitive in an increasingly complicated and global market,” says Becci.

“My focus has always been the artists and music,” explains Weindorf. “Concord has offered me the opportunity to build long-term trust with so many career artists, and I love being part of the journey with them. I’m also excited by our legacy recordings and the depth and historical relevance of our catalog. Many executives don’t get the chance to work across such a wide breadth of repertoire; I have been here for 17 years, and I am still excited by that opportunity every day.”

New Jersey native Dent brings a diverse background to his new role with 10 years at Fat Beats Distribution, eventually rising to General Manager. Since joining Concord, he has proven his ability to tackle challenges such as stabilizing Concord’s vinyl pipeline during the COVID-19 pandemic and enhancing the company’s spatial audio capacity. Dent’s responsibilities will now include overseeing all operations across Concord Label Group, focusing on areas such as physical sales, production, direct-to-consumer operations, A&R operations and digital operations.

“Joe has an incredible understanding of how to look at a classically messy system, identify areas for improvement and make real and lasting corrections,” says Becci. “I have no doubt that Joe will continue guiding Concord towards further operational efficiencies in support of our artists.”

“What I genuinely appreciate about Concord is that, despite our size, we are still incredibly nimble. If we believe there is a superior way that we can do things, there is a reasonable chance that we will do it that way. I’m incredibly grateful for the trust that so many amazing artists put in us, and I’m excited to continue finding ways we can better support them. This really is a dream come true for a punk from New Jersey,” says Dent.

Live In The Vineyard Goes Country Wraps 2024 Event

Pictured (L-R): Hailey Whitters, Larry Fleet, FF Entertainment & LITVGC’s Bobbii Jacobs, Ernest, MacKenzie Porter and Lily Rose. Photo: LITVGC/JetBlack/Ryan Waneka

Live In The Vineyard Goes Country (LITVGC), presented by Visit Napa Valley, wrapped its annual event last week. Intimate performances, dinners and tastings were held across local Napa Valley establishments and wineries throughout the three-day function.

Scotty McCreery performing at Live In The Vineyard Goes Country 2024. Photo: LITVGC/JetBlack/Alec Savig

Launched in 2017, LITVGC brings together music supervisors, radio programmers, DSP curators, label executives and more in the country format to celebrate and hear new music from most established artists as well as emerging stars in a stripped-down arrangement.

This year’s performers included Rodney Atkins, Sara Evans, Scotty McCreery, Ernest, Brittney Spencer, Lily Rose, Julia Cole, Runaway June, Larry Fleet, LoCash, Josh Ross, Kylie Morgan and Hailey Whitters. Other artists in attendance consisted of Drew Baldridge, Laura Bryna, Callista Clark, Wesley Dean, Diner, The Dryes, Scotty Hasting, Levi Hummon, Jet Jurgensmeyer, Rose Falcon, MacKenzie Porter, Ashley Ryan and Callie Twisselman, among others.

The Welcome Reception kicked off the event on Tuesday (April 23) at Peju Winery, followed by several industry dinners across Napa Valley. On Wednesday (April 24), The Tailgate Event at Raymond Vineyards featured savory food and wine before Uptown Theatre presented performances into the night. The final morning on Thursday (April 25) consisted of a Send-Off Brunch hosted by Carneros Resort.

Regions Bank Set To Expand Music Row Presence

Courtesy of Regions Bank

Regions Bank is expanding its Music Row presence with the addition of modernized office space in the Roundabout Plaza building. In collaboration with Eakin Partners, Regions Bank will add over 27,000 square-feet of office space atop the Roundabout Plaza.

The bank has been operating its Music Row branch and Sports and Entertainment Division on the ground floor of Roundabout Plaza for several years. With this expansion, Commercial and Corporate Banking services along with Wealth Management solutions and more will now join their colleagues in the roundabout.

Courtesy of Regions Bank

Regions Bank market executive Lee Blank says the expansion is part of the bank’s plan to further build on its legacy as Nashville’s longest-serving bank.

“For over 140 years, our company has met the financial needs of people and businesses across Middle Tennessee, and as our city has grown, we’ve grown, too, offering customized services that set us apart in one of the nation’s most vibrant markets,” Blank shares. “Yet, despite our growth, we haven’t lost sight of what makes Nashville truly special, and we remain focused on delivering the services of a truly local bank, powered by the resources of one of America’s largest financial institutions. Our modernized office space will bring bankers from several departments together in a way that helps us build on our collaboration and, most importantly, build on our comprehensive services for local clients.”

John Eakin, Managing Member of Eakin Partners, emphasizes the positioning of Roundabout Plaza’s location, adjacent to both West End and downtown Nashville, with easy access to Interstates 40 and 65. “This opportunity provides a chance to bring more Regions colleagues together in ways that enhance teamwork, while welcoming more clients and associates to the thriving and convenient Music Row area,” he says.

The bank expects to begin renovating both the first and ninth floors at Roundabout Plaza in the second quarter of this year with plans to move in by early 2025.

“When renovations are complete in the next two months, the full suite of Roundabout Plaza amenities will include a newly renovated fitness facility, a new first floor cafe and a shared conference room and common meeting areas on the seventh floor,” adds Eakin.

Regions’ agreement with Eakin Partners includes crown signage rights, with the Regions logo set to reflect the bank’s pride in building on its investments in Nashville. “From consulting with local businesses on how to grow their companies, to helping individual consumers through in-person and digital services, we are Nashville’s bank,” Blank says. “And we’re excited to take this step forward in writing our next chapter of service to Middle Tennessee.”