Beth Laird
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.
In 2011, Beth Laird co-founded Creative Nation, an independent music publishing, management and record company in Nashville with her husband, two-time Grammy winning songwriter and producer, Luke Laird. Today, the company boasts a roster that includes Barry Dean, Lori McKenna, Steve Moakler, Kassi Ashton, Travis Wood, Jonathan Hutcherson, Derek Bahr, Mia Mantia and Oscar Charles. Creative Nation has celebrated more than 70 Billboard Country Radio singles, over 20 of which have hit No. 1.
Beth started her music business career at BMG Nashville and spent time at Windswept Music Publishing and BMI before forming Creative Nation.
MusicRow: Where did you grow up?
I grew up in Winchester, Tennessee. It is an hour and a half from here but a world away.
Were you into music as a kid?
I was really into music. I came to Nashville to go to Starwood, Dancin’ In The District and things like that, but I didn’t know that there was a music business. I certainly didn’t know that if you weren’t musical, you could work on the business side with music people. I also did not know that there were actual music business degrees at MTSU and Belmont.
Pictured (L-R): Little Big Town’s Phillip Sweet, Kimberly Schlapman, Jimi Westbrook and Karen Fairchild; Natalie Hemby; Luke Laird; Barry Dean; Beth Laird
How did you discover the music business?
I went to the University of Alabama. I didn’t know what I wanted to do, but I knew I loved working with people, so communication seemed like the best major for me. The summer after my freshman year, my old babysitter Regina Stuve ran into my mom in the grocery store in Winchester when she came home for a weekend. She asked what I was doing and my mom said I was coming home for the summer to get a job. Regina said, “Why don’t you move her to Nashville and have her intern for me?” So my mom told me, “You’re going to go to Nashville and intern with your old babysitter, Regina, for free for the summer.”
She negotiated a deal at the extended stay hotel so that I could stay three nights in Nashville and then go home on the weekends. I walked into Capitol Records and Regina was the head publicist there. That is the day that I found out about the music business.
That is awesome. What did you do there?
Regina and I became the best of friends. It was the best summer and honestly, that is when I fell in love with the music business. I also realized I did not want to be a publicist, but I saw business people working behind the scenes helping creative people and it really opened my eyes to using what your skillset is to help people who are creative fulfill their dreams. That changed my whole world.
I asked Regina if she would let me move back the summer after my junior year of college to intern again. The summer after my junior year, I actually shared a bedroom with my best friend here in town who was also doing an internship here. We were living with one of my high school friends who was going to Vanderbilt. I would just do anything to get to come back. That summer I realized that this is a lot about relationships, so I really tried to get to know everyone at Capitol. I made some great relationships and then really tried to stay in touch when I went back to Alabama.
Pictured (L-R): Beth Laird, Luke Laird, Kacey Musgraves, Natalie Hemby, Shane McAnally, Brett Eldredge, Barry Dean
What happened after graduation?
I graduated and I moved here. I couldn’t get a job in the music business because, as you know, they don’t post jobs online. A couple of my sorority sisters worked at Nashville Bun Company and Bun Lady Transport, which is a manufacturing bakery that makes English muffins for McDonald’s and Pepperidge Farm. Ironically, they were looking for a front desk logistics manager on the shipping side and they asked if I wanted to interview. I interviewed and I got that job. I was so excited just to have a job so I could be in Nashville. I was booking back hauls with the refrigerated truck drivers, running all the logistics, answering the phone and being an assistant.
I always kept in touch with Regina and I told her to let me know if there was anything that I could do to help. After I had been here for about a year, Regina’s husband Ron Stuve took over the old BMG Music Publishing and the receptionist left. So I applied for that job and I’m so grateful I got it, because the day I went to work I realized that there were people graduating from Belmont and MTSU with degrees. That really set me on fire to learn a lot in a really short amount of time because I didn’t have those relationships they were coming in with, as well as all those internships and a degree in music business.
Pictured (L-R): Beth Laird, Luke Laird, Eric Church, Kelsey Granda
Tell me about that time at BMG.
I was so grateful because I realized that that was my chance and that I really needed to learn quickly. I tried to go out every night and meet people. I assisted everyone in the office to learn from them what all the different jobs were. That job is the reason that I know all the different jobs at a publishing company, and I feel like it really helped me when we started Creative Nation.
That’s also where I met [my future husband] Luke. He was a new songwriter that hadn’t had any cuts yet. I was the receptionist. We all had a crew that ran around together and that was really fun.
What was next for you?
I was approached by Steve Markland, who was running Windswept Music Publishing at the time. He needed a song-plugger, so he hired me. That was so fun. That whole crew was amazing and I learned so much. Steve and Cliff [Audretch III] did a great job of bringing me along and helping to teach me what an independent music publisher is.
I had a lot of friends at the time who were older than me and were friends with Jody Williams. I heard about him all the time. They said, “You really should meet Jody. You’d really like him.” I probably had more guts then, but I just randomly reached out to Jody and said, “We have a lot of mutual friends and I would love to meet you.” He was nice enough to meet me. He says now that I asked him to be my mentor during that first meeting, but I don’t remember that. If I did, I’m really proud of myself—it turned out really well so I’m glad I did that. [Laughs]
Pictured (L-R): Mike O’Neill, Beth Laird, Luke Laird, Scott Cutler, Jody Williams
Then you started working for Jody at BMI.
He told me that BMI was looking for a female writer rep. I knew I was under-qualified and I didn’t know what that job was. I just knew I liked songwriters and publishing. We kept meeting and he had offered the job to someone who had more experience and she turned it down because she had another job she loved. He came back to me and asked me if I would like to hear more about the job and I said, “I love publishing, I don’t think I want to leave.” He said, “Do you know what this job is?” and I said, “No.” [Laughs] He told me what the job was and I was like, “Wow, this is actually my next step. I would really love this because I would get to work with all the songwriters and all the publishers.”
I’m grateful Jody gave me a shot. I was the youngest and the only female rep on the team, so again, I went in feeling under-qualified and I had a lot to learn. I worked for Jody for five years and it was an incredible experience. He is still my mentor today. He’s just one of a kind and he taught me so much about music, life and business. He really helped me understand the ins and outs of the business side, but was always encouraging me to keep my passion for music and my passion for people.
What led up to starting Creative Nation?
I loved my job at BMI. That’s where I made tons of connections with everyone in town—particularly with publishers and writers—but I also made a lot of connections out of town because I was able to work in a lot of other genres as well. At the same time, I took on more than I had energy and time to do, so I was very overwhelmed by the end of it. I’m not someone who’s good at letting people down and I always wanted to help and do as much as I could, realizing that I really was taking care of all genres and so many writers. I just wasn’t capable, so that was really getting to me.
Luke was in a publishing deal at Universal because BMG had folded into Universal. He was coming to the end of his deal. He had his admin rights back, he was recouped and had songs on the chart, which usually just does not happen in that way. I’m really grateful to Derek Crownover because he really helped, and Luke was really smart about the deals he did instead of just taking more money.
Pictured: Creative Nation wins their first BMI Award
So me, Luke and Kella Farris all met. She said to Luke, “Your deal is coming up and you could sell your catalog. You could sell your copyrights and get some money for them.” If you’re lucky enough to be able to do that, that money is basically songwriter retirement a lot of times. We were shocked. She looked at Luke and said, “What do you want to do next?” Luke said, “I want Beth to be my creative person, but she won’t leave Jody at BMI.”
Kella said, “Beth, what are you going to do next at BMI?” In that moment, I realized my title would change, but my job never would, and I was really tired. So I immediately thought I have to leave my job and it’s time for something else.
What was starting a company on your own like for you and Luke?
We decided we would do a five year business plan. We would sell Luke’s catalog and put money in the bank for five years. We wanted to do it ourselves and set up the company the way we really wanted a publishing company to be. We decided at the end of those five years, we could make a call [on what to do next.]
Pictured (L-R): Scott Cutler, Tyler Johnson, Beth Laird
There were independent publishers out of town that had reached out to us about us being their Nashville office. We talked it through, but we just felt like we would still be using their name, their culture and their deals. Luke said, “If all these people who don’t really know us are willing to fund our company to own 50% of it, we should double down bet on ourselves.” Another thing he said was, “Worst case scenario, we’re going to be trying to get these same jobs back.”
We knew that this was a moment in time opportunity that might not ever come around again. It just felt like the right time. Most people I talked to about it were supportive, but a lot of people gave me the advice of, “Don’t start a company with your husband and don’t use your own money in the music business.” I understand both, but for us, it has been so great. I think we’re an exception to the rule in that because we both do two completely different jobs. We’re really different in what we do every single day and it compliments each other.
We also felt like if we used our own money to create the culture we wanted and the company we wanted, then by the time we got to five years, if we needed to, we could take other people’s money, but it would already be established what we were about. We really pulled on our experience from the previous years and tried to build the company we wanted to work for. We grew small. We started November of 2011 at the kitchen table.
Now you have 10 writers, a well-rounded team and two buildings on Music Row. What was an affirming moment from the beginning?
Two things come to mind. I was having some imposter syndrome and I told Luke maybe I should just call Jody and ask him if he’ll hire me back. I was just going through a real season of doubt. I went to my first plugger group pitch meeting with Todd Ramey. The first song I played was “Pontoon.” When Little Big Town loved that song, recorded it and it took on a complete life of its own, that moment reaffirmed to me that I should quit worrying about if I was capable, what people would think and if I could handle it, and just focus on what I knew. [It told me I should] put my head down and focus on booking great co-writes, pitching songs and taking care of these writers strategically.
Another huge moment we had is when we had a No. 1 song and I got to go on stage as a BMI publisher at the BMI Awards and Jody handed me an award as a publisher. I had been the one at BMI who handed up all the awards to Jody for him to give out. That was such a moment.
Pictured (L-R): Hailey Whitters, Emily Furman, Lori McKenna, Beth Laird
That’s amazing. What is the most fulfilling part of your job?
The most fulfilling part of my job is that I get to help songwriters dreams come true. Truly the thing I love the most is when a songwriter tells me a dream they have or something they want to accomplish and we start working on it.
What’s a great piece of advice you’ve received?
One piece of advice that I wish I would’ve known earlier was to pay attention to things that give you energy that you do really well and quickly—that’s your skillset and that’s what you’re good at. Pay attention to things that drain you and make you feel very tired—those are things that are not your skillset. You can do them and you always have to do a little of both, but if you can try to get to a place where you are eventually are in a 75-25 or an 80-20 split, you’ll enjoy what you do and you set yourself up for success.
Another piece of advice was something Jody told me. I used to be one that would work myself to death and then crash. I would get sick and have to take time off. I wasn’t good at balance and I was not good at taking care of myself. Jody was the first one to say, “You’re good at this job. I want you to be able to do it for a long time, so you can’t keep working like this. You’re going to need to learn how to take breaks or you’re going to get completely worn out and want to leave the business.” That changed the way I thought about doing a good job and longevity in this business.
Justin Levenson Joins OpenPlay As Professional Services Product Lead
/by Lorie HollabaughJustin Levenson
Nashville-based Justin Levenson has been named Professional Services Product Lead at OpenPlay, one of the music industry’s leading asset management platforms.
In his new role, Levenson will work with OpenPlay’s engineering team, clients, and other stakeholders to ensure the platform is operating properly and meeting client needs, help design new features to improve functionality, and more.
A 20-plus-year music and entertainment industry veteran, Levenson joined SESAC in 2001, spending 15 years working in both the Licensing and Writer/Publisher Relations departments and helping engineers build and launch a predictive analytics project that streamlined the company’s licensing process. After rising to Sr. Director, Licensing Operations at SESAC, Levenson joined Big Machine Label Group in 2019, where he built and led the company’s Label Resources team, focusing on process improvement, technology implementations, and harnessing the power of the label group’s global consumption and finance data. He later joined Utopia Music as Commercial Director, Financial Services/Sr. Product Manager, where he led a team developing an industry-leading advance and artist platform, automating statement ingestion and simplifying revenue tracking.
Levenson got his start as a music educator and freelance musician, teaching percussion at the high school level while working with artists and songwriters, including Luke Bryan, Gary Burr, Marcus Hummon, Lionel Richie, Victoria Shaw, and Don Schlitz. He also performed on several award-winning recordings, including the Grammy-winning Songs From The Neighborhood: The Music of Mr. Rogers featuring Donna Summers. In addition, Levenson is the author of the book You Are Stronger Than You THINK: How to Awaken the Superhero Within.
“Justin is an incredible addition to the OpenPlay family, and his experience leading teams across every facet of the industry will be a major asset as we continue to bring our products and services to more customers,” says Edward Ginis, Co-Founder and Chief Client Officer at OpenPlay. “He’s one of the most passionate and outspoken product evangelists in our space when it comes to empowering artists and rightsholders with the tools they need today to prepare for what the industry brings tomorrow.”
“Being a part of the OpenPlay family is a professional dream come true, and I am excited and grateful to have the opportunity to build on our continued success, developing impactful products and services that empower everyone in the global entertainment and music industries with the power of OpenPlay,” shares Levenson.
Music Health Alliance Hosts Sold-Out ‘Coulda, Shoulda, Woulda’ Event
/by Lorie HollabaughPictured (L-R): Hillary Lindsey, Lori McKenna and Liz Rose. Photo: Steve Lowry
Music Health Alliance (MHA) hosted its second “Coulda, Shoulda, Woulda” event on Tuesday night (April 25) at City Winery, raising $130,000 to support the Nashville-based nonprofit’s free healthcare programs and life-saving advocacy services.
Pictured (L-R): AE Entertainment’s Ashley Eicher, Amazon’s Courtney Ross, MHA’s Tatum Hauck Allsep, Liz Rose, Lori McKenna and Hillary Lindsey. Photo: Steve Lowry
The intimate evening presented by Amazon was headlined by The Love Junkies (Hillary Lindsey, Lori McKenna and Liz Rose), hosted by Ashley Eicher and included guitars provided by Gibson for a live auction. The trio of hitmakers traded stories, songs and laughs during the special sold-out evening.
“Wow! We are so incredibly humbled and grateful for the overwhelming success of our sold-out annual ‘Coulda, Shoulda, Woulda event,'” said Tatum Hauck Allsep, Founder & CEO, Music Health Alliance. “What an unforgettable, emotionally charged, one-of-a-kind peek behind the curtain of songwriting’s very best. Thanks to the immense talent and generosity of these three women, we received vital support of our mission to Heal The Music.”
For every dollar donated, MHA provides $30 in life-saving healthcare resources to Heal The Music. The team assists music industry professionals with an entire spectrum of healthcare needs, and in its first 10 years, MHA has provided free healthcare advocacy and support to over 20,000 clients in 50 states, saving more than $100 million in healthcare costs for the music community nationwide.
Date Set For 2023 Nashville Songwriters Hall Of Fame Gala
/by LB CantrellThe Nashville Songwriters Hall of Fame will induct a new class of songwriters during its annual gala on Wednesday, Oct. 11 at the Music City Center.
Nominees for this year’s induction will be announced in late spring, with the Class of 2023 selections revealed later this summer.
The Nashville Songwriters Hall of Fame inducted six new members at its 52nd Anniversary Gala in October, including Shania Twain, Hillary Lindsey, Gary Nicholson, David Malloy, Steve Wariner and the late Chips Moman.
Megan Moroney Earns First MusicRow No. 1
/by LB CantrellMegan Moroney tops the MusicRow CountryBreakout Radio Chart this week with her debut smash single, “Tennessee Orange.”
Co-written with with Ben Williams, David Fanning and Paul Jenkins, the track helped propel Moroney to stardom. It appears on her Sony Music Nashville/Columbia Records debut album Lucky, out next Friday (May 5).
Moroney recently brought her “Pistol Made Of Roses Tour” to a sold-out crowd at Exit/In in Nashville. She is also celebrating her first ACM nomination for New Female Artist of the Year after taking home Breakthrough Female Video of the Year at the CMT Music Awards earlier this year for “Tennessee Orange.”
Click here to view the latest edition of The MusicRow Weekly containing the MusicRow CountryBreakout Radio Chart.
Fan Fair X Lineup Announced For CMA Fest 2023
/by Liza AndersonWith less than 50 days until its 50th anniversary celebration, CMA Fest has announced the Close Up Stage and Spotlight Stage lineups for Fan Fair X, the fan experience located inside Music City Center.
Fan Fair X will take place from 10 a.m. to 5 p.m. on Thursday, June 8 through Saturday, June 10, as well as 10 a.m. to 4 p.m. on Sunday, June 11, with venue doors opening at 9 a.m. each day. The experience will include performances, celebrity panels, a vendor marketplace, games, partner activations and meet-and-greets.
Wynonna Judd will take the CMA Close Up Stage as Artist of the Day at 10:45 a.m. on Sunday, June 11, joining previously announced Artists of the Day Dierks Bentley (June 8), Reba McEntire (June 9) and Brothers Osborne (June 10).
Hitting the acoustic Spotlight Stage will be Christiana Alaire, Pryor Baird, Nate Barnes, Laci Kaye Booth, Brennley Brown, Jillian Cardarelli, CB30, Conor Clemmons, Julia Cole, Karley Scott Collins, Keller Cox, Karissa Ella, Ian Flanigan, Flat River Band, HunterGirl, Dillon James, Robby Johnson, James Johnston, Alexandra Kay, AJ Kross, Roberta Lea, Grace Leer, O.N.E The Duo, On The Outside, Harper O’Neill, Fredy P, Landon Parker, Jenna Paulette, Jarvis Redd, Charly Reynolds, Jordan Rowe, Loren Ryan, Sacha, Sophia Scott, Shaylen, Chloe Styler, MaRynn Taylor, The Chattahoochies, Track45, EJ Vickers and Julie Williams.
Fan Fair X meet-and-greets give music lovers the chance to meet their favorite country artists, both rising and established. The hour-long sessions are first-come, first-served with hundreds taking place throughout the four days and more to be added the last week of May.
Entry into Fan Fair X is included with all CMA Fest four-night stadium passes. For more information, click here.
DISClaimer Single Reviews: Colbie Caillat Releases ‘Dreamy’ New Single
/by Robert K OermannAs we head into springtime, Music City’s country artists have a breezy soundtrack for us.
Topping the playlist in this edition of DisClaimer is Colbie Caillat. She came to pop fame with “Bubbly” back in 2007, and during the successive decade issued a string of hit “alternative A/C” tracks (”Fallin’ for You,” “I Do,” “Realize,” “Try,” etc.). In 2018, she turned toward country with her group Gone West. Now she has this week’s country Disc of the Day.
Caillat was not without challengers. I was particularly smitten with the new tracks by Melonie Cannon, Cattie Offerman, Brandy Clark and Danielle Bradbery. K. Michelle also sounds promising.
I have been grooving on Jamie Floyd’s sounds for several seasons. Years ago, she was a cool pop-rocker. Today, she wins a DisCovery Award for being a new country artist.
BREI CARTER / “Straight Up Country Crazy”
Writers: Brei Carter/Ken Matthiesen/Blaine Younger/Rachel Seiler; Producer: Curt Ryle; Label: Brown Lee Entertainment/Orchard
– What are you waiting for? Get up on your feet; Carter is summoning you to the dance floor. The “gang” chorus and pounding rhythm let you know she’s aiming for an anthem here.
CATIE OFFERMAN / “I Just Killed a Man”
Writers: Catie Offerman/Ryan Beaver/Joe Clemmons/Jessie Jo Dillon/Benjy Davis; Producer: Dann Huff; Label: MCA Nashville
– Offerman aches with guilt on this stately ballad. She’s dumped the guy she doesn’t love anymore, and now she has his heartbreak on her hands. Very cool and very different.
COLBIE CAILLAT / “Worth It”
Writers: Colbie Caillat/Liz Rose/AJ Pruis; Producer: Jamie Kenney; Label: Blue Jean Baby Records
– Pop star Caillat has always had country tendencies. On this power ballad, she realizes the relationship is kaput, but doesn’t regret a thing. “I know it wasn’t perfect, but loving you was worth it,” she sings in the hooky refrain. The echoey production atmosphere gives the whole thing a dreamy quality.
ELLA LANGLEY & KOE WETZEL / “That’s Why We Fight”
Writers: David Garcia/Brett Tyler/Ella Langley/Joybeth Taylor; Producer: Will Bundy; Label: Columbia Records/Sony Music Nashville
– It sounds like ‘70s rock, and it is over produced.
TENILLE TOWNES / “Landslide”
Writer: Stevie Nicks; Producers: Tenille Townes/Jaxon Hargrove; Label: Sony
– Canadian superstar Townes (she’s the reigning Country Entertainer of the Year there) is issuing a stripped-down, acoustic, live set of tunes. The Train Track Worktapes is an EP consisting mainly of originals, but she also does a cool, folkie version of this Stevie Nicks classic. I’m a huge fan of both of those ladies.
BRANDY CLARK / “She Smoked in the House”
Writer: Brandy Clark; Producer: Brandi Carlile; Label: Warner Records
– How great is it that one of our own has a musical on Broadway? Two of our own, actually, since Brandy and Shane McAnally are the co-writers of the songs in Shucked. Anyhow, Brandy also continues her winning ways as an artist. Ahead of her third album, she has issued “Buried” as a single and this lively character portrait as an advance track. The production ripples around her as she unspools the delightful details of her grandma’s personality. No one, but no one, writes a song like Brandy Clark.
JAMIE FLOYD / “I Never Want to See You Again”
Writers: Jamie Floyd/Jimmy Thow/Madi Diaz; Producers: Jamie Floyd /Jimmy Thow; Label: JF
– Floyd is a veteran Nashville songwriter who has penned tunes for Kelly Clarkson, Kesha, Ingrid Andress, Brian Wilson, Sturgill Simpson, Ronnie Dunn, Ashley Monroe, Miranda Lambert, Cassadee Pope, Ty Herndon and more. This bopping, danceable ditty is ear candy on several levels. The melody is enchanting. The production shines like crystal beads. Her soprano-leaping vocal is a delight. The songwriting is stellar: “I never want to see you again, until I see you again,” she warbles as she contemplates an up-and-down relationship while notes sparkle like glitter around her. A lovely record.
MELONIE CANNON / “Way Down Deep”
Writers: Max D. Barnes/Max T. Barnes; Producers: Buddy Cannon/Butch Carr; Label: MC
– Those breathtaking harmony vocalists surrounding Cannon belong to those hillbilly angels, Doyle Lawson and Jamey Johnson. If that isn’t enough to make you listen, dig this: It’s part of a tribute album to the late, great Vern Gosdin. Stop what you’re doing and cleanse your country-loving soul with a listen to this mini masterpiece. The album also includes contributions from Alison Krauss, Willie Nelson, Vince Gill, Cody Jinks, Jim Lauderdale, Sidney Cox and more. Sign me up for a copy.
ROBYN OTTOLINI / “Match for My Memory”
Writers: Robyn Ottolini/Emily Reid; Producers: Mark Schroor/Erik Fintelman; Label: Empire
– Ottolini issues a new collection tomorrow that she’ll be promoting on the road with Shania Twain this summer. Its advance track is a passionate, throbbing vocal performance that soars on the choruses, and is just as potent on the verses, thanks to a pulsing rhythmic undertow. She’s cautioning her ex that he’ll never escape the pull of his memories of her.
DANIELLE BRADBERY / “Monster”
Writers: Danielle Bradbery/Lauren LaRue/Sam De Jong; Producer: Nathan Chapman/Derek Wells; Label: Big Machine
– We all have fears and anxieties we keep hidden. Bradbery takes hers out into the open in this moody, vulnerable song. Both the therapeutic song and the layered production are complex, which makes repeated listening all the more rewarding. A winner. And if you haven’t done so yet, go ahead and be totally charmed by her feisty single “A Special Place.”
K. MICHELLE & JUSTIN CHAMPAGNE / “Country Love Song”
Writers: Andrew P. Jackson Jr/Brooke Payne/Jeff Dyson/Justin Tyler Champagne/Kimberly Pate/Tredell Rener; Producer: none listed; Label: Justin Champagne
– He’s a hip hopper. She’s an R&B hit maker (and former cast member of VH-1’s Love & Hip Hop: Atlanta). They’re both “going country” on this outing. He is top billed, but the record really comes alive when she sings. In the “who wore it best” contest, she’s the country winner. I understand that we are to expect more to come from K. Michelle as a nouveau-country artist.
ERIN KINSEY / “Always Never”
Writers: Erin Kinsey/Sarah Buxton/Josh Kerr; Producer: Josh Kerr; Label: RECORDS Nashville
– The sound of young heartbreak: kinda innocent, kinda wounded, kinda sweet. Pretty, but not terribly memorable. For a fuller realization of what this artist is about, check out last year’s upbeat single “I Got You.”
Lee Brice Earns First-Ever Daytime Emmy Nomination
/by LB CantrellLee Brice. Photo: Courtesy of Believe Entertainment Group
Lee Brice has scored his first-ever Daytime Emmy Award nomination for a song he wrote with Billy Montana and Adam Wood, “Pocket Change.” The tune, which was featured on the PBS Primetime series, American Anthems, is nominated for Best Original Song.
American Anthems, produced by Believe Entertainment Group and NBCU, honors everyday heroes who have overcome adversity and go on to make lasting positive impacts in their communities. Brice’s “Pocket Change” mirrors the inspiring story of Ashley Ruiz—a “hope dealer” that pays for laundry services in low-income communities.
Pictured (L-R): Lee Brice and Ashely Ruiz. Photo: Courtesy of Believe Entertainment Group
“What can I say? I’m completely stunned,” says Brice. “I never once thought I’d be an Emmy nominee! I had a great time working with American Anthems and meeting such an inspiring person like Ashley really puts life and everything we take for granted into perspective. On behalf of myself, Billy and Adam, I just want to say thank you so much for this incredible recognition.”
The Daytime Emmy Awards telecast will air live on June 16 on CBS and Paramount +.
First Round Of Performers Announced For 58th ACM Awards
/by Lorie HollabaughThe first round of performers has been revealed for the upcoming 58th Academy of Country Music Awards on May 11 in Frisco, Texas.
Jason Aldean, Kane Brown, Luke Combs, Cody Johnson, Miranda Lambert, Jo Dee Messina, Ashley McBryde, Dolly Parton, Jelly Roll, Cole Swindell, Keith Urban, Morgan Wallen, The War And Treaty, Lainey Wilson, and Bailey Zimmerman will all perform during the show, live from the Ford Center.
Show host Dolly Parton will close out the show with the world premiere of the lead single from her anticipated upcoming new rock album.
Previous Amazon Music Breakthrough Artists Gabby Barrett and Breland will introduce Bailey Zimmerman as the next Breakthrough Artist from Amazon Music. Breakthrough is the emerging artist program from Amazon Music, aimed at amplifying the best new talent and championing them at key moments early in their careers.
Additional performers joining the commercial-free night of music will be announced in the coming weeks. The ACM Awards will be free to stream live for a global audience across 240+ countries and territories exclusively on Prime Video and the Amazon Music channel on Twitch. The full re-broadcast will stream the next day for free on Amazon Freevee.
More Performers & Presenters Join Willie Nelson’s 90th Birthday Concert
/by Lorie HollabaughBooker T. Jones, Buddy Cannon, Daniel Lanois, Dave Matthews, Dwight Yoakam, Jamey Johnson, Emmylou Harris, Gary Clark Jr., George Strait, Jack Johnson, Kris Kristofferson, Lily Meola, Rodney Crowell, Shooter Jennings, Stephen Stills and Waylon Payne are now slated to perform during the two-night birthday celebration.
Chelsea Handler, Ethan Hawke, Gabriel Iglesias, Helen Mirren, Jennifer Garner, Owen Wilson and Woody Harrelson have also all been added as presenters.
They join previously announced performers Nelson, Allison Russell, Beck, Billy Strings, Bobby Weir, Charley Crockett, Chris Stapleton, Edie Brickell, Leon Bridges, Lukas Nelson, Lyle Lovett, Margo Price, Miranda Lambert, Nathaniel Rateliff, Neil Young, Norah Jones, Orville Peck, Particle Kid, Rosanne Cash, Sheryl Crow, Snoop Dogg, Sturgill Simpson, The Avett Brothers, The Chicks, The Lumineers, Tom Jones, Tyler Childers, Warren Haynes and Ziggy Marley.
Each night will be a unique experience, featuring once-in-a-lifetime performances and unforgettable collaborations to be revealed at the show.
My Music Row Story: Creative Nation’s Beth Laird
/by LB CantrellBeth Laird
In 2011, Beth Laird co-founded Creative Nation, an independent music publishing, management and record company in Nashville with her husband, two-time Grammy winning songwriter and producer, Luke Laird. Today, the company boasts a roster that includes Barry Dean, Lori McKenna, Steve Moakler, Kassi Ashton, Travis Wood, Jonathan Hutcherson, Derek Bahr, Mia Mantia and Oscar Charles. Creative Nation has celebrated more than 70 Billboard Country Radio singles, over 20 of which have hit No. 1.
Beth started her music business career at BMG Nashville and spent time at Windswept Music Publishing and BMI before forming Creative Nation.
MusicRow: Where did you grow up?
I grew up in Winchester, Tennessee. It is an hour and a half from here but a world away.
Were you into music as a kid?
I was really into music. I came to Nashville to go to Starwood, Dancin’ In The District and things like that, but I didn’t know that there was a music business. I certainly didn’t know that if you weren’t musical, you could work on the business side with music people. I also did not know that there were actual music business degrees at MTSU and Belmont.
Pictured (L-R): Little Big Town’s Phillip Sweet, Kimberly Schlapman, Jimi Westbrook and Karen Fairchild; Natalie Hemby; Luke Laird; Barry Dean; Beth Laird
How did you discover the music business?
I went to the University of Alabama. I didn’t know what I wanted to do, but I knew I loved working with people, so communication seemed like the best major for me. The summer after my freshman year, my old babysitter Regina Stuve ran into my mom in the grocery store in Winchester when she came home for a weekend. She asked what I was doing and my mom said I was coming home for the summer to get a job. Regina said, “Why don’t you move her to Nashville and have her intern for me?” So my mom told me, “You’re going to go to Nashville and intern with your old babysitter, Regina, for free for the summer.”
She negotiated a deal at the extended stay hotel so that I could stay three nights in Nashville and then go home on the weekends. I walked into Capitol Records and Regina was the head publicist there. That is the day that I found out about the music business.
That is awesome. What did you do there?
Regina and I became the best of friends. It was the best summer and honestly, that is when I fell in love with the music business. I also realized I did not want to be a publicist, but I saw business people working behind the scenes helping creative people and it really opened my eyes to using what your skillset is to help people who are creative fulfill their dreams. That changed my whole world.
I asked Regina if she would let me move back the summer after my junior year of college to intern again. The summer after my junior year, I actually shared a bedroom with my best friend here in town who was also doing an internship here. We were living with one of my high school friends who was going to Vanderbilt. I would just do anything to get to come back. That summer I realized that this is a lot about relationships, so I really tried to get to know everyone at Capitol. I made some great relationships and then really tried to stay in touch when I went back to Alabama.
Pictured (L-R): Beth Laird, Luke Laird, Kacey Musgraves, Natalie Hemby, Shane McAnally, Brett Eldredge, Barry Dean
What happened after graduation?
I graduated and I moved here. I couldn’t get a job in the music business because, as you know, they don’t post jobs online. A couple of my sorority sisters worked at Nashville Bun Company and Bun Lady Transport, which is a manufacturing bakery that makes English muffins for McDonald’s and Pepperidge Farm. Ironically, they were looking for a front desk logistics manager on the shipping side and they asked if I wanted to interview. I interviewed and I got that job. I was so excited just to have a job so I could be in Nashville. I was booking back hauls with the refrigerated truck drivers, running all the logistics, answering the phone and being an assistant.
I always kept in touch with Regina and I told her to let me know if there was anything that I could do to help. After I had been here for about a year, Regina’s husband Ron Stuve took over the old BMG Music Publishing and the receptionist left. So I applied for that job and I’m so grateful I got it, because the day I went to work I realized that there were people graduating from Belmont and MTSU with degrees. That really set me on fire to learn a lot in a really short amount of time because I didn’t have those relationships they were coming in with, as well as all those internships and a degree in music business.
Pictured (L-R): Beth Laird, Luke Laird, Eric Church, Kelsey Granda
Tell me about that time at BMG.
I was so grateful because I realized that that was my chance and that I really needed to learn quickly. I tried to go out every night and meet people. I assisted everyone in the office to learn from them what all the different jobs were. That job is the reason that I know all the different jobs at a publishing company, and I feel like it really helped me when we started Creative Nation.
That’s also where I met [my future husband] Luke. He was a new songwriter that hadn’t had any cuts yet. I was the receptionist. We all had a crew that ran around together and that was really fun.
What was next for you?
I was approached by Steve Markland, who was running Windswept Music Publishing at the time. He needed a song-plugger, so he hired me. That was so fun. That whole crew was amazing and I learned so much. Steve and Cliff [Audretch III] did a great job of bringing me along and helping to teach me what an independent music publisher is.
I had a lot of friends at the time who were older than me and were friends with Jody Williams. I heard about him all the time. They said, “You really should meet Jody. You’d really like him.” I probably had more guts then, but I just randomly reached out to Jody and said, “We have a lot of mutual friends and I would love to meet you.” He was nice enough to meet me. He says now that I asked him to be my mentor during that first meeting, but I don’t remember that. If I did, I’m really proud of myself—it turned out really well so I’m glad I did that. [Laughs]
Pictured (L-R): Mike O’Neill, Beth Laird, Luke Laird, Scott Cutler, Jody Williams
Then you started working for Jody at BMI.
He told me that BMI was looking for a female writer rep. I knew I was under-qualified and I didn’t know what that job was. I just knew I liked songwriters and publishing. We kept meeting and he had offered the job to someone who had more experience and she turned it down because she had another job she loved. He came back to me and asked me if I would like to hear more about the job and I said, “I love publishing, I don’t think I want to leave.” He said, “Do you know what this job is?” and I said, “No.” [Laughs] He told me what the job was and I was like, “Wow, this is actually my next step. I would really love this because I would get to work with all the songwriters and all the publishers.”
I’m grateful Jody gave me a shot. I was the youngest and the only female rep on the team, so again, I went in feeling under-qualified and I had a lot to learn. I worked for Jody for five years and it was an incredible experience. He is still my mentor today. He’s just one of a kind and he taught me so much about music, life and business. He really helped me understand the ins and outs of the business side, but was always encouraging me to keep my passion for music and my passion for people.
What led up to starting Creative Nation?
I loved my job at BMI. That’s where I made tons of connections with everyone in town—particularly with publishers and writers—but I also made a lot of connections out of town because I was able to work in a lot of other genres as well. At the same time, I took on more than I had energy and time to do, so I was very overwhelmed by the end of it. I’m not someone who’s good at letting people down and I always wanted to help and do as much as I could, realizing that I really was taking care of all genres and so many writers. I just wasn’t capable, so that was really getting to me.
Luke was in a publishing deal at Universal because BMG had folded into Universal. He was coming to the end of his deal. He had his admin rights back, he was recouped and had songs on the chart, which usually just does not happen in that way. I’m really grateful to Derek Crownover because he really helped, and Luke was really smart about the deals he did instead of just taking more money.
Pictured: Creative Nation wins their first BMI Award
So me, Luke and Kella Farris all met. She said to Luke, “Your deal is coming up and you could sell your catalog. You could sell your copyrights and get some money for them.” If you’re lucky enough to be able to do that, that money is basically songwriter retirement a lot of times. We were shocked. She looked at Luke and said, “What do you want to do next?” Luke said, “I want Beth to be my creative person, but she won’t leave Jody at BMI.”
Kella said, “Beth, what are you going to do next at BMI?” In that moment, I realized my title would change, but my job never would, and I was really tired. So I immediately thought I have to leave my job and it’s time for something else.
What was starting a company on your own like for you and Luke?
We decided we would do a five year business plan. We would sell Luke’s catalog and put money in the bank for five years. We wanted to do it ourselves and set up the company the way we really wanted a publishing company to be. We decided at the end of those five years, we could make a call [on what to do next.]
Pictured (L-R): Scott Cutler, Tyler Johnson, Beth Laird
There were independent publishers out of town that had reached out to us about us being their Nashville office. We talked it through, but we just felt like we would still be using their name, their culture and their deals. Luke said, “If all these people who don’t really know us are willing to fund our company to own 50% of it, we should double down bet on ourselves.” Another thing he said was, “Worst case scenario, we’re going to be trying to get these same jobs back.”
We knew that this was a moment in time opportunity that might not ever come around again. It just felt like the right time. Most people I talked to about it were supportive, but a lot of people gave me the advice of, “Don’t start a company with your husband and don’t use your own money in the music business.” I understand both, but for us, it has been so great. I think we’re an exception to the rule in that because we both do two completely different jobs. We’re really different in what we do every single day and it compliments each other.
We also felt like if we used our own money to create the culture we wanted and the company we wanted, then by the time we got to five years, if we needed to, we could take other people’s money, but it would already be established what we were about. We really pulled on our experience from the previous years and tried to build the company we wanted to work for. We grew small. We started November of 2011 at the kitchen table.
Now you have 10 writers, a well-rounded team and two buildings on Music Row. What was an affirming moment from the beginning?
Two things come to mind. I was having some imposter syndrome and I told Luke maybe I should just call Jody and ask him if he’ll hire me back. I was just going through a real season of doubt. I went to my first plugger group pitch meeting with Todd Ramey. The first song I played was “Pontoon.” When Little Big Town loved that song, recorded it and it took on a complete life of its own, that moment reaffirmed to me that I should quit worrying about if I was capable, what people would think and if I could handle it, and just focus on what I knew. [It told me I should] put my head down and focus on booking great co-writes, pitching songs and taking care of these writers strategically.
Another huge moment we had is when we had a No. 1 song and I got to go on stage as a BMI publisher at the BMI Awards and Jody handed me an award as a publisher. I had been the one at BMI who handed up all the awards to Jody for him to give out. That was such a moment.
Pictured (L-R): Hailey Whitters, Emily Furman, Lori McKenna, Beth Laird
That’s amazing. What is the most fulfilling part of your job?
The most fulfilling part of my job is that I get to help songwriters dreams come true. Truly the thing I love the most is when a songwriter tells me a dream they have or something they want to accomplish and we start working on it.
What’s a great piece of advice you’ve received?
One piece of advice that I wish I would’ve known earlier was to pay attention to things that give you energy that you do really well and quickly—that’s your skillset and that’s what you’re good at. Pay attention to things that drain you and make you feel very tired—those are things that are not your skillset. You can do them and you always have to do a little of both, but if you can try to get to a place where you are eventually are in a 75-25 or an 80-20 split, you’ll enjoy what you do and you set yourself up for success.
Another piece of advice was something Jody told me. I used to be one that would work myself to death and then crash. I would get sick and have to take time off. I wasn’t good at balance and I was not good at taking care of myself. Jody was the first one to say, “You’re good at this job. I want you to be able to do it for a long time, so you can’t keep working like this. You’re going to need to learn how to take breaks or you’re going to get completely worn out and want to leave the business.” That changed the way I thought about doing a good job and longevity in this business.