Lynn Oliver-Cline. Photo: Emma Golden
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 2016, Lynn Oliver-Cline launched River House Artists, a creative firm that includes label, publishing and management, with flagship artist Luke Combs. River House Artists songwriters include Drew Parker, Ray Fulcher, Driver Williams, Nicolette Hayford, Jordan Rowe, and more. Oliver-Cline’s career began at Virgin Records, followed by time at BMI, ROAR, Zac Brown’s Southern Ground Artists, and Thirty Tigers, spearheading album launches for Jason Isbell, Lucinda Williams, and more. She is a 2018 MusicRow Rising Women on the Row honoree and has been named to multiple Billboard women in music and power players lists.
MusicRow: Where did you grow up?
North of Charleston, South Carolina in a little town called Hanahan. I graduated with under 100 kids. I went to school at the University of South Carolina, so I was in South Carolina most of my early life.
What was your dream job as a kid?
I always wanted to be in the music business. Growing up, all my friends were in bands. I threw band parties in high school. I would collect $5 at the door, rent generators and fields for the band parties. Part of that management thing was always in me.
I also had talent in my family. My aunt was on the Nashville Network back in the day on You Can Be A Star. She grew up singing, my dad played banjo, and my uncles sang and played football. I grew up playing drums, piano, and guitar. I always thought maybe I’d be on stage, but I also had really bad stage fright. I learned going into college that there was a media arts major at USC and I could actually be on the business side [of the music industry]. Luckily for me, the guys from Hootie & the Blowfish went to school at the University of South Carolina. I started as an intern with them when I was 19. I was their second intern ever, so I really got thrown in. I started the day that Cracked Rear View came out.
Oliver-Cline with Hootie & The Blowfish
What did you do after college?
Hootie & the Blowfish started their own record label called Breaking Records that I worked at. From there, I started doing A&R for a producer named Matt Serletic. Matt had just won a bunch of Grammys with Santana. He discovered Matchbox 20 and made Collective Soul records—very alt rock stuff.
I had moved from South Carolina to Atlanta to Los Angeles. When Matt became the president of Virgin Records, we all moved to New York. At that time, Matt was working with Willie Nelson and had made a record with Faith Hill, so he was doing more stuff in Nashville.
[When I heard about Nashville], I was like, “Wait a minute. There are people in a town in the southeast that write songs all day and you can pitch songs to these recording artists and they will listen to to them? This is my dream. That’s what I want to do.”
How did you get to Nashville?
At that time, Forefront Records was in Franklin, Tennessee. It was a Christian label. We started working with an artist named Stacie Orrico to help her make her first secular record outside of the Christian world, so I was coming down to Franklin from New York a bunch. I told Matt in 2003 or 2004 that I really wanted to move to Nashville.
I came down here and started interviewing in 2004 and nobody would give me a job, so I started my own publishing company in 2004 and went flat broke in about six months.
How did things turn around?
I ended up getting an offer from BMI in Atlanta in 2005. Two weeks into working in BMI in Atlanta, I met Zac Brown and Wyatt Durrette. About two years in, Zac was choosing a management company. I had been a big part of the team already, so he asked if I wanted to be his day-to-day manager. I was like, “Are you crazy? This is the best job in the whole world.” Working at BMI when Del [Bryant] was there was just the warmest, fuzziest job. But I decided I was going to do it because I just loved those boys, so I ended up living on the road for three years.
In 2010, Zac said, “What do you really want to do? I know you don’t want live out here on the road with us forever.” I said, “I really still want to start a publishing company. That’s still where my heart is.” He said, “Alright, let’s do it.” So we started a pub company and he decided to start his label Southern Ground at the same time, so we were putting out records, we were working with young songwriters, and we were sending them up here to write out of Atlanta.
I told Zac that I really needed to move to Nashville but he wanted me in Atlanta. I told him if I didn’t have boots on the ground in Nashville, it wasn’t going to work. Finally in 2013, he gave in and said, “We’ve got a studio there now and there’s office space, so you can go up there.” That’s how I finally got to Nashville in 2013.
Ray Fulcher plays MSG on Nov. 29, 2021 in New York, New York. Photo: Kurt Ozan
What was next?
We were doing well, but eventually it just got to be too much. There were too many different things going on, so Zac decided to close down Southern Ground in 2014. I took a job over at Thirty Tigers with David Macias. Then I found out I was pregnant for the first time in my whole life at age 41.
[My time at Thirty Tigers] was great. I was helping them put out projects for Greensky Bluegrass and Jason Isbell—all of these really cool, credible records. I didn’t necessarily feel the pressure of a major corporation at that time, so it really got me back to my roots. It was a really fun time. That’s when I decided to start River House.
What went into that decision?
[While I was working at Thirty Tigers], they were building this new, beautiful building and there was some lag time before we could move into the new office. It was at least two months, and I really loved being at home with [my son] Levi during that time. My husband, Jay, said, “I don’t understand why you don’t start your own thing.”
He was actually the one that convinced me to start my own company. I literally had a desk in the laundry room. We lived on the east side in Inglewood overlooking the Cumberland River. He said, “Just call it River House Records.”
I stayed on with Thirty Tigers to see through a Lucinda Williams album that we put out in February of 2016, but I actually started River House in September of 2015.
Oliver-Cline and Luke Combs at the ACM Awards
Luke Combs was your first signee. How did that come to be?
Chris Kappy and I were roommates. [Laughs] He was working on The Rock Boats and Zac Brown did a lot of those boats. Whenever I was living on tour with Zac for three years, I rented a room from Kappy because he was always gone on the boats and I was always gone on tour. We had been friends for half our lives.
He had decided to do the artist management thing after meeting Luke through Bradley Jordan, and moved to Nashville in 2015. He just came over to the house one day and said, “I want to put your A&R ears on something.” He had a little speaker in his backpack and just said, “This kid is Luke Combs from North Carolina. It’s pretty good.” He played it and I was like, “I think you might actually have something here. I really like this.” It was the first six songs from This One’s For You, the original EP.
Obviously Luke was still brand new and Kappy had never done management before, so I was like, “If you guys want me to help you out, I’m happy to put together some short term goals and some long term goals.”
At the time, I wasn’t trying to sign him to my label. I was just trying to help him because Kappy was my friend. Eventually he started meeting with labels and they weren’t calling him back. He was getting frustrated. I looked at what his numbers were doing online and he had done like a million streams of “Hurricane.” Even though that was only a few short years ago, that was a big deal. I told him, “I’m starting a record label. It’s got all the resources you need. I’ve got a little extra money. I can put this record out for you and I’m pretty sure I’ll make my money back.” So that’s what we did.
When did you start growing the River House roster?
After we did the JV with Sony, I was really part of the management team for the next couple of years because it was growing so quickly, but I still wanted to do the label because that’s what I set out to do. I didn’t set out to be a manager again, but I did help out on the management side quite a bit the first couple years.
Then we signed Jameson Rodgers. We knew that Jameson was going to be on tour with Luke for a full year. He was one of the artists who got super affected by COVID—it just hit at the absolute wrong time for him—but I just loved his voice and his swag. Then I met Georgia Webster and we signed her.
Oliver-Cline and Jameson Rodgers at Rodgers’ Grand Ole Opry debut
When do you feel most fulfilled in what you do?
In management and in artist development in general, there’s definitely daily victories that keep you going. You have to give yourself a pat on the back because no one else is really going to. You have to really just love it and live it and then you’ll feel rewarded by it. But I definitely think I feel the most fulfilled when seeing thousands of people singing a song back to an artist that you were there from the very beginning.
Who is your biggest mentor?
Matt Ceroletic for sure. He was such a mega producer and then became the president of a label—seeing that he could do both was was huge for me. Honestly, I still send him the records that I’m a part of because I want him to be proud. Him letting me be in the studio with him and be a part of that process with him was really huge. It helped me become pretty fearless. I don’t ever want to make decisions based on fear or be scared to do something.
What are some of the best qualities of our industry?
If you find the right tribe of people, there is a real communal feeling. There’s always those people that are going to take advantage, but I truly feel like most people have the artist’s best interests at heart. Overall, people have to work their faces off and make personal sacrifices [to have success]. It’s a lot of sacrifice. The executives have to be just as dedicated as the artist.
My Music Row Story: River House Artists’ Lynn Oliver-Cline
/by LB CantrellLynn Oliver-Cline. Photo: Emma Golden
In 2016, Lynn Oliver-Cline launched River House Artists, a creative firm that includes label, publishing and management, with flagship artist Luke Combs. River House Artists songwriters include Drew Parker, Ray Fulcher, Driver Williams, Nicolette Hayford, Jordan Rowe, and more. Oliver-Cline’s career began at Virgin Records, followed by time at BMI, ROAR, Zac Brown’s Southern Ground Artists, and Thirty Tigers, spearheading album launches for Jason Isbell, Lucinda Williams, and more. She is a 2018 MusicRow Rising Women on the Row honoree and has been named to multiple Billboard women in music and power players lists.
MusicRow: Where did you grow up?
North of Charleston, South Carolina in a little town called Hanahan. I graduated with under 100 kids. I went to school at the University of South Carolina, so I was in South Carolina most of my early life.
What was your dream job as a kid?
I always wanted to be in the music business. Growing up, all my friends were in bands. I threw band parties in high school. I would collect $5 at the door, rent generators and fields for the band parties. Part of that management thing was always in me.
I also had talent in my family. My aunt was on the Nashville Network back in the day on You Can Be A Star. She grew up singing, my dad played banjo, and my uncles sang and played football. I grew up playing drums, piano, and guitar. I always thought maybe I’d be on stage, but I also had really bad stage fright. I learned going into college that there was a media arts major at USC and I could actually be on the business side [of the music industry]. Luckily for me, the guys from Hootie & the Blowfish went to school at the University of South Carolina. I started as an intern with them when I was 19. I was their second intern ever, so I really got thrown in. I started the day that Cracked Rear View came out.
Oliver-Cline with Hootie & The Blowfish
What did you do after college?
Hootie & the Blowfish started their own record label called Breaking Records that I worked at. From there, I started doing A&R for a producer named Matt Serletic. Matt had just won a bunch of Grammys with Santana. He discovered Matchbox 20 and made Collective Soul records—very alt rock stuff.
I had moved from South Carolina to Atlanta to Los Angeles. When Matt became the president of Virgin Records, we all moved to New York. At that time, Matt was working with Willie Nelson and had made a record with Faith Hill, so he was doing more stuff in Nashville.
[When I heard about Nashville], I was like, “Wait a minute. There are people in a town in the southeast that write songs all day and you can pitch songs to these recording artists and they will listen to to them? This is my dream. That’s what I want to do.”
How did you get to Nashville?
At that time, Forefront Records was in Franklin, Tennessee. It was a Christian label. We started working with an artist named Stacie Orrico to help her make her first secular record outside of the Christian world, so I was coming down to Franklin from New York a bunch. I told Matt in 2003 or 2004 that I really wanted to move to Nashville.
I came down here and started interviewing in 2004 and nobody would give me a job, so I started my own publishing company in 2004 and went flat broke in about six months.
How did things turn around?
I ended up getting an offer from BMI in Atlanta in 2005. Two weeks into working in BMI in Atlanta, I met Zac Brown and Wyatt Durrette. About two years in, Zac was choosing a management company. I had been a big part of the team already, so he asked if I wanted to be his day-to-day manager. I was like, “Are you crazy? This is the best job in the whole world.” Working at BMI when Del [Bryant] was there was just the warmest, fuzziest job. But I decided I was going to do it because I just loved those boys, so I ended up living on the road for three years.
In 2010, Zac said, “What do you really want to do? I know you don’t want live out here on the road with us forever.” I said, “I really still want to start a publishing company. That’s still where my heart is.” He said, “Alright, let’s do it.” So we started a pub company and he decided to start his label Southern Ground at the same time, so we were putting out records, we were working with young songwriters, and we were sending them up here to write out of Atlanta.
I told Zac that I really needed to move to Nashville but he wanted me in Atlanta. I told him if I didn’t have boots on the ground in Nashville, it wasn’t going to work. Finally in 2013, he gave in and said, “We’ve got a studio there now and there’s office space, so you can go up there.” That’s how I finally got to Nashville in 2013.
Ray Fulcher plays MSG on Nov. 29, 2021 in New York, New York. Photo: Kurt Ozan
What was next?
We were doing well, but eventually it just got to be too much. There were too many different things going on, so Zac decided to close down Southern Ground in 2014. I took a job over at Thirty Tigers with David Macias. Then I found out I was pregnant for the first time in my whole life at age 41.
[My time at Thirty Tigers] was great. I was helping them put out projects for Greensky Bluegrass and Jason Isbell—all of these really cool, credible records. I didn’t necessarily feel the pressure of a major corporation at that time, so it really got me back to my roots. It was a really fun time. That’s when I decided to start River House.
What went into that decision?
[While I was working at Thirty Tigers], they were building this new, beautiful building and there was some lag time before we could move into the new office. It was at least two months, and I really loved being at home with [my son] Levi during that time. My husband, Jay, said, “I don’t understand why you don’t start your own thing.”
He was actually the one that convinced me to start my own company. I literally had a desk in the laundry room. We lived on the east side in Inglewood overlooking the Cumberland River. He said, “Just call it River House Records.”
I stayed on with Thirty Tigers to see through a Lucinda Williams album that we put out in February of 2016, but I actually started River House in September of 2015.
Oliver-Cline and Luke Combs at the ACM Awards
Luke Combs was your first signee. How did that come to be?
Chris Kappy and I were roommates. [Laughs] He was working on The Rock Boats and Zac Brown did a lot of those boats. Whenever I was living on tour with Zac for three years, I rented a room from Kappy because he was always gone on the boats and I was always gone on tour. We had been friends for half our lives.
He had decided to do the artist management thing after meeting Luke through Bradley Jordan, and moved to Nashville in 2015. He just came over to the house one day and said, “I want to put your A&R ears on something.” He had a little speaker in his backpack and just said, “This kid is Luke Combs from North Carolina. It’s pretty good.” He played it and I was like, “I think you might actually have something here. I really like this.” It was the first six songs from This One’s For You, the original EP.
Obviously Luke was still brand new and Kappy had never done management before, so I was like, “If you guys want me to help you out, I’m happy to put together some short term goals and some long term goals.”
At the time, I wasn’t trying to sign him to my label. I was just trying to help him because Kappy was my friend. Eventually he started meeting with labels and they weren’t calling him back. He was getting frustrated. I looked at what his numbers were doing online and he had done like a million streams of “Hurricane.” Even though that was only a few short years ago, that was a big deal. I told him, “I’m starting a record label. It’s got all the resources you need. I’ve got a little extra money. I can put this record out for you and I’m pretty sure I’ll make my money back.” So that’s what we did.
When did you start growing the River House roster?
After we did the JV with Sony, I was really part of the management team for the next couple of years because it was growing so quickly, but I still wanted to do the label because that’s what I set out to do. I didn’t set out to be a manager again, but I did help out on the management side quite a bit the first couple years.
Then we signed Jameson Rodgers. We knew that Jameson was going to be on tour with Luke for a full year. He was one of the artists who got super affected by COVID—it just hit at the absolute wrong time for him—but I just loved his voice and his swag. Then I met Georgia Webster and we signed her.
Oliver-Cline and Jameson Rodgers at Rodgers’ Grand Ole Opry debut
When do you feel most fulfilled in what you do?
In management and in artist development in general, there’s definitely daily victories that keep you going. You have to give yourself a pat on the back because no one else is really going to. You have to really just love it and live it and then you’ll feel rewarded by it. But I definitely think I feel the most fulfilled when seeing thousands of people singing a song back to an artist that you were there from the very beginning.
Who is your biggest mentor?
Matt Ceroletic for sure. He was such a mega producer and then became the president of a label—seeing that he could do both was was huge for me. Honestly, I still send him the records that I’m a part of because I want him to be proud. Him letting me be in the studio with him and be a part of that process with him was really huge. It helped me become pretty fearless. I don’t ever want to make decisions based on fear or be scared to do something.
What are some of the best qualities of our industry?
If you find the right tribe of people, there is a real communal feeling. There’s always those people that are going to take advantage, but I truly feel like most people have the artist’s best interests at heart. Overall, people have to work their faces off and make personal sacrifices [to have success]. It’s a lot of sacrifice. The executives have to be just as dedicated as the artist.
2nd Annual ASCAP Foundation Silent Auction Open Now Through Dec. 16
/by Lorie HollabaughThe 2nd Annual ASCAP Foundation online Silent Auction has kicked off with donations from Alan Jackson, Chris Stapleton, Kelsea Ballerini, Carly Pearce, Old Dominion and more.
The auction, which benefits the Foundation’s efforts to nurture the next generation of music creators, is open now through Dec. 16. A range of items from the celebrity donors is available, including autographed guitars, vinyl, books, memorabilia, handwritten lyric sheets, in-person meetings, VIP concert tickets, recording studio time, personalized video messages, house seats at Broadway shows, sports tickets and more.
“For nearly five decades, The ASCAP Foundation has fulfilled ASCAP’s mission to support aspiring music creators at the most fundamental level, by funding music education and talent development programs in schools and communities across the U.S.,” explains Nicole George-Middleton, The ASCAP Foundation Executive Director. “We are thrilled to host our silent auction for a second year and hope that music lovers everywhere will join in to support The Foundation and land some one-of-a-kind holiday gifts for their family and friends.”
Artists from across the musical spectrum have also contributed items for bid, including Olivia Rodrigo; Selena Gomez; Shawn Mendes, Scott Harris; Ashanti, Stephen Schwartz; Paul Williams; Quincy Jones; DJs Steve Aoki, Martin Garrix and Dillon Francis; The Chainsmokers; film and musical theater’s Pasek & Paul; NBA champion Kevin Durant; and actress and author Diane Keaton.
Other donors include Richie Sambora of Bon Jovi, Sammy Hagar, Chicago, Eric Bazilian of The Hooters, Tiler Peck from the NYC Ballet, Brooklyn Nets, 4U Recording Memphis, Nightbird Studios, Songwriters Hall of Fame, Universal Studios, Washington Commanders Charitable Foundation, That Girl Lay Lay, songwriter Jeannie Lurie, and the Latin Songwriters Hall of Fame.
‘Garth Brooks/Plus One’ Vegas Residency Extends Into 2024
/by Lydia FarthingGarth Brooks. Photo: Becky Fluke
Due to overwhelming demand, Garth Brooks will extend his upcoming “Garth Brooks/Plus One” Vegas residency at The Colosseum at Caesars Palace through 2024. The new dates will be unveiled in May of 2023 around the opening of the residency’s original 27 shows.
“My whole life I have heard the saying, ‘Rome wasn’t built in a day.’ Well, thanks to God and the people, ours was. Truly grateful and unapologetically excited,” Brooks shares.
Fans who signed up for the Verified Fan Presale that were unable to purchase tickets for the 2023 dates will be given priority access to purchase tickets for the 2024 dates. For more ticketing information, click here.
Fans can also pre-order the Garth Brooks Live Live Boxed Set, which includes a commemorative book and five discs with over 50 of Brooks’ most celebrated live performances.
Miranda Lambert Extends Las Vegas Residency Through 2023
/by Lorie HollabaughMiranda Lambert. Photo: Tyler Conrad
Miranda Lambert has extended her “Miranda Lambert: Velvet Rodeo The Las Vegas Residency” at Planet Hollywood Resort & Casino through the end of 2023. The 16 new shows will take place in July, November and December of 2023.
For the second leg of Lambert’s Velvet Rodeo residency, running through Dec. 11, and the next, running March 24-April 9, attendees will get to participate in a new fan engagement experience called Digital Seat Media. The real-time technology platform installed nearly 4,500 metal tags with unique QR codes on seats and signage inside Zappos Theater to provide ticket holders with an enhanced experience.
With the scan of the QR Code, fans can access the platform from their seat without the need to download an app and gain access to modules on the platform, including a Velvet Rodeo-themed micro game with prizes such as instant seat upgrades, direct ship-to-home merch pieces from Lambert’s brand Idyllwind, interactive trivia with Lambert’s MuttNation Foundation pet line, and an exclusive Instagram filter.
Tickets for the new shows go on sale Dec. 9, and fan club members will have access to a pre-sale starting Dec. 5. Citi cardmembers will have access to pre-sale tickets beginning Dec. 5- 8, while Caesars Rewards members, Caesars Entertainment’s loyalty program members, and Live Nation and Ticketmaster customers will have access to a pre-sale from Dec. 7-8.
Lambert, Live Nation Las Vegas and Caesars Entertainment are donating $1 of every ticket purchased to Lambert’s MuttNation Foundation.
“Miranda Lambert: Velvet Rodeo The Las Vegas Residency” 2023 Dates:
July: 7, 8, 12, 14, 15, 19, 21, 22
November: 30
December: 2, 3, 7, 9, 10, 14, 16
DISClaimer Single Reviews: Dierks Bentley & Billy Strings Delight On New Duet
/by Robert K OermannCountry music’s men don’t have a lot to say, but they sure sound good doing it.
Lyrically, we have a crop of singles here that are either positive love songs or warmly nostalgic vignettes. There are strong vocal performances from Sam Hunt, Keith Urban, CB30 and Granger Smith.
Finishing in a dead heat for Disc of the Day are the ever-soulful Nate Smith and the team of Dierks Bentley & Billy Strings. Dierks gets the nod because he’s outside the box with a weed-loving lyric.
George Birge has no such competition for this week’s DISCovery Award.
NATE SMITH / “Wreckage”
Writers: Chris Sligh/Mary Kutter/Nate Smith/Paul Wrock; Producer: Joel Bruyere; Label: Arista
–The passion this man puts into his recorded performances never fails to stop me in my tracks. On this torrid outing, he pours emotion into a power ballad that praises a partner who loves him with all his faults. His debut album is finally coming on Feb. 17 next year. I, for one, cannot wait.
WALKER HAYES / “Face in the Crowd”
Writers: Walker Hayes/Emily Falvey/Tofer Brown; Producers: Walker Hayes/Joe Thibodeau; Label: Monument
–He’s not the world’s strongest singer, but the sincerity in this earnest, sweet performance is undeniable. It’s an ode to his wife, the “face in the crowd” who’s the only one who matters in his rocket ship career. He hopes that when his 15 minutes of fame ends, she’ll still be by his side.
BLANCO BROWN & T.I. / “Trap Still Bumpin’”
Writers: Blanco Brown/T.I.; Producers: Tre Trax/Blanco Brown; Label: Cinq
–Brown rode and performed “The Git Up” in the Macy’s Thanksgiving Day Parade. That monster hit (reportedly 15 million sold) is an example of his self-anointed country sub-genre, “trailer trap” music. Now he’s teaming up with T.I. “the king of trap music.” The result is more Atlanta hip-hop than it is country music, but the “stoner,” easy-going groove is mesmerizing.
GRANGER SMITH / “Moonrise”
Writers: Andy Albert/Granger Smith/Jordan Schmidt/Justin Wilson; Producers: Granger Smith/John Marlin; Label: Wheelhouse Records
–This intensely romantic power ballad is produced and sung beautifully. I especially loved the extended, echoey, instrumental fade at the end. It’s the title tune of Smith’s first starring movie, which premieres via Pureflix on Dec. 15.
BRIAN KELLEY / “Florida Strong”
Writers: Brian Kelley”; Producers: Brian Kelley/Katlin Owen; Label: Big Machine
–It’s a jaunty, chin-up song dedicated to the resilience of Sunshine Staters. I could have done without the spoken-word bridge. Royalty proceeds benefit the Florida Disaster Fund and the Red Cross.
DIERKS BENTLEY & BILLY STRINGS / “High Note”
Writers: Charlie Worsham/Jim Beavers; Producers: Dierks Bentley/Ross Copperman/Jon Randall/F. Reid Shippen/Brett Beavers; Label: Capitol
–A total delight. Dierks and Billy sing the praises of weed in this witty, bluegrassy romp. Those fleet-fingered guitar notes rippling through the thing come courtesy of reigning Bluegrass Entertainer of the Year Billy plus the always welcome Charlie Worsham.
CLEDUS T. JUDD / “Shoot a Deer”
Writers: Cledus T. Judd/Chris Clark; Producer: none listed; Label: CDX
–Sung to the tune of Luke Byran’s “Drink a Beer,” this parody goofs around with silly hunting imagery. The video features Cledus and someone in a deer costume competing for laughs in the woods. You might not chuckle out loud, but I guarantee you’ll smile.
KEITH URBAN / “Street Called Main”
Writers: Chris LaCorte/Josh Miller/Scooter Carusoe; Producers: Keith Urban/Dann Huff; Label: Capitol
–This one’s another from Urban’s apparently bottomless well of uptempo love celebrations. Cheerful, joyously toe-tapping, bright and sunny. Highly listenable. But the radio single remains the also hearty “Brown Eyes Baby.”
GEORGE BIRGE / “Mind on You”
Writers: George Birge/Jaron Boyer/Michael Tyler/Colt Ford; Producers: Ash Bowers; Label: RECORDS/Sony
–A fevered dream of obsessive romance that swirls with electronics and hypnotic lyric repetition. Birge staged his Opry debut with it on Nov. 22.
SAM HUNT / “Start Nowhere”
Writers: Sam Hunt/Zach Crowell/Shane McAnally/Josh Osborne; Producers: Zach Crowell/Chris LaCorte/Shane McAnally/Sam Hunt; Label: MCA Nashville
–Very sweet. Hunt sings in a soft, heartfelt tenor as he wistfully ponders his youthful innocence. This one is ideal for the holiday season, since it yearns for hearth and home.
ALEX MILLER / “When God Made the South”
Writers: Jerry Salley/Aaron Wilburn/Lee Black; Producer: none listed; Label: Billy Jam
–The 6’6” American Idol alum rocks out on this Dixie anthem. At just 19, Miller is still maturing as a vocalist. In a few years, he’ll be able to bring out the baritone dips that this melody should have.
CB30 / “Now We’re Talkin’”
Writers: Christian Clementi/Brody Clementi/Dan Agee/Nick Wayne; Producer: Paul DiGiovanni; Label: Buena Vista
–These two brothers always bring a youthful vibe to a listening session. This groove-soaked bopper is a cute barroom pick-up ditty with a smart, innovative production. Highly engaging, as always.
Bobby Karl Works The Room: Lomax Legacy Celebrated At BMI
/by Bobby KarlJohn Lomax III
Chapter 661
The Music Row premiere of “Lomax on Lomax” was a celebration of one remarkable family’s contributions to American folk music.
Staged on Tuesday evening (Nov. 29) at BMI, the show is a mix of stories and singing that’s an overview of the accomplishments of John Avery Lomax, Alan Lomax, Bess Lomax Hawes and John Lomax Jr.
John Lomax III performing at BMI
In Nashville, the best known member of that clan is John Lomax III. He has worn many hats since arriving in Music City 50 years ago. John has been an artist manager, a journalist, a publicist (or “tub thumper,” as he calls it), a label exec, a book author, a music publisher, an international record exporter, a show promoter, a newspaper owner and a record producer. On Tuesday, he added another role to that list…..performer.
“Lomax on Lomax” is his one-man show, and like anything else he undertakes, he does it with gusto. His declamatory, unaccompanied delivery of Lomax-related folk songs was interspersed with narrative bits that explained his illustrious family’s legacy.
His grandfather, John Avery Lomax (1867-1948), published Cowboy Songs & Frontier Ballads in 1910. It documented “Home on the Range,” among other classic western tunes. Son Alan Lomax (1915-2002) joined him as a song collector. They discovered Lead Belly (Huddie Ledbetter, 1888-1949), who gave us “Irene Goodnight,” among other timeless classics. Alan published The Folk Songs of North America in 1960. He was John’s uncle.
Alan & John Lomax made more than 17,000 field recordings, which became the core of the Library of Congress Recorded Sound Archives. Among the songs they preserved are “Cotton Fields,” “Sweet Betsy From Pike” and “Sloop John B,” all of which John presented on Tuesday.
Bess Lomax Hawes (1921-2009) was in The Almanac Singers, became a folklorist specializing in children’s songs and games, founded the National Folk Festival, was an influential guitar teacher and ran the Folk Division of the National Endowment for the Arts for 20 years. She was also a songwriter, notably of the 1959 Kingston Trio hit “M.T.A.” She was John’s aunt.
John’s father, John Lomax Jr. (1907-1974), co-founded the Houston Folklore Society. The organization was the training ground for Guy Clark, Nanci Griffith, Steve Earle, Eric Taylor, K.T. Oslin, Townes Van Zandt and Lucinda Williams, among others. He was the Lomax family “manager” and was also a recording artist on Folkways. John sang several folksong lyrics he learned as a boy from his dad.
By the way, the legacy continues. Earlier this year, Alan’s daughter and John’s cousin Anna Lomax Wood published Songs of Earth.
“Lomax on Lomax” was presented in the ideal BMI Theater on the sixth floor. Vernell Hackett, Bob Saporiti, Anita Hogan, Ed Salamon, Patsy Bradley, Beth Gwinn, Jana Talbot, Tom Roland, Dave Pomerory, Pete Loesch, Hugh Moffatt, Ellen Pryor, Mark Miller, Troy Tomlinson, Lance Cowan, David Preston, Melanie Wells and Tommy Goldsmith were among the delighted attendees. Several sang along.
You’ll be able to get a taste of it on WSMV Channel 4, because Terry Bulger was there shooting the show for one of his “Positively Tennessee” features on the evening news.
Morgan Wallen Announces ‘One Night At A Time World Tour’
/by Lorie HollabaughMorgan Wallen. Photo: David Lehr
Beginning next spring, Morgan Wallen will embark on his “One Night At A Time World Tour,” kicking off overseas on March 15. Hardy, Ernest, Bailey Zimmerman and Parker McCollum will serve as support on the dates, both in the states and internationally.
The new tour will visit New Zealand and Australia with Hardy in March before returning stateside on April 15 at Milwaukee’s American Family Field. Wallen will play 39 dates, including 17 stadiums, amphitheaters and arenas on the tour, making stops at New Jersey’s MetLife Stadium, Chicago’s Wrigley Field and Boston’s Fenway Park, as well as Philadelphia, Detroit, San Diego, Austin and more before wrapping Oct. 7 in Washington.
Tickets will go on sale beginning Friday, Dec. 9. As on his “Dangerous Tour,” $3 of every ticket sold for U.S. dates will benefit the Morgan Wallen Foundation.
“Man, what a year 2022 has been with the ‘Dangerous Tour.’ I had the time of my life, and I cannot begin to express how grateful I am that my fans connected with the Dangerous album the way they did,” Wallen shares. “I’ve had so many people ask me if I wanted to take some time off, but the truth is–I have been writing and making so much music in my off-time because I feel as inspired as I ever have. It feels like new songs are pouring out of me, and I love that feeling. We are going to run it back next year with the ‘One Night At A Time World Tour.’ Bigger venues. New countries. Bigger memories. See y’all there.”
Wallen named his tour after one of three new songs dropping tonight (Dec. 1) at midnight on his One Thing At A Time – Sampler, which includes “One Thing At A Time,” “Tennessee Fan,” and “Days That End In Why.” The three tracks serve as the first taste of what’s to come from his time in the studio and arrive on the heels of his new single at country radio, “Thought You Should Know,” co-written with Miranda Lambert and Nicolle Galyon. The tune currently sits in the top 20, as his latest No. 1 “You Proof” returns to the top of the charts for a sixth, non-consecutive week on the Country Airplay chart.
Wallen’s 2022 “Dangerous Tour” spanned over 50 shows and broke records in 30 venues across the country during its eight-month run. Highlights include his historic Globe Life Field show, which became the fastest sellout in the venue’s history and surpassed attendance records. He also held the fastest sellouts in history at 11 venues.
Aaron Chafin Inks Co-Pub Deal With Concord Music Publishing & Chromatic
/by Lorie HollabaughPictured (L-R): Melissa Spillman (Concord), Garrett Stephenson (Concord), Courtney Allen (Concord), Tofer Brown (Chromatic), Aaron Chafin, Brad Kennard (Concord), Kourtney Kirkpatrick (Concord), Ashley Nite (Concord), Jaclyn McDonald (Concord)
Multi-genre songwriter and producer Aaron Chafin has signed a new co-publishing agreement with Concord Music Publishing and Chromatic Music. The deal includes Chafin’s full catalog and future works.
Chafin’s recent songwriting credits include Rozes’ “Halfway There,” Kyd the Band’s “Easy (feat. Elley Duhe),” Cassadee Pope’s “Tomorrow Night” and Sam Tinnesz’s “Loser (feat. Bryce Fox),” among others. He also co-wrote Drake White’s single “Hurts The Healing” and produced Micah Tyler’s “Amen,” which reached the No. 2 spot on Christian radio.
Other Chafin cuts include singles with Kshmr, Sarah Reeves, Jared James Nichols, Leah Nobel, Trella, Kierra Luv, and Svrcina. He has recently collaborated with the X Ambassadors, The Score, Shawn Hook, gnash, Willie Jones, Tofer Brown, The Brummies, Sarah Buxton, Trent Dabbs, Bear Rinehart, Anderson East, Amy Stroup and more.
On the sync side, Chafin’s work can be heard in ads for Dell, Intel, Amazon and Samsung, as well as in TV series such as American Kingdom, Almost Family, The Bold Type, and Selling Sunset. He’s had placements across MTV, FOX, ABC, CBS, NBC, Fox Sports, and promos/trailers for films, including Upload, Last Christmas, After, Countdown and more.
“We, alongside Tofer Brown and Chromatic Music, are incredibly excited to work with Aaron Chafin!” says Brad Kennard, SVP A&R at Concord Music Publishing Nashville. “Aaron is a uniquely gifted songwriter and producer, who’s already having success across country, pop, alternative, and in the film & television world. He’s a perfect match for Concord’s desire to win in every musical arena.”
“After our first time working together a couple of years ago, I knew I had to be a part of Aaron’s musical journey,” Brown adds. “He is one of the most talented producer/writers that I’ve worked with. I am so impressed by his diversity in production and his ability to jump from genre to genre–and to do it all so well is so inspiring. There is no limit to his talent and professionalism, and I am excited to work with him, alongside my Concord family.”
“Super excited to be joining Chromatic Music and Concord for my publishing,” shares Chafin. “The opportunities presented from the team were undeniable from the beginning, and I feel more than confident within their worldwide network of collaborations!”
This marks the second signing under the new joint venture with Chromatic Music, founded by songwriter Tofer Brown. The new creative endeavor was founded to develop, mentor and partner with artists, producers, and songwriters of all genres. Chromatic’s first signing earlier this year was songwriter Lauren Hungate.
ACM Shares Voting Timeline For 2023, Changes & Additions To Award Categories
/by Lydia FarthingThe Academy of Country Music has made announcements regarding the membership voting timeline for the 58th Academy of Country Music Awards, as well as changes and additions to its award categories.
First, submissions for the 58th Academy of Country Music Awards will open at 11 a.m. CT on Jan. 9 through Jan. 27 at 7 p.m. CT. The eligibility period for submissions is Nov. 16, 2021 through Dec. 31, 2022. Key dates for Academy members for the 2022 ACM Awards cycle can be found below.
Among the changes approved by the ACM Board of Directors are the Entertainer of the Year category will expand the final round nominees from five to seven. The Songwriter of the Year category will also be split into two categories: Songwriter of the Year and Artist-Songwriter of the Year. Meanwhile, criteria for the Album of the Year category has changed to increase the required amount of previously unreleased content from 51% to 75%. Similarly, the release window has been updated to better accommodate gradual release schedules. The Video of the Year category has been expanded into Visual Media of the Year to include additional formats of visual content.
Additionally, the Radio Award criteria for National Personality of the Year will now require that show submissions are distributed across all continental time zones. This impacts both National Weekly On-Air Personality of the Year, as well as National Daily On-Air Personality of the Year. For more details on the full category additions and updates, click here.
“The 58th ACM Awards cycle brings thoughtful and well-considered changes to numerous awards categories to better match the landscape of our industry’s music, visual content, and radio broadcasts and, specifically, how they have changed and grown with the times,” notes Kelly Rich, Chair of the ACM Awards, Voting, and Membership committee. “I’d like to thank the awards committee members, board members, and board officers for their active and invaluable contributions in joining these important conversations and helping to shape the categories for this coming year to reflect our evolving industry.”
“Making these changes clarifies eligibility and allows artists, songwriters, and radio broadcasters to put their best foot forward in having their accomplishments recognized by their peers and celebrated by the Academy,” adds Tommy Moore, VP Artist and Industry Relations, Governance and Board Administration. “We’re thrilled to be able to expand our Entertainer of the Year category, introduce a Songwriter of the Year category specifically for artists, and expand the scope of the visual media able to be considered. We look forward to robust submissions from our industry in the new year and a stellar selection of exceptional creative work to celebrate in Texas in May.”
The 58th Academy of Country Music Awards will livestream exclusively on Prime Video from Ford Center at The Star in Frisco, Texas on May 11.
Key Dates for the 2022 ACM Awards Cycle:
Submissions Period Opens: Jan. 9
Submissions Period Closes: Jan. 27
First Round Voting Main Awards: Feb. 27 – March 6
First Round Voting Radio Awards: Feb. 27 – March 13
Second Round Voting Main Awards: March 27 – April 3
Final Round Voting Radio Awards: March 27 – April 10
Final Round Voting Main Awards: April 17 – April 24
*All submission/voting windows close at 7 p.m. CT
Emmylou Harris, Steve Wariner, More To Play Nashville Unlimited Christmas Benefit
/by Lorie HollabaughThe Nashville Unlimited Christmas benefit concert, benefiting Room in the Inn, will return for its 23rd consecutive year on Dec. 13 at Christ Church Cathedral.
Musical guests for this year’s show include Emmylou Harris, Steve Wariner, Billy Dean, Riders in the Sky, Don Schlitz, The McCrary Sisters and other surprise guests. The event is produced and hosted by Dave Pomeroy, with singer-songwriter Don Henry serving as co-host.
“In addition to our wonderful musical guests, we are fortunate to have Brad Hall and a world class video and audio team to record this special concert honoring the work of Room in the Inn,” Pomeroy shares. “Everyone involved is donating their time and skills to help raise money for this great cause, and we hope to exceed $500,000 in total donations since 2000.”
He adds, “We are very grateful to Christ Church Cathedral for this ongoing opportunity to help our community through music, and Room in the Inn for the amazing work they do to help those who are less fortunate than ourselves. That’s the Christmas Spirit and the Nashville way!”
The concert is free with a $20 suggested minimum donation. Over the years, the shows have raised $497,000 for the work that Room in the Inn does to support Nashville’s homeless community.