Anna Weisband
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.
As VP of A&R at Sony Music Publishing, Anna Weisband manages the daily songwriting strategy for a stellar roster including Miranda Lambert, Kelsea Ballerini, Cole Swindell, Chris Young, Lainey Wilson, Emily Weisband, Josh Kear and MacKenzie Porter.
A graduate of Belmont University, Weisband began her career as a THiS Music intern, and quickly established herself as a young executive on Music Row. Later in her career, Weisband began carrying out A&R duties including talent discovery, collaboration creation, artist management, and song placement for the company’s roster of 14 award-winning songwriters, producers, and artists, including two-time ASCAP Songwriter of the Year Ben Hayslip, Hall of Fame songwriter Tim Nichols, and Emily Weisband. In 2017 Weisband was promoted to Vice President at THiS Music at the age of 23, a position she earned after five years at the Warner Chappell joint venture, led by co-owner/General Manager Rusty Gaston. When Gaston joined Sony Music Publishing in 2020, Weisband followed, becoming VP of Creative.
Weisband will be honored as part of the current class of MusicRow’s Rising Women on the Row on March 23.
MusicRow: Where did you grow up?
I grew up in Fredericksburg, Virginia. It’s right where Virginia starts to get country.
Photo: Courtesy of Anna Weisband
Were you born into a musical family?
Yes. I come from a big family, I have five siblings. My dad always wrote songs, played guitar and was in bands. We listened to so much music and were obsessed with it, but I never really made music. My sister Emily, who is a year older than me, started writing songs. That was a connection between my dad and her. She would take her songs to him and he would help her. I sang with Emily off and on a little bit, but it was never my thing. I just figured that I would end up on the business side because I wasn’t writing songs. I didn’t have the creativity to write songs, but I loved creative people.
How did you pursue that?
When we got to high school, Emily decided to go to Belmont for its songwriting program. We’re 13 months apart and always did everything together. We had the same friends. The only difference was that she was a true songwriter/creative and I wasn’t that, but I was some type of creative. So she came to Belmont and then I came to Belmont as a music business major.
What happened when you got to Belmont?
I honestly hated it. I didn’t know my purpose yet, so the first couple months, I was thinking, “What am I doing?” Usually I pick up things up really fast, but it wasn’t happening for a few months. I just wasn’t finding where I was supposed to be.
My first semester, I had to write a paper for my Survey of Music Business class. For the paper, you had to interview someone in whatever field you felt like you wanted to go into. I tried to use a loophole and interview Dan Keen, who was an adjunct professor, but I couldn’t connect with him and it was getting close to the deadline. I asked Emily, “What am I going to do? I don’t have anyone to interview.” She had done a Curb Cafe/ASCAP songwriter round the year before. Publishers judge it and Rusty Gaston was one of the publishers that was judging it. He had met Emily through that liked her songs enough to keep in touch with her.
She gave me his information and I reached out to him. He hit me right back—he’s very supportive of anything Belmont. I called him “Mr. Gaston” in the email, which makes me laugh now.
Photo: Courtesy of Anna Weisband
I went over to his company, THiS Music, the next day. I had some questions ready for him but then we just talked for a long time. He told me he had had one intern before, which was Janine Appleton [Ebach], and she turned into the Creative Director of the company. I asked if he needed an intern and he was like, “Honestly, I don’t really do internships, but if you want to help out around here, I have been looking for some more help.” It was right before Thanksgiving or Christmas break. He said, “Go home for Christmas and pray about it to see if you really want to be in publishing. If you really want to be in publishing and really feel like that’s the right thing, then you can come back and you can help.” I started with him pretty soon after that.
Wow, what a great story! What did you do as an intern?
The company was like five or six years old at that point. They were just starting to really take off on an amazing run, so he really needed more help. When I got there, he would just tell me to dust the plaques off and turn all the Cokes around in the fridge. I never said no to anything. Then the writers started asking me to do stuff. Ben Hayslip would ask me to get him a sweet tea when he was writing and then the writers started asking me to get them lunch. About six months after I started, Janine went to run Word Publishing, so then it was just Rusty and I for a little bit before we hired somebody.
Photo: Courtesy of Anna Weisband
When did your internship morph into a full-time job?
It just naturally happened. I really only had two titles there: intern Anna—which is what everyone called me—and then Vice President. At one time, I would go to class in the morning, be at THiS Music all day, go work a retail job at Francesca’s and then go to night class. It was a grind for a few years. It morphed into real job, but I was always working full-time because I was so eager.
What is a fun memory you have from THiS Music?
THiS Music was such a magical experience. I’m so thankful that that was how I learned how to be a publisher because it was definitely a different place. It was a joint venture of Warner Chappell, but we did all the creative. It was like a little creative utopia, honestly. I always sat on Rusty’s couch—I never had an office—and every other room in that little building was a writer room. They all wrote songs in there every single day and it was just amazing. When songwriters walked in, you stopped everything that you were doing and only paid attention to them. The kitchen at THiS Music was super inspiring because it was like the meeting place. There was one way in and one way out, so you had to go through the kitchen. The building was full every day because everyone wanted to write at THiS Music. We took care of everyone—it was just a family.
Photo: Courtesy of Anna Weisband
Were you ever insecure about being a VP of a publishing company at such a young age?
I’ve occasionally been insecure about always being the youngest person in the room, but I really became part of the THiS Music family. It just felt like my purpose. Everything that I did revolved around THiS Music. I loved every writer so much and Rusty has been my biggest champion ever. He just believed in me and he was hard on me, so he knew that what I was doing was earned. He didn’t hand me anything. He was always really nice to me, but I did have to earn my way in meetings like everyone should. Because I was on the ground making relationships with people that I probably shouldn’t have been in the room with yet, I felt like I had big supporters in the beginning. I’ve just had such great supporters, like Brian Wright, Trisha McClanahan, Autumn House, Allison Jones, Mike Molinar and others. They always supported me so much, so I felt very lifted up and and like they believed in me.
How did the transition from THiS Music to Sony Music Publishing go?
We started expanding THiS Music a lot. My sister had signed a record deal, so we were managing her out of THiS Music. We were writer-managing Mike Elizondo, who’s an amazing writer. We had Drew Baldridge, who had a lot of artist stuff going. I was going to LA a lot. Emily was getting some great pop songs and we were expanding into other genres.
I knew our deal with Warner Chappell was coming up and I didn’t know what would happen, but then Rusty got this call from Jon Platt. When he was able to tell me about it, Rusty asked me to go to Sperry’s in Belle Meade. We sat there for a long time. I didn’t say much. He just told me everything from start to finish, his thought process and everything, because it was going to be a big change. He said, “I want you to come with me. I want all of THiS Music to come.” That was amazing, but I just didn’t know what I wanted to do yet. All I knew was independent publishing.
Photo: Courtesy of Anna Weisband
What made you decide to go for it?
THiS Music was amazing and I could have stayed there forever, but I do remember feeling like I needed to grow. I didn’t want to leave THiS Music, so I had decided that meant we needed to grow THiS Music. My mom put it best. She said, “The roots were outgrowing the pot it was in, so it needed to be replanted.” That’s exactly what Jon Platt wanted at Sony Music Publishing, was to replant THiS Music into a big company.
Jon flew to town and talk to me about it, which made me feel like he really cared. He told me, “I want you guys to be yourselves. I need you to keep doing exactly what you’re doing at THiS Music. We’re just going to scale it up to be able to do that at a big company.”
The people that I was connecting with before we came over really made me brave enough. They believed in me and made me feel like I could do it. I think I’m the youngest person ever to have this position at the company. I was a youngster at THiS Music, but now I’m in at the biggest publishing company in the world. The insecurity that you can have there just as a human being is a lot. I feel like as women, too, we are extra humble and don’t shout from the rooftops how amazing we are enough.
Photo: Courtesy of Anna Weisband
Amen. Now that you’re three years in to your role as VP of A&R at Sony Music Publishing. What is the most fulfilling part about your job?
One of the most fulfilling things is just having a relationship good enough and deep enough that songwriters come to you for their entire process. On their insecure days and on amazing days where they’re killing it, it’s important to be part of all of that. To have the foundation of your relationship built that you are a part of all of that. I want to be that person.
When the songs become huge out of those day-to-day moments, it’s amazing. It’s still unbelievable to me that you can start an idea and then all of a sudden it’s a five-week No. 1, like Cole Swindell‘s “She Had Me At Heads Carolina.”
You will be honored as one of MusicRow‘s Rising Women on the Row next week. What has your experience been like as a woman in the industry?
My experience has been amazing, but it is definitely a thing. We just have to work harder sometimes. I love being a woman in the music business because I genuinely think that women have this thing that can connect with people and nurture them in a way that no one else can. I find that so empowering. I don’t know how that I could do any of this without having those traits about me. But there are definitely moments where you see the difference.
As women, it’s important to come together and build each other up. You have to link arms with your peer group. All of my friends that have been doing this longer than I have linked arms with me and brought me into their circles. I’m very grateful for that.
My Music Row Story: Sony Music Publishing’s Anna Weisband
/by LB CantrellAnna Weisband
As VP of A&R at Sony Music Publishing, Anna Weisband manages the daily songwriting strategy for a stellar roster including Miranda Lambert, Kelsea Ballerini, Cole Swindell, Chris Young, Lainey Wilson, Emily Weisband, Josh Kear and MacKenzie Porter.
A graduate of Belmont University, Weisband began her career as a THiS Music intern, and quickly established herself as a young executive on Music Row. Later in her career, Weisband began carrying out A&R duties including talent discovery, collaboration creation, artist management, and song placement for the company’s roster of 14 award-winning songwriters, producers, and artists, including two-time ASCAP Songwriter of the Year Ben Hayslip, Hall of Fame songwriter Tim Nichols, and Emily Weisband. In 2017 Weisband was promoted to Vice President at THiS Music at the age of 23, a position she earned after five years at the Warner Chappell joint venture, led by co-owner/General Manager Rusty Gaston. When Gaston joined Sony Music Publishing in 2020, Weisband followed, becoming VP of Creative.
Weisband will be honored as part of the current class of MusicRow’s Rising Women on the Row on March 23.
MusicRow: Where did you grow up?
I grew up in Fredericksburg, Virginia. It’s right where Virginia starts to get country.
Photo: Courtesy of Anna Weisband
Were you born into a musical family?
Yes. I come from a big family, I have five siblings. My dad always wrote songs, played guitar and was in bands. We listened to so much music and were obsessed with it, but I never really made music. My sister Emily, who is a year older than me, started writing songs. That was a connection between my dad and her. She would take her songs to him and he would help her. I sang with Emily off and on a little bit, but it was never my thing. I just figured that I would end up on the business side because I wasn’t writing songs. I didn’t have the creativity to write songs, but I loved creative people.
How did you pursue that?
When we got to high school, Emily decided to go to Belmont for its songwriting program. We’re 13 months apart and always did everything together. We had the same friends. The only difference was that she was a true songwriter/creative and I wasn’t that, but I was some type of creative. So she came to Belmont and then I came to Belmont as a music business major.
What happened when you got to Belmont?
I honestly hated it. I didn’t know my purpose yet, so the first couple months, I was thinking, “What am I doing?” Usually I pick up things up really fast, but it wasn’t happening for a few months. I just wasn’t finding where I was supposed to be.
My first semester, I had to write a paper for my Survey of Music Business class. For the paper, you had to interview someone in whatever field you felt like you wanted to go into. I tried to use a loophole and interview Dan Keen, who was an adjunct professor, but I couldn’t connect with him and it was getting close to the deadline. I asked Emily, “What am I going to do? I don’t have anyone to interview.” She had done a Curb Cafe/ASCAP songwriter round the year before. Publishers judge it and Rusty Gaston was one of the publishers that was judging it. He had met Emily through that liked her songs enough to keep in touch with her.
She gave me his information and I reached out to him. He hit me right back—he’s very supportive of anything Belmont. I called him “Mr. Gaston” in the email, which makes me laugh now.
Photo: Courtesy of Anna Weisband
I went over to his company, THiS Music, the next day. I had some questions ready for him but then we just talked for a long time. He told me he had had one intern before, which was Janine Appleton [Ebach], and she turned into the Creative Director of the company. I asked if he needed an intern and he was like, “Honestly, I don’t really do internships, but if you want to help out around here, I have been looking for some more help.” It was right before Thanksgiving or Christmas break. He said, “Go home for Christmas and pray about it to see if you really want to be in publishing. If you really want to be in publishing and really feel like that’s the right thing, then you can come back and you can help.” I started with him pretty soon after that.
Wow, what a great story! What did you do as an intern?
The company was like five or six years old at that point. They were just starting to really take off on an amazing run, so he really needed more help. When I got there, he would just tell me to dust the plaques off and turn all the Cokes around in the fridge. I never said no to anything. Then the writers started asking me to do stuff. Ben Hayslip would ask me to get him a sweet tea when he was writing and then the writers started asking me to get them lunch. About six months after I started, Janine went to run Word Publishing, so then it was just Rusty and I for a little bit before we hired somebody.
Photo: Courtesy of Anna Weisband
When did your internship morph into a full-time job?
It just naturally happened. I really only had two titles there: intern Anna—which is what everyone called me—and then Vice President. At one time, I would go to class in the morning, be at THiS Music all day, go work a retail job at Francesca’s and then go to night class. It was a grind for a few years. It morphed into real job, but I was always working full-time because I was so eager.
What is a fun memory you have from THiS Music?
THiS Music was such a magical experience. I’m so thankful that that was how I learned how to be a publisher because it was definitely a different place. It was a joint venture of Warner Chappell, but we did all the creative. It was like a little creative utopia, honestly. I always sat on Rusty’s couch—I never had an office—and every other room in that little building was a writer room. They all wrote songs in there every single day and it was just amazing. When songwriters walked in, you stopped everything that you were doing and only paid attention to them. The kitchen at THiS Music was super inspiring because it was like the meeting place. There was one way in and one way out, so you had to go through the kitchen. The building was full every day because everyone wanted to write at THiS Music. We took care of everyone—it was just a family.
Photo: Courtesy of Anna Weisband
Were you ever insecure about being a VP of a publishing company at such a young age?
I’ve occasionally been insecure about always being the youngest person in the room, but I really became part of the THiS Music family. It just felt like my purpose. Everything that I did revolved around THiS Music. I loved every writer so much and Rusty has been my biggest champion ever. He just believed in me and he was hard on me, so he knew that what I was doing was earned. He didn’t hand me anything. He was always really nice to me, but I did have to earn my way in meetings like everyone should. Because I was on the ground making relationships with people that I probably shouldn’t have been in the room with yet, I felt like I had big supporters in the beginning. I’ve just had such great supporters, like Brian Wright, Trisha McClanahan, Autumn House, Allison Jones, Mike Molinar and others. They always supported me so much, so I felt very lifted up and and like they believed in me.
How did the transition from THiS Music to Sony Music Publishing go?
We started expanding THiS Music a lot. My sister had signed a record deal, so we were managing her out of THiS Music. We were writer-managing Mike Elizondo, who’s an amazing writer. We had Drew Baldridge, who had a lot of artist stuff going. I was going to LA a lot. Emily was getting some great pop songs and we were expanding into other genres.
I knew our deal with Warner Chappell was coming up and I didn’t know what would happen, but then Rusty got this call from Jon Platt. When he was able to tell me about it, Rusty asked me to go to Sperry’s in Belle Meade. We sat there for a long time. I didn’t say much. He just told me everything from start to finish, his thought process and everything, because it was going to be a big change. He said, “I want you to come with me. I want all of THiS Music to come.” That was amazing, but I just didn’t know what I wanted to do yet. All I knew was independent publishing.
Photo: Courtesy of Anna Weisband
What made you decide to go for it?
THiS Music was amazing and I could have stayed there forever, but I do remember feeling like I needed to grow. I didn’t want to leave THiS Music, so I had decided that meant we needed to grow THiS Music. My mom put it best. She said, “The roots were outgrowing the pot it was in, so it needed to be replanted.” That’s exactly what Jon Platt wanted at Sony Music Publishing, was to replant THiS Music into a big company.
Jon flew to town and talk to me about it, which made me feel like he really cared. He told me, “I want you guys to be yourselves. I need you to keep doing exactly what you’re doing at THiS Music. We’re just going to scale it up to be able to do that at a big company.”
The people that I was connecting with before we came over really made me brave enough. They believed in me and made me feel like I could do it. I think I’m the youngest person ever to have this position at the company. I was a youngster at THiS Music, but now I’m in at the biggest publishing company in the world. The insecurity that you can have there just as a human being is a lot. I feel like as women, too, we are extra humble and don’t shout from the rooftops how amazing we are enough.
Photo: Courtesy of Anna Weisband
Amen. Now that you’re three years in to your role as VP of A&R at Sony Music Publishing. What is the most fulfilling part about your job?
One of the most fulfilling things is just having a relationship good enough and deep enough that songwriters come to you for their entire process. On their insecure days and on amazing days where they’re killing it, it’s important to be part of all of that. To have the foundation of your relationship built that you are a part of all of that. I want to be that person.
When the songs become huge out of those day-to-day moments, it’s amazing. It’s still unbelievable to me that you can start an idea and then all of a sudden it’s a five-week No. 1, like Cole Swindell‘s “She Had Me At Heads Carolina.”
You will be honored as one of MusicRow‘s Rising Women on the Row next week. What has your experience been like as a woman in the industry?
My experience has been amazing, but it is definitely a thing. We just have to work harder sometimes. I love being a woman in the music business because I genuinely think that women have this thing that can connect with people and nurture them in a way that no one else can. I find that so empowering. I don’t know how that I could do any of this without having those traits about me. But there are definitely moments where you see the difference.
As women, it’s important to come together and build each other up. You have to link arms with your peer group. All of my friends that have been doing this longer than I have linked arms with me and brought me into their circles. I’m very grateful for that.
Winners Revealed For 2023 CRS/Country Aircheck Awards
/by LB CantrellThe winners of the 2023 CRS/Country Aircheck Awards were announced on Wednesday night (March 15) at the annual New Faces of Country Music dinner.
Big Loud was the night’s big winner. In addition to being named the Platinum Label of the Year, Stacy Blythe took home SVP-VP/National Promotion of the Year, Brittani Koster nabbed the Label Streaming Specialist title, Tyler Waugh earned Director/National Promotion of the Year and Nikki Wood took home the Regional Promotion of the Year title.
EMI Nashville was awarded as the Gold Label of the Year. WKDF & WSM-FM/Nashville’s Allison Warren was named Market Manager/GM of the Year and WKDF/Nashville was named the Medium Market Station of the Year. WSIX/Nashville’s “Wayne D” Danielson and Tay Hamilton were named the Medium Market Personality/Show of the Year.
MusicRow CountryBreakout Radio Chart promoter Lisa Smoot, of Jerry Duncan Promotions, was honored as the Independent Promotion Executive of the Year.
2023 CRS/Country Aircheck Award Winners:
Station:
KEEY/Minneapolis (Large Market)
WKDF/Nashville (Medium Market)
WUSY/Chattanooga (Small Market)
Platinum Label: Big Loud
Gold Label: EMI Nashville
OM/PD:
Meg Stevens, WUBL/Atlanta (Large Market)
Carletta Blake, WGAR/Cleveland (Medium Market)
Brent Michaels, KUZZ/Bakersfield (Small Market – tie)
Chelsey Steinhauer, WMAD/Madison, WI (Small Market – tie)
APD/MD:
Lois Lewis, KNIX/Phoenix (Large Market)
Bob Pickett, KVET/Austin (Medium Market)
Melissa “Mo” Wagner, WUSY/Chattanooga (Small Market)
SVP-VP/National Promotion: Stacy Blythe, Big Loud
Label Streaming Specialist: Brittani Koster, Big Loud
Director/National Promotion: Tyler Waugh, Big Loud
Market Manager/GM: Allison Warren, WKDF & WSM-FM/Nashville
Personality/Show:
Angie Ward, WUBL/Atlanta (Large Market)
“Wayne D” Danielson & Tay Hamilton, WSIX/Nashville (Medium Market)
Brent Michaels, KUZZ/Bakersfield (Small Market)
National Daily Personality/Show: Bobby Bones, The Bobby Bones Show, Premiere
National Weekly Personality/Show: “Wayne D” Danielson, iHeartCountry House Party, iHeartMedia
National Programmer/Curator: Jay Cruze, iHeartMedia
Regional Promotion: Nikki Wood, Big Loud
Independent Promotion Executive: Lisa Smoot, Jerry Duncan Promotion
New Face of Country Music: Scot “Froggy” Langley, WQIK/Jacksonville
Jelly Roll’s New Album ‘Whitsitt Chapel’ To Arrive In June
/by Lorie HollabaughJelly Roll has revealed his new BMG/Stoney Creek Records album, Whitsitt Chapel, will be released June 2.
Titled after the church the Antioch, Tennessee native grew up attending, the debut full-length project features 13 tracks, including his current single, “Need A Favor.” Earlier this week, Jelly Roll teased the announcement with images of Whitsitt Chapel’s outdoor sign featuring song lyrics from current and yet-to-be-released tracks on the album. Additional track list information will be announced at a later date.
“This album is about growth and gratitude happening in my life. I wanted to create a project that felt hopeful. I believe the worst feeling a person can have is feeling hopeless or worthless. This is therapeutic music. Real music for real people with real problems,” he shares.
Jelly Roll closed out last night’s New Faces Show at Country Radio Seminar, and will embark on his 44-date “Backroad Baptism Tour” this July.
Whitsitt Chapel Track List:
1. Halfway To Hell – Written by Jason DeFord, Jesse Frasure, Matt Jenkins, Jessie Jo Dillon
2. Church – Written by Jason DeFord, Michael Hardy, David Garcia
3. The Lost – Written by Jason DeFord, Jesse Frasure, Miranda Lambert
4. Behind Bars (with Brantley Gilbert and Struggle Jennings) – Written by Jason DeFord, Brantley Gilbert, Michael Whitworth, Andrew Baylis, Brock Berryhill, Austin Nivarel
5. Nail Me – Written by Jason DeFord, Kevin Gruft, Austin Nivarel
6. Hold On Me – Written by Jason DeFord, Hillary Lindsey, Alysa Vanderheym, Michael Whitworth
7. Kill A Man – Written by Jason DeFord, Riley Thomas, Andrew Baylis, Michael Whitworth
8. Unlive (with Yelawolf) – Written by Jason DeFord, Ashley McBryde, Andrew Baylis, Zach Crowell, Michael Wayne Atha
9. Save Me (with Lainey Wilson) – Written by Jason DeFord, David Ray Stevens
10. She – Written by Jason DeFord, Austin Nivarel, Kevin “Thrasher” Gruft
11. Need A Favor – Written by Jason DeFord, Austin Nivarel, Joe Ragosta, Rob Ragosta
12. Dancing With The Devil – Written by Jason DeFord, Hunter Phelps, Zach Crowell
13. Hungover In A Church Pew – Written by Jason DeFord, Hunter Phelps, Zach Crowell
Produced by Zach Crowell
MNRK Music Group’s Gina Miller To Receive Music Biz Presidential Award
/by Lorie HollabaughThe Music Business Association (Music Biz) will award Gina Miller, SVP and General Manager, Nashville for MNRK Music Group, with its Presidential Award for Outstanding Executive Achievement in recognition of her leadership and commitment to bolstering diversity and inclusion across the music industry.
Miller will receive this honor during the 2nd Annual Bizzy Awards dinner May 17 as part of the Association’s Music Biz 2023 Conference at the JW Marriott Nashville.
Having spent nearly two decades with MNRK Music Group (formerly Entertainment One), Miller’s current role as the label’s SVP and General Manager for Nashville has her overseeing day-to-day operations and creative output for Nashville, including MNRK subsidiaries Light Records and IndieBlu Music. Throughout her career, she has used her platform and voice to both improve the ways the music business operates and create opportunities for those who are marginalized in our industry.
Miller is a Governor of the Recording Academy’s Nashville Chapter, and serves on the boards of Nashville Music Equality (which she helped found), The National Association of Black Female Executives in Media & Entertainment, The Americana Music Association, Creatives Day, Music Biz and Harmonic South. She was most recently named to Leadership Music Nashville’s Class of 2022, as well as Billboard’s Women in Music executive class in 2018 and 2020 and the Nashville Business Journal’s Women Of Influence 2021 Class.
“Those who know Gina know that she’s a powerhouse, someone who has an infectious passion for making our industry and our world a better place,” shares Music Biz President Portia Sabin. “I’m lucky to call her a friend first and foremost, not to mention a distinguished colleague and professional inspiration, and I couldn’t be happier to present her with this well-deserved award!”
The Music Biz Presidential Award is one of the Association’s highest and longest-standing honors, presented to individuals or organizations who have contributed greatly to the overall success of the music industry. Past recipients have included Sony Music Entertainment’s Julie Swidler, Sony Music Nashville’s Randy Goodman, RIAA’s Cary Sherman, Universal Music Group Nashville’s Mike Dungan, Epic Records’ Sylvia Rhone, the Country Music Association, the Recording Academy, and Dick Clark.
The 2nd Annual Bizzy Awards ceremony will be hosted by Fitz and the Tantrums co-lead vocalist, Elektra solo recording artist, and founder of Diversify the Stage, Noelle Scaggs.
Luke Combs Racks Up 26 New RIAA Certifications
/by Lorie HollabaughLuke Combs. Photo: Jeremy Cowart
Luke Combs has earned 26 new RIAA certifications for his music, including reaching the nine million mark for his hit “Beautiful Crazy,” and notching eight million for “Hurricane” and “When It Rains It Pours.”
Other songs achieving heavy metal honors include “Forever After All” (four-time Platinum), “One Number Away” (four-time Platinum), “Better Together” (four-time Platinum), “Lovin’ On You” (double Platinum), “Must’ve Never Met You (double Platinum), “Does To Me” feat. Eric Church (double Platinum) and “Refrigerator Door” (Platinum).
Combs’ “A Long Way,” “All Over Again,” “Be Careful What You Wish For,” “Beer Can,” “Blue Collar Boys,” “Memories Are Made Of,” “Don’t Tempt Me,” “Lonely One,” “I Got Away With You,” “Nothing Like You,” “Out There,” “Reasons,” “Tomorrow Me,” “Used To You,” “What You See Is What You Get” and “Without You” feat. Amanda Shires, have all been certified Gold.
The certifications add to another historic week for Combs, who extended his record-breaking run at radio as his single, “Going, Going, Gone,” is currently No. 1. The song is Combs’ 15th consecutive chart-topper, marking the longest consecutive streak for an artist since their debut, and with it he becomes one the fastest to accumulate 15 No. 1 hits, joining the ranks of Garth Brooks, Alan Jackson and Alabama.
CRS Day Two: Curtis Legeyt, Kenny Chesney, Bob Kingsley’s Acoustic Alley
/by LB CantrellDay two of Country Radio Seminar took place Tuesday (March 14) at the Omni Nashville Hotel. Below are some of the highlights from yesterday’s programming.
Curtis Legeyt Gives Keynote Discussion
Pictured (L-R): Kurt Johnson (Board President, CRS/CRB); Curtis LeGeyt (President and CEO, National Association of Broadcasters); RJ Curtis (Executive Director, CRB).
CRB Board President Kurt Johnson led President and CEO of National Association of Broadcasters, Curtis LeGeyt, in a keynote discussion on day two of CRS.
LeGeyt serves as the chief advocate for America’s free, local radio and television broadcasters. During his time at NAB, Curtis has led several efforts to advocate for laws that strengthen broadcasters’ ability to innovate and serve their communities. This includes the successful passage of the Music Modernization Act, permanent reauthorization of the Satellite Television Extension and Localism Act Reauthorization (STELAR), and the inclusion of one billion dollars in RAY BAUM’s Act to reimburse stations impacted by the spectrum auction repack.
Kenny Chesney Does ‘The Artist Interview’
Kenny Chesney during “The Artist Interview.”
Kenny Chesney was the focal point of the 2023 ‘Artist Interview’ at CRS. Country Aircheck‘s Lon Helton led Chesney in the exclusive Q&A session presented by BMI, where he spoke about his career and detailed what’s on the horizon for him.
The eight-time Entertainer of the Year has sold a million-plus tickets on each of his full-sized tours since 2003. With his 2022 “Here And Now Tour” playing to over 1.3 million people with 21 stadium shows, Chesney expands his commitment to making music that reflects country fans’ lives.
Bob Kingsley’s Acoustic Alley
Songwriters at Bob Kingsley’s Acoustic Alley.
The beloved Bob Kingsley’s Acoustic Alley showcase took place on day two of CRS. This year’s lineup included Rhett Akins, Randy Montana, Hunter Phelps, Bryan Simpson, Jeffrey Steele, Anthony Smith and MaRynn Taylor.
In addition to the songwriter performances, Radio Ink presented its Top Country PDs awards during the event.
BBR Throws After-Hours Party
BBR Staff & Artists
To close out day two of CRS, BBR threw an official after-hours party. It was appropriately themed as a “Bell Bottom Music Celebration,” as Lainey Wilson was the night’s headliner.
Wilson was joined by Alexander Ludwig, Byron Kennedy, Blanco Brown, Brooke Eden, Chase Rice, Chayce Beckham, Craig Morgan, Drake Milligan, Dylan Schneider, Elvie Shane, Everette, John Morgan, Jordan Harvey, King Calaway, Kolby Cooper, LoCash, Madeline Merlo, Parmalee, Tim Montana, Track45, Tyler Farr and more, all performing the songs they grew up on. Hosted by Blair Garner, this evening was a nod to the Disco Party of seminar’s past.
Industry Ink: Thomas Rhett, Gabby Barrett, John Rich, More
/by Caela GriffinThomas Rhett Sells Out International Shows
Pictured (L-R): Thomas Rhett, Niall Horan on stage at London’s O2. Photo: Luke Dyson
Thomas Rhett started the year with international shows—first, sold-out nights in Canada for the “Bring The Bar To You Tour” and then across the pond to headline three nights of C2C: Country Country, Europe’s biggest country music festival, in London, Glasgow, and Dublin.
While in the UK, Rhett surprised fans with special guests each night for one-time-only collaborations. In London on March 10, Niall Horan joined onstage for a joint performance of “Slow Hands.” Lainey Wilson joined Rhett on stage in Glasgow on March 11 where the two covered Merle Haggard’s “I Think I’ll Just Stay Here And Drink.” On March 12, Rhett’s Canadian tourmate Jordan Davis hopped on stage in Dublin for Garth Brooks’ “Friends In Low Places.”
“It’s always amazing to see how much country music is loved when we travel out of the country,” says Rhett. “Our Canadian fans bring the party every time and I’m pretty sure my ears are still ringing from the UK. I already am thinking about when we get to go back!”
Gabby Barrett Surprises CRS Audience With Pop-Up Appearance, Receives Two Career Plaques
Pictured (L-R): Kristen Williams (SVP of Radio, WMN), Tom Martens (VP of Radio Accounts, WMN), Michael Chase (National Director of Radio, WMN), Gabby Barrett, Anna Cage (VP of Radio, WMN). Photo: Kayla Schoen.
Gabby Barrett surprised the packed Omni Hotel during Country Radio Seminar 2023 with a first-time live performance of “Build A Boat,” her Christian AC collaboration with Colton Dixon. She took the stage during the Warner Music Nashville Luncheon as part of CRS 2023. As an added bonus, Barrett’s label stunned her on stage with presentations of two plaques celebrating her RIAA-certified Platinum “Pick Me Up” and her 7x Platinum “I Hope.”
“Thank you guys very, very much from the bottom of my heart,” shares Barrett onstage. “Thank you, I mean that from the biggest part of me because this would definitely not be possible without everybody in this room. We’re coming hard with new music very soon, so thank y’all very much. God bless you.”
“Tennessee Music Pathways” Marker Honoring John Rich Unveiled
Pictured: John Rich. Photo: Randall Spradlin/State of Tennessee
Multi-Platinum singer-songwriter John Rich was honored by the State of Tennessee and Dickson County with the installation of a “Tennessee Music Pathways” marker. This commemorates Rich’s contributions to Tennessee’s musical heritage.
As part of the country-rock duo Big & Rich, Rich has released four albums and 15 charting singles. He is an avid philanthropist who has raised over $1.5 million for St. Jude Children’s Research Hospital. In 2014, he launched his lifestyle brand Redneck Riviera.
At the marker reveal, Rich shared memories of attending Dickson County High School. Joining him at Clement Railroad Hotel Museum were Bob Rial (Dickson County Mayor), Dr. Don L. Weiss (City of Dickson Mayor), Jody Barrett (State Representative) and Melanie Beauchamp (Tennessee Dept. of Tourist Development Assistant Commissioner).
Turnpike Troubadours Set Rodeo Season Record with 74,657 Fans
On March 11 Turnpike Troubadours sold the most tickets of the 2023 Rodeo Season so far and performed to an audience of 74,657, their largest audience ever. The Houston Chronicle reported that they broke the record previously held by Bun B’s Southern Takeover by 84 people.
The reunited Turnpike Troubadours have a slate of upcoming shows across the country for their eager and growing fanbase.
Nashville Songwriters Hall of Fame’s ‘Songs For A Cause’ Raises $2,500
Pictured (L-R): Shayne Hill (Sawyer Brown), Robert Filhart (MHM), Johnny Dailey, Seth Taylor, Carol Ann Ford (NSHOF), Buddy Cannon, Gregg Hubbard (Sawyer Brown), Jamie Dailey, Mark Ford (NSHOF), Mark Miller. Photo: Morris Higham Management.
Morris Higham Management client Johnny Dailey joined Jamie Dailey (of Dailey and Vincent), Seth Taylor and Mark Miller (of Sawyer Brown), along with collaborators and bandmates, Gregg “Hobie” Hubbard and Shayne Hill (of Sawyer Brown) at the Bluebird Cafe for their “Songs For A Cause” concert.
Proceeds benefited the National Songwriters Hall of Fame (NSHOF) in honor of Buddy Cannon, a renowned songwriter, producer, and special guest and recent inductee. In total, proceeds tallied to $2,500 for the organization.
“We so appreciate Morris Higham Management, City National Bank and the Bluebird Café for honoring our nonprofit through their Songs For A Cause fundraiser on Wednesday night,” says Mark Ford, Executive Director of the Nashville Songwriters Hall of Fame. “Buddy, Jamie, Johnny and Mark truly brought their A games. Great songs. Great performances. A magical night, and we are grateful!”
Miranda Lambert Leaving Sony Music Nashville
/by LB CantrellMiranda Lambert. Photo: Robert Ascroft for foureleven agency
In a social media post, Miranda Lambert announced that she is leaving Sony Music Nashville after 20 years together. She did not disclose where she is headed next.
Lambert signed with Sony at the age of 19 and released her debut studio album Kerosene in 2005 via the imprint Epic Nashville. Since then, she has gone on to release seven more studio albums, notch 10 No. 1 hit radio singles and win more than 70 prestigious awards. The reigning ACM Entertainer of the Year is the most decorated artist in the history of the Academy of Country Music.
Her award-winning discography includes Palomino (2022), Wildcard (2019), The Weight of These Wings (2016), Platinum (2014), Four The Record (2011), Revolution (2009), Crazy Ex-Girlfriend (2007) and Kerosene (2005). Lambert has also released three albums with her trio, the Pistol Annies, as well as 2021’s Grammy-nominated The Marfa Tapes, a raw and intimate recording with collaborators Jack Ingram and Jon Randall.
In her social media post, Lambert writes, “Over the last 20 years together we have released albums that allowed me to share my story with the world, and we’ve reached heights I’d never even dreamed were possible. I’m so thankful for our time together and everything they made possible for me, yet I wouldn’t be true to myself if I wasn’t constantly looking for the next challenge and a new way to stretch my creativity. With that in mind, I’ve decided to say goodbye to my Sony family. I can’t wait to see what the next adventure holds.”
Music Has Value Fund Offers Experience Packages For Dancing For Safe Haven
/by Lorie HollabaughThe couple’s Music Has Value fund is a presenting sponsor for the fundraiser, and the charitable fund is offering exclusive experience packages to raise donations for the event, including a private dinner and acoustic performance with Brantley Gilbert and a recording contract with Big Machine Label Group with worldwide distribution of a single to be written and produced alongside producer Julian Raymond. All proceeds from the packages will directly benefit the Safe Haven Family Shelter.
Dancing for Safe Haven features a lively dance competition among Nashville notables, dinner, a silent auction and more. In addition to Sandi Spika Borchetta, other 2023 star dancers include Hal Cato (The Community Foundation of Middle Tennessee), Tonya Mitchem Grindon (Baker Donelson Bearman, Caldwell & Berkowitz PC), Shannan Hatch (SESAC), Paul Novak (Community Health Systems) and Gerell Webb (itrain365 Fitness). Each dancer will be paired with professional instructors from The Ballroom of Nashville to compete for the titles of “Fundraising Favorite,” “Audience Favorite” and “Judges’ Favorite.” Fans can donate to vote for their favorite dancer, with every one dollar donation equaling one vote.
“Safe Haven does incredible work assisting families in an effort to end homelessness in Nashville,” Sandi Borchetta explains. “I’m honored to be a part of Dancing for Safe Haven, raising cash with the assistance of our amazing, generous friends and family and having fun dancing! All donations big and small are welcome, appreciated and make a difference for the families at Safe Haven.”
“I am so proud of my beautiful and talented wife, Sandi, for stepping out of her creative world and onto the dance floor to support Safe Haven,” Scott Borchetta adds. “We are thrilled to contribute some exclusive experiences, including a recording contract with Big Machine Label Group, to our donation efforts. The money we raise will directly benefit Safe Haven Family Shelter and their work to make a positive impact on families experiencing homelessness. This organization and event are so important to us, which is why we are also proud to announce that Music Has Value is a presenting sponsor of the event. We hope to see everyone there!”
John Beiter Announces Retirement
/by Lorie HollabaughJohn Beiter
Entertainment and intellectual property attorney John Beiter is retiring after nearly 35 years.
Beiter most recently practiced at his own Beiter Law Firm, PLLC, and has represented a diverse group of entertainment industry clients including artists, producers, labels, publishers, filmmakers, and authors. His institutional clients included SESAC, the Americana Music Association, and the International Entertainment Buyers Association.
“I hope I’ll be able to personally thank every one of the many people in the business who gave me an opportunity or helped me along on this adventure,” Beiter shares with MusicRow about his transition. “Off the top of my head, I think of Roger Cook and the late Ralph Murphy, who let me in the door to write at their legendary publishing company, Picalic, soon after I fell off the turnip truck on Music Row; Pat Collins, who took a chance on a newbie music lawyer and engaged me to represent SESAC for many years; Jed Hilly and the Americana Music Association, which I represented from early days; and Pam Matthews at IEBA. I’m going to pass it on.”
Before attending Vanderbilt Law School—where he was Managing Editor of the Law Review—Beiter was a newspaper reporter and then wrote songs for a Nashville-based music publisher. Following law school, he served as a law clerk to Honorable John T. Nixon, U.S. District Judge for the Middle District of Tennessee.
He is a former Chairman and current member of the Nashville Bar Association’s Entertainment Law Committee and a former Board member and alumnus of Leadership Music. He also is a member of the American Bar Association’s Forum on the Entertainment & Sports Industries and the Tennessee Bar Association’s Entertainment and Sports Law Section.
Beiter was selected to be included in the Best Lawyers in America in the category of Entertainment-Music and in MusicRow Magazine’s annual InCharge edition for many years. He has represented clients regarding copyright-related legislation such as the Songwriters Capital Gains Tax Equity Act. He also has been a moderator and panelist at various music industry conferences and governmental roundtable discussions regarding copyright and related industry topics.
When asked what he will miss in retirement, Beiter speaks of the community. “I’ll miss the camaraderie: finding, listening to and discussing music with like-minded clients and colleagues. I got to make a great living doing what I would have been doing anyway with my Hoosier homeboys! I moved to Nashville 45 years ago to break into the music business and I got to be a legal cog in the machine that brings music and a bit of happiness and comfort to the world.”
Beiter and his wife Diane plan to relocate to the 30A area of Florida. He plans to get back into musicianship and to use his legal experience in community service.