Robert Deaton. Photo: John Shearer
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.
A highly respected television producer and award-winning director, Robert Deaton’s career has skyrocketed from launching a pioneering video production company, in which he created more than 500 music videos for a variety of chart-topping artists, to producing some of the most successful properties on network television.
Since 2007, he’s served as executive producer of the CMA Awards on ABC. He is a two-time Emmy winner for ABC’s Monday Night Football opening. Deaton is at the helm of CMA Fest and CMA Country Christmas, annual network shows that are consistently high in the ratings and spotlight the broad appeal that places country music at the forefront of American culture. Deaton produced Sports Illustrated: 50 Years of Beautiful on NBC, as well as the “Soul to Soul Las Vegas” residency for Tim McGraw and Faith Hill. He was executive producer of The Passion with Tyler Perry for Fox Broadcasting and currently serves as executive producer of the Billboard Music Awards on NBC.
MusicRow: Where did you grow up?
Fayetteville, North Carolina. Although when I was smaller, I grew up in Wilmington, North Carolina.
Were you musical as a kid?
Yeah, I grew up playing in bands, playing guitar and playing in orchestras. I started playing trumpet in the fourth grade and then was in garage bands all through high school. One of my best friends is actually a famous musician now, he’s the lead guitar player for Widespread Panic. We played together in bands growing up.
Robert Deaton and Walter C. Miller, longtime director/producer for CMA Awards. Photo: Courtesy of CMA
What was your dream then?
The dream was always, from the very beginning, to be in the entertainment industry. I had no other dream. I’ve been around this since I can remember. Any memory that I have [from childhood] was always in a theater or at a TV station. My father was in radio and television. He was a celebrity anchor at WECT TV, which was Channel 6 in Wilmington, North Carolina. On Friday nights, he had a country music show that all the Grand Ole Opry cast would come through to play if they were in the region. I can remember as a kid going to a Jerry Lee Lewis concert and sitting beside Jerry Lee when I was six years old.
The whole time I was growing up, I was all about getting out of school. I was just in a hurry. I didn’t know exactly what I was going to be doing in entertainment, I just knew I was going be doing something. So from elementary school on, it was about getting done so I could move to Nashville.
Deaton, The CMA’s Sarah Trahern, Darius Rucker and Little Big Town reveal the nominees for the 48th CMA Awards on Good Morning America. Photo: Courtesy of Deaton
What happened when you finally got to Nashville?
Johnny Rosen had this company called Fanta Sound. He was teaching audio over at Vanderbilt and I was taking all of his classes. Then I started getting into photography and started going to up to Maine for the Maine Photographic Workshops. The doors started opening first on the TV side.
One of my first gigs working in this industry was when I was a production assistant on the Crisco commercials with Loretta Lynn out in Hurricane Mills. One week I worked on that and then the next week I did something over at the old RCA building with Jerry Reed. I thought, “I have made it!” I was a 19 year old kid and one week I was hanging out at Hurricane Mills with Loretta and the next week, Jerry Reed.
What was your path from there?
I got offered a job at Channel 2. I was in the news for the first year and then the next couple of years I was in the marketing department, shooting all their promos and marketing. That was a great experience.
I stayed there a couple of years and then I met a guy named George Flanigen. We started a company called Deaton Flanigen Productions and we did probably 300 music videos. We were doing music videos for Martina McBride, Faith Hill, Alabama and Diamond Rio. George and I were fortunate enough to win two CMA Video of the Year awards. One for “Independence Day” with Martina and one for “Believe” with Brooks & Dunn. It was great fun. We created “Are You Ready for Some Football?” for ABC. We were doing lots of commercials and marketing promos for syndicated TV shows.
It was going really well but times change and things shift. When streaming came in, the business shifted, so I knew I needed to make a transition of some kind. I got on the board at the CMA and that was a big life change for me because of all these great people on the board. Donna Hilly, Joe Galante, Connie Bradley and Kitty Moon were on the board. Eventually they made me the chairman of the TV committee. That’s how I started working on the CMA Awards.
Kelsea Ballerini, Robert Deaton. Photo: Courtesy of Deaton
How did that happen?
All these board members [I was surrounded by] were trailblazers, so I was trying to figure out a way to contribute. I decided my way to contribute was to try to make the CMA Music Festival into a television broadcast. I went and shot sizzle reel at what I think was our second year at the stadium after we shifted from the fairgrounds. I shot it and put together a pitch piece. I flew out to LA and pitched it to CBS and they bought it.
I was doing that to contribute, I wasn’t necessarily doing that to actually produce a show. It was Larry Fitzgerald that said I should be the one that produces it. They voted on it and that was my first network show, The CMA Music Festival. So I started producing the festival and then a couple years later, they asked me to do the awards. I’ve been doing the awards ever since. I also created the CMA Christmas show, so I went from doing one television broadcast to three, which has been great.
Do you have time for anything else?
I’m always trying to shift and reinvent. A couple of years ago, I did my first film which was called Benched. I’m currently working on two other movies right now, one for next year. Also, the doors have opened back into the music recording process. The first project that I did was a Christmas record for Michael W. Smith called The Spirit of Christmas. This past year, all year long, I’ve worked on an album called Stoned Cold Country. That’s a 60th anniversary celebration and tribute to the Rolling Stones.
It’s not necessarily about the medium, but it’s always about how can you reinvent yourself from a creative standpoint? What is it that you haven’t done before? I feel like you always have to put yourself, as a creative person, into uncomfortable situations. You really have to put yourself into a place where you’re like, “What have I gotten myself into? I’m not sure I know how to do this.” Then you go through all those feelings of self doubt. You want those feelings as a creative person because it pushes you to make great work.
Willie Nelson, Robert Deaton. Photo: Courtesy of Deaton
Do you have any stories you’d like to share about a time you’ve felt a lot of self-doubt but prevailed?
The one that is at always at the forefront of my mind is the most important creative endeavor that I’ve ever been a part of: the 50th anniversary open of the CMA Awards. I told you how I grew up. This genre is important to me. The 50th anniversary open was the most important thing that I’ve ever done, and I also felt like it was important to the industry and to us as country music. I had to get that right.
It was the most nerve-wracking disaster in rehearsal that you’ve ever seen in your life. A lot of these people hadn’t been on TV in 20 years. We are surrounded by greatness with Brad Paisley and Carrie Underwood, Roy Clark, Charley Pride, Clint Black, Alan Jackson, Dwight Yoakam and Charlie Daniels. It had to work like clockwork in order for it to work and it was the worst rehearsal of all time. I remember walking on stage with my head down and thinking, “Buddy, you have bitten off more than you can chew this time.” I hear a voice that goes, “Looked better on paper, didn’t it?” I looked up and it’s Vince Gill. He is laughing and he goes, “It’s going to be alright.” [Laughs]
We never finished it from beginning to end during rehearsal. The only time that we ever saw that performance from beginning to end without stopping was live on the air. I was praying, “Please, Lord, let us get through this.” We got through it and I literally busted out crying. I was so proud.
If someone were to ask you how to get a job like yours, what would you tell them?
Well, I want to keep it for a while. [Laughs]
I think that you have to do your one hundred thousand hours. This position here is not 10,000 hours. This is hundreds of thousands of hours. I do feel like I’m unique because of the experiences that I’ve been able to go through. I experienced Buck Owens, Jerry Lee Lewis and the stars of the Grand Ole Opry at a young age. I was 12 years old backstage at the Grand Ole Opry. I would be in the dressing room asking Jack Greene, “How did you record ‘Statue Of A Fool’ with only four tracks? How did you do that back then?” I can hear an Everly Brothers record and tell you who played on that record. I know the history. I know where we came from. I knew, adored and loved Jo Walker-Meador here at the CMA. There’s practically not a country song that I don’t know the lyrics to if it was a hit from the ’40s on. I think in order to do this job well, you’ve gotta know all that. It’s better to know the history for you to make decisions in the present.
It means everything to me. Doing this job at this time means everything in the world to me. Other than my family, it’s the most important thing that I do.
Nicolle Galyon Celebrates Debut Album ‘Firstborn’ With Special Show
/by Liza AndersonNicolle Galyon at An Evening With Nicolle Galyon. Photo: Rachel Deeb.
Music lovers came together for An Evening With Nicolle Galyon at the Country Music Hall of Fame’s CMA Theater on Tuesday (Nov. 1). The special live show celebrated award-winning songwriter Nicolle Galyon and her debut album Firstborn, which premiered in July of this year.
Galyon shared the stage with many fellow Nashville writers throughout the evening, all of whom took the time to describe the impact she’s had on their writing and careers. Each one played and told the stories behind their music, showcasing their creativity and innovation. Together with Galyon, they created an intimate and comforting atmosphere.
Rising artist-songwriters Tiera Kennedy, Lauren Watkins, Mackenzie Carpenter, and Carter Faith kicked off the night, singing their songs as well as their praises of the Songs & Daughters label head.
“Nicolle has taught me so much about writing songs, being myself, and standing my ground in this industry. I cannot say enough about her,” said Watkins.
She then performed “Sleeping in My Makeup,” and finished with the clever track “Shirley Temple,” a song she wrote with Galyon and Meg McRee.
“I just spent a weekend with Nicolle at a writer’s retreat and as a young female artist, it’s really cool to see how she literally does it all. She’s an artist, mom, business owner, label and publishing executive, and still gets home in time to put her kids to bed. It’s really cool to see, and really cool to learn from,” shared Carpenter.
With her brother and fellow songwriter Micah Carpenter on guitar, she tickled the room with “Huntin’ Season,” written by the siblings alongside the woman of the hour. She also performed her debut single “Can’t Nobody.”
An Evening With Nicolle Galyon. Photo: Rachel Deebs.
Next on the mic was Kennedy, who gestured to the stage behind her and led the crowd in applauding the musician accompanying the four artists. She sang “Found It In You,” dedicating the song to whoever audience members consider to be “the person who loves [them] despite all of [their] flaws, and loves [them] no matter what.”
Faith performed and shared the stories behind “Already Crazy,” out tomorrow (Nov. 4), as well as an unreleased solely self-written song influenced by Galyon.
“Nicolle is someone everyone should look up to, woman or not,” stated Faith. “She is who we all want to be as songwriters, and I think it’s amazing that she’s honoring the talent she sees in town. Her asking us to be a part of this is so special. She could’ve just played a show, she didn’t have to have us open for her. So, I just want to say thank you to her.”
She continued, saying, “Nicolle is so supportive and wants everyone to be their authentic selves. It’s so scary to release a record. The fact that she has a separate career as a songwriter and made this artist record is so special and strong. She is so strong. That is something her daughter and her son will always know about her. That is something we will always know about her.”
The headliner of the “one show tour” then took to the stage, spreading the seeds of the empowering “Sunflower.”
Recent Nashville Songwriters Hall of Fame inductee and Firstborn co-writer Hillary Lindsey joined Galyon in performing single “Boy Crazy,” entrancing the audience with their intertwined vocals.
“I wrote this music with an audience of two in mind, and that’s Charlie and Ford Clawson. So, the fact that there’s more than two people here is a miracle and so much fun. Sincerely, thank you for showing up,” Galyon said to the crowd.
Rodney Clawson and Nicolle Galyon at An Evening With Nicolle Galyon. Photo: Rachel Deebs.
She introduced Jimmy Robbins and King Henry, the two writers with whom she started Firstborn. After she joined them on the cozy couch upon the stage, the three of them performed “Disneyland.” Galyon and Emily Weisband shared “Consequences,” co-written by both of them, Amy Wadge, and Camila Cabello.
“I think in 2020 what I learned was that I was returning. The more I returned to myself, the more I didn’t care about the things I didn’t need to care about,” she explained while transitioning to “Self Care,” which she wrote with Sasha Sloan and Caroline Barker, who was called on stage to join her.
Galyon gave a moving performance of “Five Year Plan” alongside her husband, Rodney Clawson. A touching video filled with clips from her musical career as well as her career in motherhood projected across the front of the theater as the song rang through the room. The night continued with “Boy” and “Tendencies.” Artist Walker Hayes was the next guest onstage. He expressed his admiration of Galyon and her work, following with a performance of “AA.” Then Galyon and Hayes teamed up for their co-written track “Halloween.”
The evening wrapped with the return of Lindsey, who united with Galyon for “Younger Woman,” another track they wrote together. She concluded by thanking every co-writer on the album. Kimberly Perry of The Band Perry appeared for the final performance of the night, “If I Die Young.”
As the lights faded, the crowed begged for an encore, further confirming Galyon’s amazing talent both as an artist and a songwriter.
Rodney Clawson and son Ford Clawson at An Evening With Nicolle Galyon. Photo: Rachel Deebs.
My Music Row Story: Robert Deaton
/by LB CantrellRobert Deaton. Photo: John Shearer
A highly respected television producer and award-winning director, Robert Deaton’s career has skyrocketed from launching a pioneering video production company, in which he created more than 500 music videos for a variety of chart-topping artists, to producing some of the most successful properties on network television.
Since 2007, he’s served as executive producer of the CMA Awards on ABC. He is a two-time Emmy winner for ABC’s Monday Night Football opening. Deaton is at the helm of CMA Fest and CMA Country Christmas, annual network shows that are consistently high in the ratings and spotlight the broad appeal that places country music at the forefront of American culture. Deaton produced Sports Illustrated: 50 Years of Beautiful on NBC, as well as the “Soul to Soul Las Vegas” residency for Tim McGraw and Faith Hill. He was executive producer of The Passion with Tyler Perry for Fox Broadcasting and currently serves as executive producer of the Billboard Music Awards on NBC.
MusicRow: Where did you grow up?
Fayetteville, North Carolina. Although when I was smaller, I grew up in Wilmington, North Carolina.
Were you musical as a kid?
Yeah, I grew up playing in bands, playing guitar and playing in orchestras. I started playing trumpet in the fourth grade and then was in garage bands all through high school. One of my best friends is actually a famous musician now, he’s the lead guitar player for Widespread Panic. We played together in bands growing up.
Robert Deaton and Walter C. Miller, longtime director/producer for CMA Awards. Photo: Courtesy of CMA
What was your dream then?
The dream was always, from the very beginning, to be in the entertainment industry. I had no other dream. I’ve been around this since I can remember. Any memory that I have [from childhood] was always in a theater or at a TV station. My father was in radio and television. He was a celebrity anchor at WECT TV, which was Channel 6 in Wilmington, North Carolina. On Friday nights, he had a country music show that all the Grand Ole Opry cast would come through to play if they were in the region. I can remember as a kid going to a Jerry Lee Lewis concert and sitting beside Jerry Lee when I was six years old.
The whole time I was growing up, I was all about getting out of school. I was just in a hurry. I didn’t know exactly what I was going to be doing in entertainment, I just knew I was going be doing something. So from elementary school on, it was about getting done so I could move to Nashville.
Deaton, The CMA’s Sarah Trahern, Darius Rucker and Little Big Town reveal the nominees for the 48th CMA Awards on Good Morning America. Photo: Courtesy of Deaton
What happened when you finally got to Nashville?
Johnny Rosen had this company called Fanta Sound. He was teaching audio over at Vanderbilt and I was taking all of his classes. Then I started getting into photography and started going to up to Maine for the Maine Photographic Workshops. The doors started opening first on the TV side.
One of my first gigs working in this industry was when I was a production assistant on the Crisco commercials with Loretta Lynn out in Hurricane Mills. One week I worked on that and then the next week I did something over at the old RCA building with Jerry Reed. I thought, “I have made it!” I was a 19 year old kid and one week I was hanging out at Hurricane Mills with Loretta and the next week, Jerry Reed.
What was your path from there?
I got offered a job at Channel 2. I was in the news for the first year and then the next couple of years I was in the marketing department, shooting all their promos and marketing. That was a great experience.
I stayed there a couple of years and then I met a guy named George Flanigen. We started a company called Deaton Flanigen Productions and we did probably 300 music videos. We were doing music videos for Martina McBride, Faith Hill, Alabama and Diamond Rio. George and I were fortunate enough to win two CMA Video of the Year awards. One for “Independence Day” with Martina and one for “Believe” with Brooks & Dunn. It was great fun. We created “Are You Ready for Some Football?” for ABC. We were doing lots of commercials and marketing promos for syndicated TV shows.
It was going really well but times change and things shift. When streaming came in, the business shifted, so I knew I needed to make a transition of some kind. I got on the board at the CMA and that was a big life change for me because of all these great people on the board. Donna Hilly, Joe Galante, Connie Bradley and Kitty Moon were on the board. Eventually they made me the chairman of the TV committee. That’s how I started working on the CMA Awards.
Kelsea Ballerini, Robert Deaton. Photo: Courtesy of Deaton
How did that happen?
All these board members [I was surrounded by] were trailblazers, so I was trying to figure out a way to contribute. I decided my way to contribute was to try to make the CMA Music Festival into a television broadcast. I went and shot sizzle reel at what I think was our second year at the stadium after we shifted from the fairgrounds. I shot it and put together a pitch piece. I flew out to LA and pitched it to CBS and they bought it.
I was doing that to contribute, I wasn’t necessarily doing that to actually produce a show. It was Larry Fitzgerald that said I should be the one that produces it. They voted on it and that was my first network show, The CMA Music Festival. So I started producing the festival and then a couple years later, they asked me to do the awards. I’ve been doing the awards ever since. I also created the CMA Christmas show, so I went from doing one television broadcast to three, which has been great.
Do you have time for anything else?
I’m always trying to shift and reinvent. A couple of years ago, I did my first film which was called Benched. I’m currently working on two other movies right now, one for next year. Also, the doors have opened back into the music recording process. The first project that I did was a Christmas record for Michael W. Smith called The Spirit of Christmas. This past year, all year long, I’ve worked on an album called Stoned Cold Country. That’s a 60th anniversary celebration and tribute to the Rolling Stones.
It’s not necessarily about the medium, but it’s always about how can you reinvent yourself from a creative standpoint? What is it that you haven’t done before? I feel like you always have to put yourself, as a creative person, into uncomfortable situations. You really have to put yourself into a place where you’re like, “What have I gotten myself into? I’m not sure I know how to do this.” Then you go through all those feelings of self doubt. You want those feelings as a creative person because it pushes you to make great work.
Willie Nelson, Robert Deaton. Photo: Courtesy of Deaton
Do you have any stories you’d like to share about a time you’ve felt a lot of self-doubt but prevailed?
The one that is at always at the forefront of my mind is the most important creative endeavor that I’ve ever been a part of: the 50th anniversary open of the CMA Awards. I told you how I grew up. This genre is important to me. The 50th anniversary open was the most important thing that I’ve ever done, and I also felt like it was important to the industry and to us as country music. I had to get that right.
It was the most nerve-wracking disaster in rehearsal that you’ve ever seen in your life. A lot of these people hadn’t been on TV in 20 years. We are surrounded by greatness with Brad Paisley and Carrie Underwood, Roy Clark, Charley Pride, Clint Black, Alan Jackson, Dwight Yoakam and Charlie Daniels. It had to work like clockwork in order for it to work and it was the worst rehearsal of all time. I remember walking on stage with my head down and thinking, “Buddy, you have bitten off more than you can chew this time.” I hear a voice that goes, “Looked better on paper, didn’t it?” I looked up and it’s Vince Gill. He is laughing and he goes, “It’s going to be alright.” [Laughs]
We never finished it from beginning to end during rehearsal. The only time that we ever saw that performance from beginning to end without stopping was live on the air. I was praying, “Please, Lord, let us get through this.” We got through it and I literally busted out crying. I was so proud.
If someone were to ask you how to get a job like yours, what would you tell them?
Well, I want to keep it for a while. [Laughs]
I think that you have to do your one hundred thousand hours. This position here is not 10,000 hours. This is hundreds of thousands of hours. I do feel like I’m unique because of the experiences that I’ve been able to go through. I experienced Buck Owens, Jerry Lee Lewis and the stars of the Grand Ole Opry at a young age. I was 12 years old backstage at the Grand Ole Opry. I would be in the dressing room asking Jack Greene, “How did you record ‘Statue Of A Fool’ with only four tracks? How did you do that back then?” I can hear an Everly Brothers record and tell you who played on that record. I know the history. I know where we came from. I knew, adored and loved Jo Walker-Meador here at the CMA. There’s practically not a country song that I don’t know the lyrics to if it was a hit from the ’40s on. I think in order to do this job well, you’ve gotta know all that. It’s better to know the history for you to make decisions in the present.
It means everything to me. Doing this job at this time means everything in the world to me. Other than my family, it’s the most important thing that I do.
DISClaimer Single Reviews: Jameson Rodgers Gives Another ‘Pure-Country’ Performance
/by Robert K OermannJameson Rodgers. Photo: Matthew Berinato
This is not a thrilling week for country consumers, since the new sounds are all fairly ordinary.
The bright spots in today’s DISClaimer are Boy Named Banjo, Runaway June, Niko Moon and our Disc of the Day winner, Jameson Rodgers.
The DISCovery Award goes to a promising southern singer-songwriter named Ella Langley. I look forward to hearing much more from her.
RUNAWAY JUNE / “Broken Hearts (Do Broken Things)”
Writers: Mandi Sagal/Sarah Lake/Steve Fee; Producers: Mitch Furr/Justin Weaver; Label: RJ
–The lady is out on the town, doing questionable things with strangers, dancing on tables, knocking back shots, letting her emotions get the best of her and being kinda nutty. It’s okay. She’s acting out a busted heart. The jangly production is a boatload of romping fun, and the “gang” vocals and harmonies of the trio keep the whole thing frothing. Super listening.
NIKO MOON / “I Can’t Wait to Love You”
Writers: Niko Moon/Anna Moon/Joshua Murty; Producers: Niko Moon/Joshua Murty; Label: RCA
–Very sweet. Mr. and Mrs. Moon croon with joy, wonder and anticipation as they get ready to be parents. Anna provides the soft harmony behind Niko’s charmingly rumpled lead vocal while guitars strum gently.
CATIE OFFERMAN / “‘Til I See You Again”
Writers: Catie Offerman/Ryan Beaver/Jessi Alexander; Producer: Dann Huff; Label: MCA
–Everything I’ve heard so far from this lady has been praiseworthy. This pop-country confection puts the “fun” in dysfunctional, since the effervescent track contrasts sharply with a lyric about falling for the same bum repeatedly.
TEMECULA ROAD / “Wrong Ones Do”
Writers: Dawson Anderson/Emma Salute/Kelly Archer/Brandon Hood; Producers: Brandon Hood/Dann Huff; Label: Warner/Buena Vista
–She’s ignoring Mama’s caution and falling for the tattooed “bad boy.” As you wade deeper into the rampaging country rocker, you find out that Mama was married three times, so she can’t be too judgmental. This one’s a jolt of energy.
RAELYNN / “Raisin’ Me a Country Girl”
Writers: RaeLynn/Rhett Akins/Will Bundy; Producer: Corey Crowder; Label: RL
–Twangin,’ electrified country. The lyric is inspired by the singer bringing up a feisty little mini-her (”sweet” but “hard as nails”).
JESSIE JAMES DECKER & BILLY CURRINGTON / “I Still Love You”
Writers: Matt Dragstrem/Josh Kear/Chris Tompkins; Producer: Matt Dragstrem; Label: Warner/Atlantic
–They harmonize beautifully together. The deliberate, monotonous tempo plods a mite too much.
JAMESON RODGERS / “I’m on a Dirt Road”
Writers: Brent Anderson/Hunter Phelps/Jake Mitchell/Jameson Rodgers; Producers: Jake Mitchell/Chris Farren; Label: Sony
–Jameson has a new collection titled Highways and Dirt Roads. This dynamic track from it traces a country boy’s heartache, triggered by a Strait song on the radio. As always, this artist is a pure-country solid citizen. Turn him up.
MICHELLE WRIGHT / “Small Town”
Writers: Danielle Bourjeaurd/Michelle Wright/Rick Ferrell; Producer: Bob Funk; Label: Audium/BFD
–This Canadian Country Music Hall of Fame member has returned with a new collection titled Milestone. This bopping single from it is a melodic autobiography of her musical journey. She still sounds frisky and fine.
ELLA LANGLEY / “Country Boy’s Dream Girl”
Writers: Ella Langley/Will Bundy/Aaron Raitere/Smith Anquist; Producer: Will Bundy; Label: Columbia
–You’ll fall in love with her Alabama accent. The chiming, echoey production and the song’s down-home lyric don’t hurt a bit. This one’s a winner.
BOY NAMED BANJO / “Heart Attack”
Writers: William Reames/Barton Davies/Ryan Tyndell/Jeff Hyde; Producer: Oscar Charles; Label: Mercury
–The sheer musicality of these native Nashvillians just floors me. The playing is so accomplished, the singing is hearty and the songwriting is hooky as heck. They sound ultra contemporary, with a bluegrassy vibe beneath a fiery country-rock track. This deserves lotsa spins.
TYLER THOMPSON / “Won’t Take Long”
Writers: Tyler Thompson/Will Hoge/Gordon Sampson; Producer: Steve Jordan; Label: Sony
–Workmanlike country, with a steady beat, an extremely simple melody and a decent, double-tracked vocal. The production is better than the song deserves. He’s a former top movie producer turned country artist.
RANDY HOUSER / “Country Round Here Tonight”
Writers: Randy Houser/Brice Long/Jeff Hyde; Producers: Randy Houser/Blake Chancey; Label: Magnolia Music Group
–I’m passing on this one. The song’s lyric of honky-tonk life almost rings with truth. The ambiance is described, the bar is depicted, the sounds are right. There is one major problem, and that’s the description of the patrons. The men are all working on the farm all day. The women are all lying in the sun, working on their tans. What century is he living in that women aren’t working as hard as men do?
CRB Unveils New Garth Brooks ‘No Fences’ Award
/by Lydia FarthingCountry Radio Broadcasters has established a new industry honor, the Garth Brooks “No Fences” Award. Presented by CRB and inspired by the influential career of Garth Brooks and his 1990 No Fences album, the award will recognize an individual in the country music industry who has demonstrated innovation, creativity, and tenacity.
Recipients of the Garth Brooks “No Fences” Award will have defied traditional standards and practices, positively changed the face of the industry, and established higher standards for measuring success. Additionally, their achievements will have expanded the country music industry’s profile on a national level, not only for their benefit but for the industry as a whole, for a sustained duration and with proven significant impact.
The inaugural recipient of this award will be honored at a future CRS, based on evaluations from a blue-ribbon committee comprised of CRB board members and representatives of Brooks’ team. Additionally, Brooks will appear at CRS 2023 on March 13 to discuss the collaboration with CRS and the last several years.
The award’s namesake comes from Brooks’ historic album release that further catapulted his remarkable career. With over 18 million copies sold worldwide, No Fences shattered sales and airplay records, and spearheaded country music’s expansion and its era-defining catalog.
CRB/CRS Executive Director RJ Curtis comments, “We all know about Garth’s monumentally successful career, which established this genre as popular, sustainable, and mainstream. What many don’t know, however, is that concurrent with his many personal accomplishments, Garth Brooks has given unwavering support for CRS during the past 30 years by showing up to CRS annually and creating innovative ways to engage, entertain, and educate CRS attendees that perfectly match the ‘growth through sharing’ mission of CRS. It’s fitting that we honor Garth’s innovative, tenacious spirit with this newly established award bearing his name.”
CRS 2023 will take place Monday, March 13 – Wednesday, March 15 at the Omni Nashville Hotel, and registration is open now.
11th Annual Touring Career Workshop Wraps Successful Nashville Event
/by Lorie HollabaughPictured (L-R): Erik Parker, Kyle Shepherd, Janna Shepherd, Erik Leighty (Miranda Lambert Production Mgr), Chris Lisle, Curt Jenkins (Miranda Lambert Tour Mgr.), Ellie Jenkins. Photo: Jason Davis
The 11th Annual Touring Career Workshop took place Tuesday night (Nov. 1) at Nashville’s SoundCheck rehearsal studios, featuring top experts from a variety of fields.
The event attracted 350 attendees who gathered to participate in workshops and hear from figures in affordable health care, tax and savings, mental health wellbeing, personal safety, diversity and touring, among other topics.
TCW was co-created by lighting designer Chris Lisle as a way to ensure that the next generation of touring professionals have access to important career information to support their on tour and off tour lives.
Pictured (L-R): Erik Parker, Brittan Yeomans, Natalia Pena (Maren Morris Video Director), Helena Pygrum (Solotech), Tee Cee Bailey (Monitor Engineer for Trisha Yearwood and Garth Brooks) and Chris Lisle. Photo: Jason Davis
Reba McEntire, Breland, Mookie Betts, More To Present At Upcoming CMA Awards
/by Lorie HollabaughAmong those slated to take the mic are two-time World Series champ/Los Angeles Dodgers star Mookie Betts, actress Jessica Chastain, Breland, Reba McEntire, Tyler Hubbard and Little Big Town. Also on tap to present awards at this year’s event are Lifetime’s Reindeer Games Homecoming actress Sarah Drew, Yellowstone star Cole Hauser, Wynonna Judd, Lady A, actor Rex Linn, Parker McCollum, stars of the hit HGTV shows HomeTown and HomeTown Takeover Ben and Erin Napier, Jeannie Seely, actor Michael Shannon, and Lainey Wilson.
Artists set to take the CMA Awards stage during country’s biggest night with must-see performances include Jimmie Allen, Kelsea Ballerini, Dierks Bentley, Brothers Osborne, Luke Bryan, Brandy Clark, Kelly Clarkson, Luke Combs, Caylee Hammack, Hardy, Cody Johnson, Elle King, Marcus King, Miranda Lambert, Patty Loveless, Ashley McBryde, McEntire, John Osborne, Jon Pardi, Carly Pearce, Katy Perry, Pillbox Patti, Chris Stapleton, Cole Swindell, The Black Keys, The War And Treaty, Thomas Rhett, Carrie Underwood, Morgan Wallen, Wilson, and Zac Brown Band.
The 56th Annual CMA Awards, hosted by Bryan all-star athlete Peyton Manning, will broadcast live from Nashville’s Bridgestone Arena on Nov. 9 at 7 p.m. CT on ABC, and will be available next day on Hulu.
Bobby Karl Works The Room: Music Row Gathers To Salute Clint Black
/by Bobby KarlPictured (L-R): David Preston (BMI), Clay Bradley (BMI), Clint Black, Brinson Strickland (Collective Artist Management), Cass Scripps (UTA), John Zarling (615 Leverag + Strategy)
Chapter 659
All hail Clint Black!
The music community gave three cheers to the enduring greatness of this songwriting icon on Wednesday (Nov. 2) at BMI.
The first and biggest cheer was sent up by BMI, who’d invited everyone there to celebrate the star’s 60 million-air accomplishment. That means Black’s songs have been broadcast 60 million times, or the equivalent of 340 years of continuous airplay.
“It’s a privilege at BMI to represent you and your songs,” said the organization’s Clay Bradley, who presided. He called Clint Black, “one of the most influential songwriters in the modern era. He set the tone for the next generation of country stars.”
Black was the first star to emerge from what is known as “The Class of ’89,” a group that also included Alan Jackson, Vince Gill, Mary Chapin Carpenter, Garth Brooks and Travis Tritt. All of them were singer-songwriters who transformed the country genre.
The second cheer was sent up by the RIAA’s Jackie Jones. She presented Black with three new Gold Record certifications and one new Platinum Album. She noted that he already has RIAA certifications recognizing 15 million in sales.
Clint Black has seven Platinum-plus albums. Between 1989 and 2008, he placed 56 singles on the country charts, including 39 top-40 successes, 30 top-10 hits and 13 No. 1 smashes. He wrote or co-wrote all but three of them.
The third cheer of the event came from the Country Radio Broadcasters’ RJ Curtis. His CRB recognizes that the music of Black has had 38 billion audience impressions since 1990, and Curtis presented a plaque to mark that achievement.
“He started a movement in the country radio format,” said Curtis. “He was the first guy out of the gate. You talk about the Class of 1989: This guy was the Valedictorian. And his music has had staying power with listeners.”
“Clint Black songs become your songs,” added Bradley. “We all hear ourselves in these songs.”
The cheering squad included Dan Rogers, Mike Sirls, Caryn & Steve Wariner, Carol Ann Etheridge & Mark Ford, Shannon Sanders, Marcus K. Dowling, Craig Campbell, David Preston, Keb’ Mo,’ Brinson Strickland, Terri Brown, Dale Bobo, Steve Dorff, Teresa George, Jessie LaBelle, John Zarling, Dale Turner, Dan Wilson, Maureen O’Connor and Patrick Thomas.
The honoree was fresh from earning a standing ovation for his wildly entertaining performance at Sunday’s Nashville Songwriters Hall of Fame banquet gala. Several in the BMI crowd were talking about his showmanship.
During his remarks, Black added two more names to his cheering section — his wife, the actor/singer Lisa Hartman, and his daughter Lily Pearl Black, a Belmont student who is working with mega-producer David Foster. Both Lisa and Lily have toured with Clint Black, doing singing spots during his shows.
Lisa’s duet with him, 1999’s “When I Said I Do,” won an ACM Award and was one of the BMI songs honored. Black has two other ACM awards, two CMA statuettes and a 1991 Opry cast induction.
“I’m standing here today….overwhelmed,” said Black to his admirers. “How honored I am that you all are here. It’s very humbling.
“It’s an honor to be in the business and a privilege to have so many people helping me,” he said. “This is a very special day for me. The songs got me here, and the songs have kept me here. This means more to me than you could possibly know.”
A video wall scrolled through the song titles being honored, while Black’s recordings echoed in the BMI lobby. A full bar offered after-work libations and a long buffet table was packed with barbecue sliders, fried chicken, pickles, cheeses, spreads, crackers, fruits, cured meats, olives and more. We all went home with commemorative black (of course) coins with gold lettering marking the BMI 60-million accomplishment.
After I egged him on, Wariner amused Sanders by doing slight-of-hand magic tricks with his black coin.
Industry Ink: Jeannie Seely, Nate Smith, Corey Kent, Sincerely Music Group
/by Liza AndersonJeannie Seely Given Proclamation & Honorary Membership From Musicians Union
Dave Pomeroy and Jeannie Seely. Photo: Courtesy of B! Noticed Public Relations.
Grand Ole Opry legend and Grammy-winning artist Jeannie Seely was surprised by Nashville Musicians Association President Dave Pomeroy with a proclamation and honorary membership to the Nashville Musicians Union, AFM Local 257 after her recent performance at the Opry.
“It was my honor to present Jeannie Seely with a Proclamation from the Nashville Musicians Association, AFM Local 257, thanking her for all she has done for Nashville musicians over the years, including raising more than $45,000 for our Emergency Relief Fund from previous Dottie West Birthday Bash benefit concerts. She is a multi-talented force of nature, and after more than five decades in the business, she continues to be a role model and mentor for generations of female country music artists,” shares Pomeroy. “Our bylaws allow me to bestow honorary AFM 257 membership at my discretion, and Jeannie is the third person to receive this status after Glen Campbell and Charley Pride. We salute Jeannie and appreciate her many contributions to the Nashville musicians community and welcome her as a member of the Nashville Musicians Association, AFM Local 257, Home of the Finest Musicians in the World!”
“What a wonderful surprise for me on the Opry Stage! This honor will always be very special to me as I feel like musicians are the unsung heroes and the backbone of our industry. Often an identifying ‘lick’ is as much a part of a hit recording as the ‘hook’ of the song or the unique performance of the artist,” adds Seely. “Thank you, Dave Pomeroy and AFM Local 257 for this honorary membership, and I accept on behalf of all the incredible musicians who have contributed to my career and those who continue to support me.”
Nate Smith Surprised With Gold Certification Plaque At Grand Ole Opry
Pictured (L-R): Sony Music Nashville’s Meghan Kehoe; The Core Entertainment’s Tracy Martin, Chief Zaruk, Taylor Manns, and Simon Tikhman; Sony Music Nashville’s Randy Goodman; Nate Smith; Sony Music Nashville’s Jen Way, Emily Butler, Amy Menz, Nicole Marinake, Jess Keifer, and Emmie Reitzug. Photo: Courtesy of Sony Music Nashville.
Rising Sony Music Nashville/Arista Nashville artist Nate Smith took the Grand Ole Opry stage on Tuesday evening (Nov. 1) for his NextStage artist debut, after recently being named the final member of the Opry’s NextStage Class of 2022.
Following his performance, Smith was surprised with a RIAA Gold certification plaque for his hit single “Whiskey On You,” which is currently Top 15 and climbing at country radio. The song has accumulated over 128 million total on-demand streams to date.
He will return to the Grand Ole Opry for the Opry NextStage Live In Concert show, presented by Geico, alongside other 2022 NextStage artists Elvie Shane, Breland, Restless Road, and Conner Smith on Nov. 20.
Corey Kent Goes Gold With Hit Single ‘Wild As Her’
Corey Kent with Sony Music Nashville, Triple 8 Management, Combustion Music, and WME team members. Photo: Adam Davis.
Up-and-coming country artist Corey Kent was surprised by Sony Music Nashville, Triple 8 Management, Combustion Music, and WME with a RIAA Gold certification plaque recognizing his breakout single “Wild As Her.”
The track has collected almost 140 million on-demand streams, and is approaching the Top 30 at country radio.
Trevor Perkins Relaunches Sincerely Music Group, Signs Nathan Wilson
Nathan Wilson and Trevor Perkins. Photo: Courtesy of Sincerely Music Group.
Publicist Trevor Perkins has announced the re-launch of his Sincerely Music Group management arm, as well as the signing of flagship artist Nathan Wilson.
Perkins first entered the publicity world in 2016, launching Perkins Publicity. His credits include work with David Morris, David J, Bryan Lanning, Becca Bowen, Logan Michael, and others.
“Joining the management realm was an absolute no-brainer,” says Perkins. “Throughout my years of publicity, I found myself helping artists in a larger way and laying a foundation for them to go on and reach further heights. I’m honored to start making this move into management, and building the next generation of music.”
Originally from Kentucky, Wilson came to Nashville in February 2022 to pursue music. He then went viral on TikTok, thus jump-starting his career. His single “Better Than You,” released in July, has already acquired more than 3 million organic streams with no DSP support. A teaser video for new song “Meant For You,” out tomorrow (Nov. 4), has been viewed over 400 thousand times on TikTok, and already has over 3,000 pre-saves.
“When I met Trevor, I admired his ambition and the direction I’ve watched him take with different artists throughout his career within the industry,” shares Wilson. “I truly believe that with Trevor as my manager that my career will only continue to rise to new heights throughout the next few years!”
Academy Of Country Music Announces New 2022-2023 Board Of Directors
/by Lydia FarthingThe Academy of Country Music has announced its newly-elected Board of Directors for the 2022-2023 term.
“We’re kicking off an exciting new chapter in the rich history of the Academy, with the relocation and opening of our new Nashville headquarters, and the ACM Awards returning to Prime Video for an exclusive global livestream in May, as well as moving to the Dallas Cowboys’ world headquarters in Frisco, Texas for the first time. We’re so fortunate to have the dedicated group of individuals who have graciously agreed to serve on our Board of Directors,” notes Damon Whiteside, CEO of the Academy of Country Music. “2023 is shaping up to be another monumental year for the Academy and our industry, and we know the guidance of these well-respected leaders will ensure the ACM’s success in the next year and for years to come.”
Previously announced ACM officer roles for the 2022-2023 term include Chair Chuck Aly, Vice-Chair Ebie McFarland, Vice-President Randy Bernard, Treasurer Carmen Romano, Sergeant-at-Arms Gayle Holcomb, Parliamentarian Paul Moore, and Secretary Tommy Moore.
This year, 10 of the 13 qualifying professional categories were elected by the Academy’s membership. In addition to those elected, director-at-large positions have been appointed by Aly, McFarland and Bernard. Directors are elected from each category based on the number of members in that category. Each director serves a staggered two-year term.
Newly Elected Members of the Board of Directors:
Scot Calonge
Jackie Campbell
Charlie Cook
Cyndi Forman
Margaret Hart
Deana Ivey
Chandra LaPlume
Chris Lisle
Cindy Mabe
Lee Thomas Miller
Curt Motley
Kristie Sloan
Adam Weiser
Rachel Whitney
Newly Appointed Director-At-Large Members of the Board of Directors:
George Couri
Benson Curb
Beville Dunkerley
Becky Gardenhire
Shannan Hatch*
Jeremy Holley
Frank Liddell
Jon Loba
Shawn McSpadden
Austin Neal*
Brian O’Connell
Rod Phillips
Kelly Rich
Tim Roberts
Scott Scovill
Sally Seitz
Laura Veltz
Candice Watkins
*Appointed to a one-year term to fill a previous vacancy
New Exhibit Spotlighting Ryman Auditorium’s Rich Rock History Open Now
/by Lorie HollabaughThe Ryman Auditorium and Rock & Roll Hall of Fame’s new Exhibition Hall at the Ryman Auditorium. Photo: Jason Kempin/Getty Images for Ryman Auditorium
The Ryman Auditorium and Cleveland’s Rock & Roll Hall of Fame have collaborated on a new exhibit, Rock Hall at the Ryman, showcasing the Ryman’s mark on rock & roll history.
Now open to the public, Rock Hall at the Ryman honors the 100+ Rock & Roll Hall of Fame inductees who have performed on the Ryman stage throughout its 130-year history. The exhibit features a selection of inductees, including James Brown, The Byrds, Eric Clapton, Foo Fighters, Joan Jett and Dolly Parton, in addition to icons such as Johnny Cash, Elvis Presley and Hank Williams, who were early practitioners of what would become rock & roll.
Memorabilia is seen at the Ryman Auditorium and Rock & Roll Hall of Fame’s new Exhibition Hall at the Ryman Auditorium. Photo: Jason Kempin/Getty Images for Ryman Auditorium
Housed in the Ryman’s newly-transformed 5th Avenue vestibule, the exhibit features instruments, stage costumes and personal artifacts, including Clapton’s “Blackie” model Fender Stratocaster guitar, Foo Fighters’ Taylor Hawkins‘ outfit worn during a performance to induct Rush at the 2013 Rock & Roll Hall of Fame Induction Ceremony, Jett’s red latex halter bra top worn onstage at Vans Warped Tour ’06, and Presley’s full-length belted suede coat worn c. 1970.
Entry to Rock Hall at the Ryman is included in all daytime tour tickets at the Ryman, which also includes a souvenir photo on stage, Soul of Nashville immersive theater experience, and other exhibits.
In celebration of the new exhibit, the Ryman will host a variety of shows featuring Rock & Roll Hall of Fame Members U2’s Bono (Nov. 9), Lynyrd Skynyrd (Nov. 13), Smokey Robinson (Dec. 16), and a three-night residency with John Mellencamp (May 8-10), with more to be announced.
Earlier this year, the Ryman was designated as an official Rock & Roll Hall of Fame Landmark and joined 11 other rock institutions throughout the country, including Austin City Limits and Whisky a Go Go, among others.
Memorabilia is seen at the Ryman Auditorium and Rock & Roll Hall of Fame’s new Exhibition Hall at the Ryman Auditorium. Photo: Jason Kempin/Getty Images for Ryman Auditorium