Michael Martin
The “My Music Row Story” weekly column features notable members of the Nashville music industry selected by the MusicRow editorial team. These individuals serve in key roles that help advance and promote the success of our industry. This column spotlights the invaluable people that keep the wheels rolling and the music playing.
Publishing veteran Michael Martin joined Endurance as President at its inception in 2019. Under his leadership, EMG has built a roster of 14 successful songwriters and closed over $150 million in acquisitions. The company claims over 75 chart-topping country singles and dozens of BMI, ASCAP and SESAC Country and Pop Airplay awards. Martin takes an active role in the management and development of EMG’s hit songwriters and artists, and he oversees a robust Administration team which has processed millions in artist and writer royalties on behalf of independent administration clients.
Previously, Martin was Vice President of Membership at ASCAP, where he led the PRO to major country music market share growth. He managed the organization’s relationships with high-profile songwriters and was recognized as a Billboard Country Power Player. His career includes stops at FAME Music, Moraine Music Group and Extreme Writers Group, which he co-founded.
MusicRow: Where did you grow up?
I grew up in Texas in a little town outside of Fort Worth called Mineral Wells. There was this music teacher there that was a big part of my life. I would not be doing what I’m doing if it wasn’t for her. Her name was Vickie Carden.
Pictured (L-R): Mark Bright, Kerri Edwards, Michael Martin, Mike Sistad
How did she impact your life?
I was in the choral department from sixth grade all the way through high school. I was very shy and did not want to have any attention at all. We were doing a little musical called You’re a Good Man, Charlie Brown. I was Pig-Pen and I was really happy about being Pig-Pen because he didn’t have to do anything but sit there and be dirty. [Before the musical] I got the flu and had to stay home for two weeks. Vickie knocked on the door one day and said, “Linus dropped out and I want you to learn the part while you’re home sick.” So I ended up doing it and it was a big life-changing moment for me. I got more into music and acting.
Where did you go to college?
I started at Weatherford College for two years, which was just outside of Mineral Wells where I grew up. Then I transferred to the University of Texas at Arlington. I had a really small scholarship to sing on the chorus there to help buy books. I started waiting tables to help me get through school and then me and my buddy started a landscaping business my junior year of college. That became a little mom and pop when I graduated.
Pictured (L-R): Kerri Edwards, Michael Martin, Stephan Walker, Curtis Shaw, Desmond Child
How did you get to Nashville?
The landscaping thing really evolved and grew. There was a client that was from Nashville and he was moving to Fort Worth. Me and my buddy were working at this five-acre estate pulling weeds in the front yard. This guy drives up a long driveway and gets out of a Porsche and says, “Hey, I just bought this house. Give me your card and I’ll call you in eight months.”
He called and we ended up getting all of his business and all of the business from the executives that transferred. We did so much work for him that we became pretty good friends. He invited me to come visit Nashville one early May. I loved it. Over a period of a couple of visits, he bought a property in Thompson Station and he said, “If you want to do something different, why don’t you move out here for six months? You can work with the landscape architect and the builder.” I ended up taking that shot and it was overwhelming. I remember driving through Memphis crying because I knew I was on my journey.
How did you get into the music business once you were in Nashville?
He decided to sell the house in Nashville and I ended up staying on the farm until it sold. It took about three years to do that. I started another landscaping business. Through that and going to church during that period of time, I met Mark Bright, who was the VP of Publishing at EMI and was also starting to produce. He befriended me and I got led into this whole other world. Through the landscaping thing, I started meeting all these people.
Mark introduced me to Desmond Child, who became a great friend. We all started hanging out. It was crazy being around everyone and learning so much. Desmond was a huge encourager for me during that time. He always included me in in groups of creative people. We ended up working at ASCAP together [later on in my story] when he served on the ASCAP board.
Pictured (L-R): Bradley Collins, Kos Weaver, Jason Houser, Michael Martin, Aldean, Michael Knox, Jody Williams, Rodney Clawson, Benny Brown, Jon Loba
Mark also introduced me to Kerri Edwards, who was an intern at EMI. We all started hanging out and she told this guy that worked at another publishing company, FAME Music, about me. They were looking for a catalog manager and a plugger. Jason Houser called me and we immediately connected. He said, “You’ve got to have an interview with Rick Hall in Muscle Shoals.” I accepted the job for five dollars an hour. I was paying my landscape guys $10 an hour so I could go do that.
Then you were in!
I did the landscaping business for a few more years. My wife Amy would help me on the weekends—she had a great job at Columbia. I was only at FAME for a short time when I got a call from Greg Hill, who was working at Moraine Music. They interviewed me and I accepted a job there as a song plugger.
That transition [into the music business] was life changing. Right before I left FAME, I got a call at the last minute to go to the ASCAP Awards. That was the year that FAME had “I Swear” as Song of the Year. I remember seeing George Strait that night.
Pictured (L-R): Michael Martin, LeAnn Phelan, George Strait, Paul Williams, John Titta
What was next for you?
Moraine treated me like family. I came in as a plugger and they moved me up in a few years to Vice President. It was intimidating, but Jason always told me, “Find a couple songs that you love and don’t make it too where it’s overwhelming. Just get started pitching.” There were two songs [that I was involved with early on] that were impactful for me: “There’s Your Trouble” that The Chicks recorded and “The Preacher Won’t Have to Lie” that Lee Ann Womack recorded. “There’s Your Trouble” broke me as a plugger. I didn’t know that you weren’t supposed to have multiple holds on a song—I think I had five holds on “There’s Your Trouble.” [Laughs] Everyone was mad at me but it turned out good in the end.
Then you and Jason Houser started Extreme Writers Group. Tell me about that.
Jason was working at EMI Publishing. The company was restructuring and I told him that I was really thinking about starting my own publishing company. We talked about it and decided to do it together. That became the framework of us starting Extreme.
Tim DuBois heard that Jason and I were talking about starting a publishing company, so he called us and we met. It was intimidating because Arista Records was such a force and influence. He was going to leave Arista to run Gaylord Entertainment. He ended up asking us if we wanted to start the publishing division. While that was being put together, Jason and I didn’t have any money, so we signed our first two writers on my credit card. I couldn’t believe Amy was cool with that, but I had learned that if you couldn’t act quickly and make a decision, the opportunity goes away.
Tim ended up leaving Gaylord and the deal fell apart, but Jason and I got stuck on the Gaylord island for a while. We learned a tremendous amount there.
Pictured (L-R): Jaren Johnston, Craig Wiseman, Michael Martin
What was next?
We were able to buy ourselves out of the Gaylord deal. Tim was still a big part of our lives, so we were able to talk about starting another deal. Tim introduced us to a lot of new people that year. Gary Borman was a huge influence for Jason and I. We flew out to Santa Monica to meet with him and he said to us, “What you two have is very special and unique. You need to honor and protect your partnership.”
We were able to sign Rodney Clawson and take him with us into the next chapter. Eventually, we settled at Warner Chappell when Tim Wipperman was leading the company. Things started taking off for us. We had been working with Matthew West and we ended up helping Matthew get his record deal at Universal South.
Rodney was writing so much with John Rich and Vicky McGehee. Michael Knox was so passionate about Jason Aldean at the time. We would go to the showcases that Michael would always do on Thursdays with Jason and we would have five or six of the 10 or 11 songs that Jason was playing at the time. His first No. 1 was a song that we were part of called “Why.” Then Big & Rich got a record deal and we got “Lost In This Moment.” We weren’t doing anything different, but it just started working.
We were on a run and then there was a big change with Warner Chappell. Wipperman left and so we had to go find funding again. A dear friend of ours, business manager Michael Haggerty, put a deal together that funded us for a few years. We had a song come out of that called “I Loved Her First.”
Craig Wiseman was big fan of Rodney’s, so he bought some of Rodney’s back catalog which started this relationship with Big Loud. We signed Clint Lagerberg and the second song he turned into us was “Here Comes Goodbye.” We went from having Rascal Flatts’ first single on a brand-new record and then, a few months later, having, “I Saw God Today” as George Strait’s 60th No. 1.
What a great run. You then transitioned to ASCAP and ended up becoming VP of the Nashville office. Tell me about that.
Jason had started talking about moving back to Twin Falls, Idaho. I was going to take over the publishing company. Tim DuBois came to our Christmas party and he talked about taking over some of Jason’s responsibilities.
After Christmas break, I went to see Tim. He said, “I got a call to go to ASCAP and help restructure it. There might be an opportunity for you to go with me.” Another close friend, Marc Driskill, was back at ASCAP and he also thought ASCAP would be a great change and opportunity for me. I had no desire to go do that. I told Tim “No” like five times.
Someone had given me a book during Christmas break on John Wooden, the great basketball coach. The book says if you ever have a chance to work with someone who’s been a leader, teacher, mentor or made an impact in your industry, it’s not about the money, it’s about you being with that person. For me, that was Tim. I eventually accepted and started in June of 2010.
Pictured (L-R): Matthew West, Michael Martin, Jason Houser
What was that time like?
We were tasked with carrying out the foundation that Connie Bradley had laid out, but in a different way because it was a different time. Tim was let go. Randy Grimmett was our boss at the time and he asked LeAnn Phelan and I if we could co-manage the office together. We did that for a couple years and then she got hired to go work at Sea Gayle. I managed the office for four or five years on my own, which was not the plan, but I got tools for the tool chest that I didn’t have [before]. I learned a lot about fighting battles for the right reasons. We had a great run. We got our market share up to a very healthy level and we were increasing the footprint of ASCAP and our events and awards.
Tell me about starting Endurance Music Group in 2019.
I was really wanting to get back into publishing. Tim Wipperman had introduced me to a guy named Jeremy Tucker. He was at Raven & Company, who was buying a lot of catalogs. We got to know each other over a period of time. When I was deciding what I was going to do, Jeremy started really pursuing me [to start a company with him] and it started making sense. I got the team at ASCAP together and let them know I was leaving. It was very emotional.
I jumped in. I met with Jeremy and [we discussed everything]. I knew I wanted to bring Mark Ahlberg, who had his own admin company. He was a dear friend and someone that I trusted immensely. I wanted him to have a platform that he could grow and have his own impact. Now, Mark and I are partners running Endurance. He’s heavily on the acquisition side, oversees some of the day-to-day operations and also runs his admin company. I oversee the publishing side and we overlap with some of the acquisition opportunities and the different relationships. It’s been crazy.
Pictured (L-R): Michael Martin, Justin Timberlake, Paul Williams, President Jimmy Carter, Trisha Yearwood
What an amazing story. What’s some of the best advice you’ve ever gotten?
Be respectful, be a great listener and don’t be reactive. Being in the Nashville music business, everyone is so close. Even if you don’t agree with someone, or if you’ve been hurt by something, you still have to be respectful. The very situation that may have felt like it destroyed you could be the very thing that creates a new opportunity in a few months.
What would you say is something that people don’t know about you?
I was born in Japan. My dad was in the Air Force and was overseas for seven or eight years. I was six months old when they came back to the States.
Tell me about a moment you’ve had that your kid self would look at and be impressed with.
I had some monumental moments at the ASCAP Awards with artists like Garth Brooks, Alan Jackson and Reba. There was a night that we were honoring Trisha Yearwood. Reba was going to come and honor Trisha and obviously Garth was there. President Jimmy Carter found out that Trisha was being honored and he wanted to come. I got a call from Joe Fisher, who is really close friends with Justin Timberlake, and he said Justin had recently hung out with Garth and Trisha at a Garth show and he wanted to come to the awards.
Fast forward to the awards, I’m backstage with President Carter and Justin Timberlake. The President goes out and we honor Trisha. I walked the President off of the stage. It felt like a mile-long walk. [Laughs] That’s a moment I never thought would happen.
When you look back on your story, how do you feel?
I have been so blessed by great men and women that have poured into my journey. I have been surrounded by great song people and writers. Music is the backdrop to our lives. I’ve been a part of some magical moments. I’ve been able to meet and become friends with writers and artists that I listened to when I was living in Mineral Wells. How insane is that?
Josh Abbott Band Signs With Make Wake Artists & Deep Roots Management
/by LB CantrellPictured (L-R): Eric Berger (Make Wake Artists / Deep Roots Management), Dylan Wright (Deep Roots Management), Cale Richardson (Josh Abbott Band), David Fralin (Josh Abbott Band), Josh Abbott, Chris Kappy (Make Wake Artists), Edward Villanueva (Josh Abbott Band), Austin Davis (Josh Abbott Band). Photo: Kurt Ozan
The Josh Abbott Band has signed management contracts with Make Wake Artists and Deep Roots Management. The Texas mavericks will now be co-managed by Make Wake’s Chris Kappy and Deep Roots’ Dylan Wright, with Make Wake’s Eric Berger serving as day-to-day.
“We are very excited about having Josh on the roster,” shares Kappy. “He’s a visionary in Texas Red Dirt, and we’re excited about exposing him and all his talents to the rest of the country music world.”
“We are absolutely thrilled to have the privilege of managing such an incredibly talented artist and band,” adds Wright. “Their impressive track record speaks for itself, and we are excited to be a part of their continued success.”
After forming in 2006 at Lubbock’s Texas Tech University, the Josh Abbott Band has become a staple in the Lone Star State. The independent act has earned two top 10 debuts on the Billboard Country Albums chart, two RIAA Gold-Certified singles and upwards of 235 million streams. The band has notched two top 40 hits, including features with Kacey Musgraves and Carly Pearce.
Since the signing, the group has hit the ground running with two new critically-acclaimed singles “Country Nights” and “My Dad And His Truck.”
“We’re fired up to be a part of the Make Wake & Deep Roots fam,” says Abbott. “They have a contagious energy and an ability to elevate artists. ‘Fans First’ & ‘GAF’ are their mottos, and that right there tells you everything. We’re excited for what this chapter brings!”
In Photos: Zach Bryan, Tyler Childers Sell Out Railbird Music Festival In Kentucky
/by Caela GriffinRailbird Music Festival. Photo: Charles Reagan
Anchored by Zach Bryan and Kentucky-native Tyler Childers, Railbird Music Festival recently returned to Lexington, Kentucky. The Infield at Red Mile hosted the two-day experience (June 3-4) featuring more than 30 artists across three stages.
Bryan headlined Saturday night (June 3) sporting a University of Kentucky shirt as he performed one of his earliest songs, “Snow,” from his debut album DeAnn. On Sunday, Bryan joined Charles Wesley Godwin and The Head and The Heart for performances.
June 4—declared “Tyler Childers Day” by the city of Lexington—saw the named headliner perform for two straight hours to close the festival’s first year at Red Mile. This year’s event featured many Kentucky-bred acts including Cole Chaney and Ricky Skaggs.
Sheryl Crow, Jenny Lewis, Goose and Marcus Mumford featured Lucius during each of their solo sets. Additional top-notch performances included Charley Crockett, Nicholas Jamerson, Morgan Wade, Weezer, Valerie June, Neal Francis, The Heavy Heavy, Nickel Creek, Amos Lee, Sierra Ferrell, Molly Tuttle, 49 Winchester, flipturn, Calder Allen, Whiskey Myers and more.
Tyler Childers. Photo: Charles Reagan
Zach Bryan. Photo: Charles Reagan
Charles Wesley Godwin and Zach Bryan. Photo: Taylor Regulski
Ricky Skaggs. Photo: Nathan Zucker
Sheryl Crow. Photo: Nathan Zucker
Whiskey Myers. Photo: Taylor Regulski
SOLID’S Music Row Madness Fundraiser Raises $18K For Solid Shares Partners
/by Lorie HollabaughSOLID members and Music Row Madness participants with $18K check for SOLID Shares partners.
By the close of the event, $18,000 in donations were raised by the competing teams and spectators who joined the organization for a night of bowling, music and arcade games. Proceeds from Music Row Madness benefit the year’s nonprofit SOLID Shares partners; W.O. Smith Music School, Porter’s Call, the Black Music Action Coalition (BMAC), the National Museum of African American Music (NMAAM), and Hope on the Row.
“We’ve got an awesome SOLID team and it’s a total joy putting these events together for the community to support these incredible organizations,” says Leah Binkerd, who co-chaired the event with Guy Evans.
“I’m so proud of the hard work our chairs Leah & Guy and their committee directed into ‘putting a new spin’ on this annual fundraiser,” says Erin Pettit, SOLID President. “Thank you to the Music Row Madness team, our board, our organization and, most importantly, this music community who participated in rallying together for such a great cause. We were excited to support our SOLID Shares partners with the money raised and look forward to keeping the tradition alive in 2024.”
SOLID launched 26 years ago with a vision to develop a community for music industry professionals to network and brainstorm together, while also providing educational opportunities for entry to mid-level professionals. The organization hosts educational panels, networking events and philanthropic opportunities throughout the year. It has also implemented programs to mentor hundreds of college students to date, launched the philanthropic initiative SOLID Shares, created a diversity and inclusion task force, raised over $468,000 for local charities, and accumulated over 500 hours of volunteer time to the Nashville community.
My Music Row Story: Endurance Music Group’s Michael Martin
/by LB CantrellMichael Martin
The “My Music Row Story” weekly column features notable members of the Nashville music industry selected by the MusicRow editorial team. These individuals serve in key roles that help advance and promote the success of our industry. This column spotlights the invaluable people that keep the wheels rolling and the music playing.
Publishing veteran Michael Martin joined Endurance as President at its inception in 2019. Under his leadership, EMG has built a roster of 14 successful songwriters and closed over $150 million in acquisitions. The company claims over 75 chart-topping country singles and dozens of BMI, ASCAP and SESAC Country and Pop Airplay awards. Martin takes an active role in the management and development of EMG’s hit songwriters and artists, and he oversees a robust Administration team which has processed millions in artist and writer royalties on behalf of independent administration clients.
Previously, Martin was Vice President of Membership at ASCAP, where he led the PRO to major country music market share growth. He managed the organization’s relationships with high-profile songwriters and was recognized as a Billboard Country Power Player. His career includes stops at FAME Music, Moraine Music Group and Extreme Writers Group, which he co-founded.
MusicRow: Where did you grow up?
I grew up in Texas in a little town outside of Fort Worth called Mineral Wells. There was this music teacher there that was a big part of my life. I would not be doing what I’m doing if it wasn’t for her. Her name was Vickie Carden.
Pictured (L-R): Mark Bright, Kerri Edwards, Michael Martin, Mike Sistad
How did she impact your life?
I was in the choral department from sixth grade all the way through high school. I was very shy and did not want to have any attention at all. We were doing a little musical called You’re a Good Man, Charlie Brown. I was Pig-Pen and I was really happy about being Pig-Pen because he didn’t have to do anything but sit there and be dirty. [Before the musical] I got the flu and had to stay home for two weeks. Vickie knocked on the door one day and said, “Linus dropped out and I want you to learn the part while you’re home sick.” So I ended up doing it and it was a big life-changing moment for me. I got more into music and acting.
Where did you go to college?
I started at Weatherford College for two years, which was just outside of Mineral Wells where I grew up. Then I transferred to the University of Texas at Arlington. I had a really small scholarship to sing on the chorus there to help buy books. I started waiting tables to help me get through school and then me and my buddy started a landscaping business my junior year of college. That became a little mom and pop when I graduated.
Pictured (L-R): Kerri Edwards, Michael Martin, Stephan Walker, Curtis Shaw, Desmond Child
How did you get to Nashville?
The landscaping thing really evolved and grew. There was a client that was from Nashville and he was moving to Fort Worth. Me and my buddy were working at this five-acre estate pulling weeds in the front yard. This guy drives up a long driveway and gets out of a Porsche and says, “Hey, I just bought this house. Give me your card and I’ll call you in eight months.”
He called and we ended up getting all of his business and all of the business from the executives that transferred. We did so much work for him that we became pretty good friends. He invited me to come visit Nashville one early May. I loved it. Over a period of a couple of visits, he bought a property in Thompson Station and he said, “If you want to do something different, why don’t you move out here for six months? You can work with the landscape architect and the builder.” I ended up taking that shot and it was overwhelming. I remember driving through Memphis crying because I knew I was on my journey.
How did you get into the music business once you were in Nashville?
He decided to sell the house in Nashville and I ended up staying on the farm until it sold. It took about three years to do that. I started another landscaping business. Through that and going to church during that period of time, I met Mark Bright, who was the VP of Publishing at EMI and was also starting to produce. He befriended me and I got led into this whole other world. Through the landscaping thing, I started meeting all these people.
Mark introduced me to Desmond Child, who became a great friend. We all started hanging out. It was crazy being around everyone and learning so much. Desmond was a huge encourager for me during that time. He always included me in in groups of creative people. We ended up working at ASCAP together [later on in my story] when he served on the ASCAP board.
Pictured (L-R): Bradley Collins, Kos Weaver, Jason Houser, Michael Martin, Aldean, Michael Knox, Jody Williams, Rodney Clawson, Benny Brown, Jon Loba
Mark also introduced me to Kerri Edwards, who was an intern at EMI. We all started hanging out and she told this guy that worked at another publishing company, FAME Music, about me. They were looking for a catalog manager and a plugger. Jason Houser called me and we immediately connected. He said, “You’ve got to have an interview with Rick Hall in Muscle Shoals.” I accepted the job for five dollars an hour. I was paying my landscape guys $10 an hour so I could go do that.
Then you were in!
I did the landscaping business for a few more years. My wife Amy would help me on the weekends—she had a great job at Columbia. I was only at FAME for a short time when I got a call from Greg Hill, who was working at Moraine Music. They interviewed me and I accepted a job there as a song plugger.
That transition [into the music business] was life changing. Right before I left FAME, I got a call at the last minute to go to the ASCAP Awards. That was the year that FAME had “I Swear” as Song of the Year. I remember seeing George Strait that night.
Pictured (L-R): Michael Martin, LeAnn Phelan, George Strait, Paul Williams, John Titta
What was next for you?
Moraine treated me like family. I came in as a plugger and they moved me up in a few years to Vice President. It was intimidating, but Jason always told me, “Find a couple songs that you love and don’t make it too where it’s overwhelming. Just get started pitching.” There were two songs [that I was involved with early on] that were impactful for me: “There’s Your Trouble” that The Chicks recorded and “The Preacher Won’t Have to Lie” that Lee Ann Womack recorded. “There’s Your Trouble” broke me as a plugger. I didn’t know that you weren’t supposed to have multiple holds on a song—I think I had five holds on “There’s Your Trouble.” [Laughs] Everyone was mad at me but it turned out good in the end.
Then you and Jason Houser started Extreme Writers Group. Tell me about that.
Jason was working at EMI Publishing. The company was restructuring and I told him that I was really thinking about starting my own publishing company. We talked about it and decided to do it together. That became the framework of us starting Extreme.
Tim DuBois heard that Jason and I were talking about starting a publishing company, so he called us and we met. It was intimidating because Arista Records was such a force and influence. He was going to leave Arista to run Gaylord Entertainment. He ended up asking us if we wanted to start the publishing division. While that was being put together, Jason and I didn’t have any money, so we signed our first two writers on my credit card. I couldn’t believe Amy was cool with that, but I had learned that if you couldn’t act quickly and make a decision, the opportunity goes away.
Tim ended up leaving Gaylord and the deal fell apart, but Jason and I got stuck on the Gaylord island for a while. We learned a tremendous amount there.
Pictured (L-R): Jaren Johnston, Craig Wiseman, Michael Martin
What was next?
We were able to buy ourselves out of the Gaylord deal. Tim was still a big part of our lives, so we were able to talk about starting another deal. Tim introduced us to a lot of new people that year. Gary Borman was a huge influence for Jason and I. We flew out to Santa Monica to meet with him and he said to us, “What you two have is very special and unique. You need to honor and protect your partnership.”
We were able to sign Rodney Clawson and take him with us into the next chapter. Eventually, we settled at Warner Chappell when Tim Wipperman was leading the company. Things started taking off for us. We had been working with Matthew West and we ended up helping Matthew get his record deal at Universal South.
Rodney was writing so much with John Rich and Vicky McGehee. Michael Knox was so passionate about Jason Aldean at the time. We would go to the showcases that Michael would always do on Thursdays with Jason and we would have five or six of the 10 or 11 songs that Jason was playing at the time. His first No. 1 was a song that we were part of called “Why.” Then Big & Rich got a record deal and we got “Lost In This Moment.” We weren’t doing anything different, but it just started working.
We were on a run and then there was a big change with Warner Chappell. Wipperman left and so we had to go find funding again. A dear friend of ours, business manager Michael Haggerty, put a deal together that funded us for a few years. We had a song come out of that called “I Loved Her First.”
Craig Wiseman was big fan of Rodney’s, so he bought some of Rodney’s back catalog which started this relationship with Big Loud. We signed Clint Lagerberg and the second song he turned into us was “Here Comes Goodbye.” We went from having Rascal Flatts’ first single on a brand-new record and then, a few months later, having, “I Saw God Today” as George Strait’s 60th No. 1.
What a great run. You then transitioned to ASCAP and ended up becoming VP of the Nashville office. Tell me about that.
Jason had started talking about moving back to Twin Falls, Idaho. I was going to take over the publishing company. Tim DuBois came to our Christmas party and he talked about taking over some of Jason’s responsibilities.
After Christmas break, I went to see Tim. He said, “I got a call to go to ASCAP and help restructure it. There might be an opportunity for you to go with me.” Another close friend, Marc Driskill, was back at ASCAP and he also thought ASCAP would be a great change and opportunity for me. I had no desire to go do that. I told Tim “No” like five times.
Someone had given me a book during Christmas break on John Wooden, the great basketball coach. The book says if you ever have a chance to work with someone who’s been a leader, teacher, mentor or made an impact in your industry, it’s not about the money, it’s about you being with that person. For me, that was Tim. I eventually accepted and started in June of 2010.
Pictured (L-R): Matthew West, Michael Martin, Jason Houser
What was that time like?
We were tasked with carrying out the foundation that Connie Bradley had laid out, but in a different way because it was a different time. Tim was let go. Randy Grimmett was our boss at the time and he asked LeAnn Phelan and I if we could co-manage the office together. We did that for a couple years and then she got hired to go work at Sea Gayle. I managed the office for four or five years on my own, which was not the plan, but I got tools for the tool chest that I didn’t have [before]. I learned a lot about fighting battles for the right reasons. We had a great run. We got our market share up to a very healthy level and we were increasing the footprint of ASCAP and our events and awards.
Tell me about starting Endurance Music Group in 2019.
I was really wanting to get back into publishing. Tim Wipperman had introduced me to a guy named Jeremy Tucker. He was at Raven & Company, who was buying a lot of catalogs. We got to know each other over a period of time. When I was deciding what I was going to do, Jeremy started really pursuing me [to start a company with him] and it started making sense. I got the team at ASCAP together and let them know I was leaving. It was very emotional.
I jumped in. I met with Jeremy and [we discussed everything]. I knew I wanted to bring Mark Ahlberg, who had his own admin company. He was a dear friend and someone that I trusted immensely. I wanted him to have a platform that he could grow and have his own impact. Now, Mark and I are partners running Endurance. He’s heavily on the acquisition side, oversees some of the day-to-day operations and also runs his admin company. I oversee the publishing side and we overlap with some of the acquisition opportunities and the different relationships. It’s been crazy.
Pictured (L-R): Michael Martin, Justin Timberlake, Paul Williams, President Jimmy Carter, Trisha Yearwood
What an amazing story. What’s some of the best advice you’ve ever gotten?
Be respectful, be a great listener and don’t be reactive. Being in the Nashville music business, everyone is so close. Even if you don’t agree with someone, or if you’ve been hurt by something, you still have to be respectful. The very situation that may have felt like it destroyed you could be the very thing that creates a new opportunity in a few months.
What would you say is something that people don’t know about you?
I was born in Japan. My dad was in the Air Force and was overseas for seven or eight years. I was six months old when they came back to the States.
Tell me about a moment you’ve had that your kid self would look at and be impressed with.
I had some monumental moments at the ASCAP Awards with artists like Garth Brooks, Alan Jackson and Reba. There was a night that we were honoring Trisha Yearwood. Reba was going to come and honor Trisha and obviously Garth was there. President Jimmy Carter found out that Trisha was being honored and he wanted to come. I got a call from Joe Fisher, who is really close friends with Justin Timberlake, and he said Justin had recently hung out with Garth and Trisha at a Garth show and he wanted to come to the awards.
Fast forward to the awards, I’m backstage with President Carter and Justin Timberlake. The President goes out and we honor Trisha. I walked the President off of the stage. It felt like a mile-long walk. [Laughs] That’s a moment I never thought would happen.
When you look back on your story, how do you feel?
I have been so blessed by great men and women that have poured into my journey. I have been surrounded by great song people and writers. Music is the backdrop to our lives. I’ve been a part of some magical moments. I’ve been able to meet and become friends with writers and artists that I listened to when I was living in Mineral Wells. How insane is that?
George Strait Kicks Off Summer With Two Record-Setting Stadium Shows
/by Lorie HollabaughGeorge Strait performing at Milwaukee’s American Family Field. Photo: Kirsten Schmitt/Brewers
George Strait attracted a record-setting 46,641 attendees to Milwaukee’s American Family Field last Saturday evening, beating Paul McCartney’s 2013 record by over 2,000 people.
The standout show came on the heels of last weekend’s record-setting 63,891 guests at the Ohio Stadium in Columbus for Buckeye Country Superfest.
“We truly have the best fans in the world. There’s nothing like seeing their faces when I walk on stage with my Ace in the Hole band jamming to ‘Deep in the Heart of Texas,'” shares Strait. “The energy they’re giving back to us is indescribable. I’m very grateful to all of the fans who come out to see us for these shows and I can’t wait to see you at the next one.”
“We have been fortunate to have a number of fantastic shows at American Family Field since we opened our doors. Our expectations for George Strait, Chris Stapleton and Little Big Town were very high and those expectations were blown away,” shares Jason Hartlund, Milwaukee Brewers Executive Vice President and Chief Commercial Officer. “We set venue records for concert attendance and gross ticket revenue, among others. The Brewers have worked with Messina Touring Group for over a decade and have always enjoyed the relationship. We look forward to working together on many future shows at American Family Field.”
The concerts have set the stage for a summer of stadium shows to come, including dates in Seattle (June 17), Denver (June 24), Nashville (July 28 & 29) and Tampa (Aug. 5).
2023 Gulf Coast Jam Celebrates Another Successful Sold-Out Event
/by Lorie HollabaughKenny Chesney performs for a sold-out crowd during the 2023 Gulf Coast Jam Presented by Jim Beam.
The 2023 Gulf Coast Jam Presented by Jim Beam wrapped up in Panama City Beach on Sunday night (June 4) after a successful, packed four-day event with a record-setting sellout of 30,000 country fans nightly.
Crowds were rocked by superstars Kenny Chesney, (who stepped up to headline after vocal cord injury forced Morgan Wallen to cancel), Miranda Lambert, Kane Brown and over 20 other artists.
Miranda Lambert performs for a sold-out crowd during the 2023 Gulf Coast Jam Presented by Jim Beam.
“Everything came together for record attendance, four absolutely wonderful days of music,” says Executive Producer Rendy Lovelady. “Our Jammers came from all 50 states and 14 foreign countries, and I hope had as much fun as we did presenting this amazing experience.”
Thursday’s Opening night at Frank Brown Park featured sets by Hardy, Breland, Dylan Marlowe, Them Dirty Roses as well as Jonboy Storey, and Lauren Alaina joined Hardy on stage for a rousing rendition of “One Beer.” Festival Executive Producer Lovelady and COO Mark Sheldon also announced Morgan Wallen as the headliner for the 2024 festival.
Lambert took time off from her “Velvet Rodeo The Las Vegas Residency” to perform a 90-minute set Friday evening, and Justin Moore, Warren Zeiders, Shane Profitt, Dozzi and the first of the top three winners of Wednesday’s Jim Beam Sessions competition rounded out the day of music.
Kane Brown performs for a sold-out crowd during the 2023 Gulf Coast Jam Presented by Jim Beam.
The entire crowd was in overdrive when Chesney and his “I Go Back 2023 Tour” hit the stage Saturday night. Chase Rice and Ernest, who performed earlier that evening, both joined Chesney on stage to trade vocals on his Uncle Kracker duet “When The Sun Goes Down.” Rice brought his nephew on stage to help him sing “Way Down Yonder,” and Bailey Zimmerman’s energetic set followed Lily Rose’s debut at the festival.
Kane Brown closed out the event, after first performing as an opening act at Gulf Coast Jam in 2017. He brought wife Katelyn on stage to perform their No. 1 single “Thank God.” Gabby Barrett turned the spotlight on her singer-songwriter husband, Cade Foehner, who sang a song to his wife. The evening’s lineup also included performances from Dylan Scott, Seaforth, and the third of three Jim Beam Welcome Sessions winners. An afternoon downpour forced the cancelation of MacKenzie Porter’s set.
“We have so many people to thank, in addition to these great artists who came to entertain and 30,000 fans who enjoyed all this beautiful city has to offer,” says Mark Sheldon, Gulf Coast Jam Presented by Jim Beam COO.”Everyone with Panama City Beach and the Tourism Development Council, our first responders from Panama City Beach and Bay County, the local media, all of our staff and volunteers came together to pull off an amazing four days of music!”
Luke Combs, Ray Fulcher Among NMPA Top Gold & Platinum Songwriters For 1st Quarter Of 2023
/by Lorie HollabaughLuke Combs, Ray Fulcher
The National Music Publishers’ Association Gold & Platinum Program has announced the top songwriters for the first quarter of 2023, including the top artist-songwriter and top non-performing songwriter for the period.
Luke Combs was the top artist-songwriter overall with 26 certifications, including the 9X Platinum “Beautiful Crazy,” the 8X Platinum “Hurricane” and the 4X Platinum “Forever After All,” all published by Big Machine. He is now published by Universal Music Publishing Group (UMPG).
The top non-performing songwriter was Ray Fulcher, who scored 12 certifications for songs including “When It Rains It Pours,” “Does to Me” and “Reasons,” published by Sony Music Publishing. He is published by UMPG and River House/Sony Music Publishing.
“Man, kind of speechless to be honest,” says Combs. “All of the credit goes to my fans. They buy and stream the songs and albums, so none of this happens without them. This is honestly an award that should have their names on it. Huge thank you to them and everyone else who made this happen.”
“Pretty unreal to be included in this group, much less to be at the top for any period of time,” says Fulcher. “Thanks to country music fans and supporters for listening to these songs and believing in the music. I’m going to keep writing songs from the heart, and hopefully, y’all keep listening. Thanks!”
NMPA President & CEO, David Israelite, says, “The first quarter of this year was a big moment for country music. Fueled by the success of Luke and Ray, we saw the growth of country dominate the Gold & Platinum certifications. Huge congratulations to Luke Combs for consistently creating timeless music, and to Ray for working with him on such enduring, massive songs.”
During January, February and March, 1,736 Gold, Platinum and Multi-Platinum certifications were awarded. Click here to see the full list of songwriters and publishers honored this quarter.
Bobby Karl Works The Room: Cidny Bullens Celebrates ‘TransElectric’ Book
/by Bobby KarlChapter 672
Nashville songwriter and recording artist Cidny Bullens has a tale to tell, and his memoir doing just that was celebrated at Parnassus Books on Tuesday evening (June 6).
His book is TransElectric: My Life As a Cosmic Rock Star and his appearance at the Green Hills store featured songs, readings and autographing. “This is the story of a rock & roller, a mother and a transgender man….all of them me,” he read.
During the first part of his career, the performer recorded nine albums on United Artists, Casablanca, MCA, Artemis and other labels as “Cindy” Bullens. Among them are the critically applauded Desire Wire (1978), Steal the Night (1979), Cindy Bullens (1989), Somewhere Between Heaven and Earth (1999) and Howling Trains and Barking Dogs (2010). Bullens made the pop charts with the singles “Survivor” (1979) and “Trust Me” (1980).
Along the way, the singer/guitarist earned a Grammy nomination, recorded with Rod Stewart, toured with Elton John, sang on the million-selling Grease movie soundtrack and appeared in Bob Dylan’s “Rolling Thunder Revue.”
His lively memoir contains anecdotes about Elton John (who wrote the book’s Foreward), Peter Wolf & Faye Dunaway, Meatloaf, Dr. John, Ringo Starr and more. Music events and conversations that occurred decades ago are recalled in vivid prose.
“I’ve been keeping a journal for years,” Bullens reported. “It’s a blessing and a curse to have those journals. I could not have written the book as factually without them. They made the book better.”
Cidny Bullens opened the event singing “Little Pieces” with his own, able, acoustic-guitar accompaniment. He then read from TransElectric. The singer-songwriter married and bore children during his rock-star days. He moved to Nashville in 1990 and transitioned from Cindy to Cidny a decade ago.
Following a reading, he again picked up his guitar and offered the melodic “Boxing with God.” Rodney Crowell then conducted a Q&A with the author. “Having written one of these memoirs [2011’s excellent Chinaberry Sidewalks], I know how much work goes into it,” said Crowell.
“I went through a dark night of the soul in writing this book,” replied Bullens. “But the book brought me back to myself.
“It’s a tough time for those in my community,” he continued, referring to the anti-trans legislation being enacted throughout the country. “It’s scary. I am one of the lucky ones.
“There is a whole section about Nashville in the book. Nashville saved my musical self. You guys accepted me for who I was…. a songwriter. I feel very loved tonight.”
His fellow musicians were out in force to show their support. Working the room were Jim Photoglo, Gary Nicholson, Lucinda Williams (who has her own new memoir, Don’t Tell Anybody the Secrets I Told You), Jonell Mosser, Mary Gauthier and Beth Nielsen Chapman.
Industry figures Jewly Hight, Brian Mansfield, Tracy Gershon, Slim Moon (who will soon issue a new Bullens record on his Kill Rock Stars Records label), Tim McFadden, Ann Powers, John Bridges, Bullens’ wife Tanya Taylor Rubinstein and more packed Parnassus.
Bonnie Raitt calls Cidny Bullens, “a firecracker of talent, personality and courage.” That’s a perfect description.
Lindsay Ell Signs With Concord Music Publishing
/by Lorie HollabaughPictured (L-R, top row): Garrett Stephenson (Concord), Matt Turner (Concord), Claire Buchanan (Concord), Courtney Allen (Concord), Jen Hubbard (Concord); (L-R, bottom row): Melissa Spillman (Concord), Lindsay Ell, Brad Kennard (Concord). Photo: Audrey Spillman
Lindsay Ell has signed a worldwide publishing agreement with Concord Music Publishing.
Born in Calgary and influenced by the blues and her love of playing the guitar, Ell started writing songs at age 10. She met guitarist Randy Bachman at age 13, who quickly became her mentor and produced her first album, Consider This, which was released in 2006 when Ell was just 17.
During the next decade, Ell released numerous Top 20 country singles as well as the EP Worth the Wait and the albums Alone (2009) and The Project (2017), which reached No. 4 on Billboard’s country charts. She has a Platinum No. 1 single “What Happens In A Small Town” featuring Brantley Gilbert, as well as two Canadian No. 1s under her belt, “Criminal” and “Want Me Back.” In August 2020, Ell released her solo album Heart Theory, a concept LP about the seven stages of grief, which reached No. 5 in Canada.
Ell has 18 CCMA Awards, and in 2022, stepped into the role of host of Canada’s Got Talent, where she’s recently been nominated for a 2023 Canadian Screen Award for Best Host or Presenter. Ell is currently touring in select U.S. and Canadian markets with Shania Twain on the “Queen of Me” tour, running through June. She returns as host later this year for season two of Canada’s Got Talent, and will also release new music.
“Lindsay is a dream partner for us at Concord!” says Brad Kennard, SVP A&R at Concord Music Publishing in Nashville. “She has the obvious superstar voice, but also world-class songwriting, musicianship, and production skills! We simply can’t wait to work with her across various creative outlets within Concord.”
“It feels amazing to be part of a team that is so engaged in creating a nurturing environment for all their writers,” shares Ell. “Concord is so team-focused and from the moment I walked into that building, I felt like everyone had my back. I’m truly so excited to start this new chapter with this team!”
Jeff Skaggs Appointed As Head Of Milk & Honey Nashville [Exclusive]
/by LB CantrellJeff Skaggs
Milk & Honey Music + Sports (M&H) has appointed Nashville-based industry veteran Jeff Skaggs as its new Head of Milk & Honey South.
Skaggs is charged with signing talent and working closely with Milk & Honey’s songwriter and producer roster as well as the company’s other offices like Los Angeles and London. He reports to the company’s CEO & Founder, Lucas Keller, GM and M&H Partner Nic Warner and M&H’s Partner and multi-Platinum, Grammy-winning songwriter and producer David Hodges. Skaggs will also be focused on running Top 5 Music publishing, a joint-venture between M&H and Hodges.
Since M&H’s inception, its clients have had hits with Carrie Underwood, Dan + Shay, Keith Urban, Kane Brown, Kelsea Ballerina, Lady A, Maren Morris, Morgan Wallen, Rascal Flatts, Vince Gill and more. Today nearly 100 songwriter, producer and artist clients call Milk & Honey home.
“Jeff Skaggs is a longtime friend of ours, and friend of Nashville—we look forward to having him at the helm of Milk & Honey South as we manage and publish great writers and producers, and continue building a great office in pop and country music,” says Keller.
Skaggs comes to M&H after working as VP of Creative at Creative Nation, where he oversaw the company’s creative team, managing and developing the songwriting careers of proven hitmakers, producers and artists such as Luke Laird, Barry Dean, Lori McKenna, Tyler Johnson and more.
Prior to Creative Nation, Skaggs was instrumental in starting and building the Kobalt Nashville office alongside Whitney Daane, who he had worked with at her independent publishing company, Mighty Isis Music. His other career stops include time at DreamWorks Records and UMG. Skaggs is also a graduation of Middle Tennessee State University’s Music Business program.
“Jeff was one of my first relationships in music while he was at Kobalt working closely with David Hodges, it was such a valuable/educational relationship for me in the early years of my career. So the opportunity to work closely again and at this capacity is something I’m very excited about. Looking forward to the years ahead and feel very fortunate to have him here with us all at M&H,” shares Warner.
Hodges adds, “Jeff was one of the first publishers I knew in Nashville, and I was blown away by his understanding of where the industry was and where it was going. As a true song man, I could always trust his ears and his ability to find and cultivate talent. I couldn’t be happier to be working with him again in this new chapter of Milk & Honey Nashville.”