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CMT’s Leslie Fram Tapped As ‘Rising Women’ Featured Speaker

Leslie Fram.

Leslie Fram

MusicRow is proud to reveal CMT Senior Vice President of Music Strategy and creator of the ‘Next Women of Country’ franchise, Leslie Fram, will be the special guest for the March 24th Rising Women on the Row breakfast at the Omni Nashville. Guests will be treated to insights from the music industry executive during a conversation with MusicRow Publisher/Owner Sherod Robertson. As previously announced, 10-year-old sensation Emi Sunshine (Red Light Management) will be the featured performer.

The 2015 Rising Women honorees are Kele Currier (ASCAP), Tiffany Dunn (Loeb & Loeb), Dawn Gates (UMG Nashville), Jensen Sussman (Sweet Talk Publicity), and Lou Taylor (Tri Star Sports & Entertainment). To read more about the honorees click here.

Fram, a Georgia Radio Hall of Fame Lifetime Achievement inductee, built an acclaimed radio and broadcasting career during two decades on airwaves in Atlanta (99X), Alabama (WABB) and New York (1019RXP) before CMT President Brian Philips tapped the trend-setter to lead the music strategy division at the channel.

She continued her passion for breaking artists by launching the network’s ‘Next Women of Country’ events in support of female artists. In the last two years the program has highlighted Brandy Clark, Jana Kramer, Kelsea Ballerini, Mickey Guyton, RaeLynn, Angaleena Presley, Maddie & Tae, Lindsay Ell, Kelleigh Bannen, Cassadee Pope, Lauren Alaina and Danielle Bradbery.

With numerous charitable contributions to her credit, Fram was honored as the first woman to receive the TJ Martell Award in recognition of outstanding performance in the music industry (2000) in addition to many accolades including the NARAS-Atlanta Heroes Award (2009). The 2014 Leadership Music graduate currently serves on the boards of TPAC (Board of Governors), ACM (Board of Directors) and NARAS-Nashville (Advisor to Board of Governors).

RWOTR 2015 390x260City National Bank is the Presenting Sponsor for the 2015 Rising Women on the Row.

Click here for more information.

Click here to read more about the honorees.

Dallas Davidson, Austin Marshall Launch Music Publishing Venture

Pictured (Top): Bradley Collins (BMI), Brian Kolb, Hannah Montgomery, Dallas Davidson, Austin Marshall, Megan Pool, Jody Williams (BMI). (Bottom): Houston Phillips, Maggie Rose, Kyle Fishman.

Pictured (Top): Bradley Collins (BMI), Brian Kolb, Hannah Montgomery, Dallas Davidson, Austin Marshall, Megan Pool, Jody Williams (BMI). (Bottom): Houston Phillips, Maggie Rose, Kyle Fishman.

Hit singer-songwriter Dallas Davidson has founded Play It Again Publishing with Executive Vice President Austin Marshall. Marshall has worked with Davidson for several years as Executive VP of 2 Chord Georgia Music.

The new venture launches with the addition of four songwriters to the roster, including Maggie Rose, Houston Phillips, Brian Kolb, and Kyle Fishman.

“We feel like we’re all a family here and we’re all after the same goal, and that goal is to make an impact on music,” said Davidson, who serves as Play It Again’s president and CEO. “We don’t have fences around this company. I don’t care if they write a rap song, a pop song or a country song. This is all about music at Play It Again. We’re not focused on one certain genre. I want our writers to feel as creative as they can.”

Davidson has garnered more than 250 cuts for artists including Luke Bryan, Blake Shelton, Lady Antebellum, and Jason Aldean.

Additional Play It Again staffers include Creative Director and song plugger Hannah Montgomery, Chief Financial Officer Megan Pool, and Director of External Affairs Taylor Lightcap.

“Maggie Rose has gotten several cuts, including a Selena Gomez cut, and we’ve really just cut the ribbon, so to speak,” Davidson says. “So she’s already making an impact. Brian Kolb I’ve known for 11 years. Everybody knows Brian as an engineer and a producer. Well, I know him as a writer. He was my first writing partner when I moved to Nashville, so it only makes sense to sign Brian. It’s time for him to be on the map as a writer where he deserves to be. Houston is Tyler Farr’s tour manager and Tyler called me about Houston and told me about all the great songs he was writing. Kyle coming from L.A. was a fish out of water. He was into country music and what he wanted to do didn’t really fit with the stuff going on out there. He can do anything, but his forte is country. The first song I wrote with Kyle is about to be cut by a major label artist. I can’t say what it is yet, but Kyle is just a natural fit here. He brings a little bit of swagger with his style of doing his tracks, and it’s so fun to write with them.”

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[Exclusive] Marvin Gaye Attorney: No ‘Blurred Lines’ In Verdict

Richard Busch

Richard Busch

Nashville-based attorney Richard Busch, a partner at King & Ballow, led the team that represented the family of late entertainer Marvin Gaye in the recent “Blurred Lines” lawsuit against Robin Thicke and Pharrell Williams.

This week, news spread quickly when a jury found Thicke and Williams guilty of copyright infringement of the 1977 Gaye song “Got To Give It Up,” when creating their 2013 hit “Blurred Lines.” Thicke and Williams were ordered to pay $7.4 million to Gaye’s children, who inherited the copyrights to the singer’s music after he passed in April 1984. The news caused a controversy among musicians, music industry members and music fans, as they began weighing in on the verdict and what it could mean for music creators.

According to Busch, the next step in the case aims to ensure the Gaye family earns a share of monies from “Blurred Lines” going forward. “We are going to, and this is not unusual, file a request for a permanent injunction, asking the court to stop the sale or distribution of ‘Blurred Lines’ going forward,” Busch tells MusicRow. “The reason for that is that the damage award is only for monies received up until now. The Gaye family will not be able to share in future sales of ‘Blurred Lines’ unless we are able to work something out with the ‘Blurred Lines’ song owners. We will ask the court to enter a permanent injunction to prohibit the sale and distribution of the song going forward, then we have a negotiation about the terms that will be acceptable for them to continue selling ‘Blurred Lines,’ which would mean we get an ownership share in it and a right to future royalties. Otherwise, the Gaye family would not be able to share in any future royalties.”

Attorneys representing Thicke have stated they intend to file an appeal. Paterno & Berliner, LLP lawyer Howard E. King told FOX Business Network’s (FBN) Liz Claman following the verdict, “We owe it to songwriters around the world to make sure this verdict doesn’t stand,” and, “we are going to exercise every post-trial remedy we have to make sure this verdict does not stand.”

Busch tells MusicRow, “There is no appeal here that would be valid in any way, shape or form. They continue to try this case in the press, saying it was a copy of a genre or a groove, but not of a composition. We had two musicologists, Judith Finell and Dr. Ingrid Monson, the Quincy Jones Professor of African American Music at Harvard. They broke the compositions down and showed note-by-note copying and showed that it is the copying of a composition, not a genre or groove. It’s the same before this decision and it’s the same after. If you copy a musical composition, you’ll be liable for copyright infringement.”

Busch, a Miami, Fla., native, became involved in the case through a working relationship with the Gaye family’s transactional entertainment lawyer Mark Levinsohn. “He and I have worked on many cases together, and he reached out to me at the very beginning,” Busch says. “I heard the music, I believed it was a copy. Pharrell Williams and Robin Thicke took the unusual step of actually suing the Gaye family for having the tenacity to bring this issue up and to want to have a discussion about it. At that point we had no choice, and the rest is history.”

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The “Blurred Lines” case is the latest of many major music business cases Busch was won. In the high-profile case of F.B.T Productions, LLC Vs. Aftermath Records, Busch represented F.B.T. Productions, who discovered, produced, and co-wrote some of recording artist Eminem’s biggest hits. The United States Court of Appeals for the Ninth Circuit ruled in favor of F.B.T., finding that agreements between Universal and digital download providers are licenses. Eminem’s recording contract entitled him and F.B.T. to 50 percent of Universal’s net receipts for sales of Eminem’s songs by iTunes and others. F.B.T had previously lost the case in 2009, but the decision was overturned and the case was settled in 2012.

Busch also represented Eminem’s music publisher Eight Mile Style in a copyright infringement action against Apple Inc., and Aftermath Records, to determine whether Apple obtained necessary publishing licenses to allow it to make the rapper’s songs available for digital download on iTunes.

In 2012, Busch obtained a favorable federal court verdict for Alvert Music for upwards of $2 million in a case against a defendant record label involving bankruptcy and copyright issues.

His entrance into entertainment law started with a taxi cab ride in New York City. “The weather was bad, and so I suggested to the person next to me that we share the next cab that came. We did, and I learned that his wife was the copyright administrator for Bridgeport Music, Inc., and Westbound Records, Inc. At the time, the rap industry was sampling music without licenses and the company was planning a massive, 500-count lawsuit. I met with them in Detroit, and we decided to work together. We won every case. Later, they recommended me to Eminem’s team for the FBT Productions case. I’ve been in entertainment law ever since, but it might not have happened without that cab ride.”

Prior to joining King & Ballow in 1991, Busch was a law clerk for the Honorable John V. Parker, Chief Judge of the United States District Court for the Middle District of Louisiana. He earned his law degree from Loyola University Law School. He is a member of the Nashville, Louisiana, and American Bar Associations. He was named one of the top 100 entertainment Power Lawyers by The Hollywood Reporter (2012), and has been named several times as one of the best 150 lawyers in Tennessee by Business Tennessee magazine. In 2011, he was part of the Nashville Post‘s list of Nashville’s Top 101 lawyers. Busch’s practice areas include litigation (state and federal), entertainment litigation, intellectual property law, commercial litigation, and labor and employment law.

“I’m thrilled to be part of it,” he says of his work with the Gaye family. “The people involved, the song involved. It was an honor to represent Marvin Gaye’s family. It’s one of the best experiences of my life and career. This meant so much to the entire family, and it was satisfying to me to be able to make this happen for them. I’ve said this before, but I’m sure people were wondering who this guy was from Nashville, Tenn., and they know now.”

Legal representatives for Thicke could not be reached at press time.

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DISClaimer: A Return of Female Voices

Striking Matches album 2015Well, whaddaya know: There are seven female voices in this week’s column.

That’s big news for the week after they revealed that the LP Field headliners for this week’s CMA Music Festival will include only ONE solo female act, Wynonna. Even taking into account Hillary Scott of Lady A, Kimberly Perry of The Band Perry and Karen Fairchild and Kimberly Schlapman of LBT, that’s five women versus 33 men in group and solo spots. Thank you, country radio.

All of which makes me especially proud of the work being done by Trisha Yearwood, Jana Kramer and Cam on this week’s singles. Also of that by Sarah Zimmermann. Her lead voice in Striking Matches helps bring that duo a DisCovery Award.

But the Disc of the Day goes to a couple of guys. That would be the undeniable Brothers Osborne.

CLAIRE PETRIE/(C’est La Vie) You Never Can Tell
Writers: Chuck Berry; Producer: Jack Gale; Publisher: Arc, BMI; Playback (track)
-Newcomer Petrie attacks this Chuck Berry/Emmylou Harris chestnut with gusto. Whoever that is working out on the squeeze box and the fiddle also do an outstanding job.

JANA KRAMER/I Got The Boy
Writers: Tim Nichols/Connie Harrington/Jamie Lynn Spears; Producer: Scott Hendricks; Publishers: Warner-Tamerlane/Nichols Boys/Made for This/All for This/Sweet Jamie, BMI; Elektra (CDX)
-This gal has shown consistently excellent taste in songs. This time around, she’s chosen a superbly written ballad about a lady on the losing side of love. “I got the boy/She got the man,” is the hooky refrain. Sounds like a hit to me.

ERIC CHURCH/Like A Wrecking Ball
Writers: Eric Church/Casey Beathard; Producer: Jay Joyce: Publishers: Sony-ATV Tree/Longer and Louder/Sony-ATV Acuff Rose/Six Ring Circus, BMI; EMI (track)
-He’s coming off the road planning to make love so fierce that the whole house will shake and quake. The slow-burn arrangement and the dark echo on his voice keep you hanging on every line. Simmering.

CAM/My Mistake
Writers: Camaron Ochs/Tyler Johnson; Producers: Jeff Bhasker/Tyler Johnson; Publishers: none listed, BMI/ASCAP; Arista (CDX)
-The big pop production can’t bury the personality in her voice, nor the craftsmanship in this song. Extremely listenable and extremely promising, to boot.

TRISHA YEARWOOD/I Remember You
Writers: Kelly Archer/Ben Caver/Brad Rempel; Producer: Mark Miller; Publishers: Internal Combustion/Southside Independent/Year9/Universal/Centricity/Music Services, BMI/ASCAP; Gwendolyn/RCA
-My heart stood still. With understated force, Yearwood draws you slowly and inexorably into this masterful ballad of death and nostalgia. A simple strummed guitar and a sighing string quartet accompany her. And that’s all she needs.

STRIKING MATCHES/Hanging On A Lie
Writers: Justin Davis/Sarah Zimmermann; Producer: T Bone Burnett: Publishers: Justin Davis/Sarahzimm/Universal, ASCAP; I.R.S. (CDX)
-Zimmermann’s tart lead vocal is like a slap across the cheek. Davis chimes in with flawless harmony. The track has snap, crackle and backbeat in spades. Kiss-off attitude has seldom sounded so spunky and catchy. A winner.

JOHN KING/On Your Lips
Writers: John King/Justin Wilson/Michael White; Producers: Doug Johnson/John King; Publishers: Songs of Black River/Songs of Razor & Tie/Music of Parallel/Downtown DMP/Legends of Magic Mustang/Loud Bucks, ASCAP/BMI/SESAC; Black River
-King introduced this during the CRS convention. I was impressed with how cool and sexy it sounded live. The recorded version is almost as groovy, even if it does rock a bit too loudly and busily. Let the song speak for itself, boys.

RUTHIE COLLINS/Ramblin’ Man
Writers: Hank Williams; Producer: Curt Gibbs; Publishers: Sony ATV Acuff Rose, BMI; Sidewalk/Curb
-The electronic effects and goosed tempo in the arrangement take this miles away from the Hank original. Her pert, perky soprano does too. None of this is in sympathy with the lyric. Pass.

Brothers Osborne

Brothers Osborne

BROTHERS OSBORNE/Stay A Little Longer
Writers: John Osborne/TJ Osborne/Shane McAnally; Producer: Brothers Osborne/Brad Hill; Publishers: WB/All the Kings Pens/Universal/Smack Ink, ASCAP; EMI (CDX)
– Here’s another tune that had a CRS debut. I have seen these guys live in both band and duo situations and have been blown away each and every time. This relentless, driving, rapid-fire track is a star maker, for sure. Hang on for the brain-melting instrumental coda. Play on, brothers.

AMBER HAYES/Running Out of Memories
Writers: Amber Hayes/Bill DiLuigi/JP Williams; Producer: Bobby Terry; Publishers: Okie Girl/888/Rio Bravo/Blonde Leading Blind, ASCAP/BMI; A-OK (track)
-I like the lustrous quality and the confidence in her singing. Terry’s production is just right on this bopper, and the tune has lots of commercial potential. Worth your spins.

LifeNotes: Americana’s Impresario Billy Block Passes

billy block

Billy Block, one of the founding figures of the Americana music movement, died on Wednesday afternoon, March 11, 2015 following a battle with cancer. He was 59.

Noted for his irrepressible salesmanship, unflagging positivism and unbridled enthusiasm, the ebullient Block was a champion of Americana music before the genre even had a name.

Best known as the creator and host of the weekly “Billy Block Show”/”Western Beat Barn Dance” in Nashville, he was a multi-faceted music-industry figure who was also a promoter, a songwriter, a record producer, an artist manager, a session drummer, a record-label entrepreneur, a bandleader, a recording artist, a music journalist and more.

When asked, “What do you do?” Block would respond, “What do you need?”

Among the stars who appeared on his show early in their careers are Jason Aldean, Florida Georgia Line, Lady Antebellum, Ashley Monroe, Keith Urban, Miranda Lambert and Kacey Musgraves.

With an Opry-style structure of revolving performers, the weekly show was a platform for many styles of roots music. The glue that held it together was Block’s genial emcee work, plus his leading the versatile house band that backed all the performers.

Instantly recognizable with his shock of white hair and ever-present smile, he was a hero to thousands of aspiring artists in Music City. His show has been called “The Ellis Island of Nashville” because of his reputation for welcoming newcomers and unsigned acts.

In addition to having his weekly club show and its radio program, he also founded Americana’s first TV series, a periodical, a record label and a weekly blues showcase, hence his notoriety as “Americana’s First Impresario” or “The Godfather of Americana.”

William Donald “Billy” Block began his career as a teenager in Houston, Texas. He was the drummer on early records by Freddy Fender. In 1978, he toured as a member of Billy Joe Shaver’s band.

He also toured and/or recorded with B.W. Stevenson, Townes Van Zant, Roy Head and Delbert McClinton in Texas. In addition, he became the Houston editor of Buddy: The Texas Music Magazine.

Block relocated to Los Angeles in 1985. Two years later, he became the drummer for “The Ronnie Mack Barn Dance” at The Palomino nightclub, broadcasting on KCSN radio.

In L.A., he worked for Disney as a bandleader, singer and dancer. As an actor, he appeared in national TV commercials for Miller Beer and Kentucky Fried Chicken, as well as Disney’s theme parks.

He was the roots-music correspondent for six years for L.A.’s Music Connection magazine. As a member of The Zydeco Party Band, he recorded three albums during his years on the West Coast. He was also the bandleader for a local, late-night TV variety/talk show.

In 1991, he started his “Western Beat” monthly showcases at an L.A. coffeehouse, broadcasting on KIEV radio. Jim Lauderdale, Lucinda Williams and Buddy Miller were among the artists who performed at this. He consistently embraced musicians who were outside country music’s commercial mainstream, becoming a cornerstone personality for what later became known as “alt country” or Americana music.

In 1993, his band The Bum Steers traveled to Music City to compete in the Jim Beam Country Talent Search. He subsequently became the West Coast correspondent for MusicRow magazine.

He married singer Jill Rochlitz in 1993. Two years later, the couple decided to move to Nashville, thanks to a job offer from MusicRow for him to become the magazine’s sales representative.

In February 1996, he launched his weekly “Billy Block’s Western Beat Barn Dance” show. The first one featured Duane Jarvis, Walter Hyatt, Jim Lauderdale, Kristi Rose, Fats Kaplan and Billy Montana. It has been staged every Tuesday night, ever since.

The Sutler Saloon, Zanie’s, The Exit/In, Cadillac Ranch and The Mercy Lounge have all hosted this show. It has been broadcast on WSIX, WKDF, Lightning 100 and other Nashville stations and has been syndicated to more than 150 radio stations elsewhere. The radio show was billed as “Billy Block’s Western Beat Roots Revival,” since broadcasters balked at the phrase “Barn Dance.”

Western Beat Records was launched in Nashville with a 1996 CD by Block’s band The Bum Steers. A year later, Jill Block released her debut album on Western Beat, billed as “Pork Chop Kelly.”

Billy Block began publishing his Western Beat newsletter at this same time. He also continued his journalism via columns in Music City News, The Gavin Report, Blink and other periodicals. In 1995, Gavin became the first magazine to publish an Americana music chart.

In 2000, Western Beat with Billy Block became Americana music’s first TV series. It aired on CMT and featured Rodney Crowell, Kathy Mattea, Hal Ketchum, Kim Richey, Ralph Stanley, BR5-49, Jason & The Scorchers, Trisha Yearwood, Joe Ely, Joy Lynn White, Michael McDonald, Lee Roy Parnell, Jon Randall and others.

Block also launched weekly live webcasts of “Western Beat.” The live event’s title was eventually simplified to “The Billy Block Show.” In recent years, he augmented his show’s weekly Tuesday night presentations by creating a blues-oriented Thursday-night series called “Capt. Billy’s Whiz Bang” at Puckett’s Boat House in Franklin.

In addition to scheduling artists for his own weekly events, Block at one time also booked talent for such venues as The Basement and B.B. King’s Blues Club.

In 2008, he created “Silver Stars.” This is a talent competition for artists 60 years old and over. Staged annually at the Ryman, it is done in conjunction with the insurance firm Cigna-HealthSpring.

Billy Block was the announcer at Hillsboro High football games. He was a moderator of panels during the Americana Music Festival. He managed Hayseed Dixie and other artists, often producing and recording them for his Western Beat label. He graduated from the Leadership Music program in 2000.

Throughout all this, Block furthered his reputation as a standout musician. His percussion work has been heard on recordings by such artists as Steve Cropper, John Scott Sherrill, Little Milton, Tony Orlando, The Walt Wilkins Band, P.F. Sloan, Garnett Mimms, Essra Mohawk, The Woodys, Frank Black, Rick Vito and many others.

Billy and Jill Block’s pop-rock group The Big Happy released its debut CD in 2005. In 2014, the Mardi Gras party band Ya Ya released its debut album, with Block as its drummer.

His enduring “The Billy Block Show” is now in its 19th year, and “Silver Stars” recently celebrated its sixth anniversary.

Despite the staggering amount of work he did, Block was always upbeat. “If you see someone without a smile, give ‘em one of yours,” was his oft-quoted motto.

The impresario was diagnosed with stage IV metastatic melanoma in late 2013. He had beaten cancer twice before this.

Since the new diagnosis, multiple benefits have been staged for his medical expenses. Thanks to aggressive and innovative therapy, he rallied in mid-2014, and his many tumors shrank. But this was a temporary reprieve.

He went into hospice care on Tuesday, March 3. During his last morning at home, he told Jill that their room was full of angels and that he knew where he was going.

“The miracle is that Billy’s love and spirit can now permeate through the world,” says Jill Block. “We are all his legacy and his miracle, as long as we continue to share his love with each other….Be listening. The Beat goes on.”

He is survived by his wife Jill and by sons Rocky, 18, and Grady, 15, plus sons Michael Hughes, 19, and Shandon Mayes, 17, for whom Billy and Jill Block are legal guardians. Also surviving are brother Jay Block and sisters Francine Beckman and Nancy Block, all of Houston.

His drum kit will be donated to the Musicians Hall of Fame and Museum. There are plans for Block’s Americana archives to be donated to the Country Music Hall of Fame.

Donations are encouraged to The Block Family Fund, Wells Fargo Private Bank, 3100 West End Ave., One American Center, Suite 530, Nashville, TN 3203, attention Bradley Gallimore.

Funeral arrangements will be announced soon.

Exclusive Q&A With Fusion Music’s Daniel Miller

daniel miller headshot11Daniel Miller brings a strong background in management and live events to his current role as CEO/managing partner of Fusion Music, where his team represents David Nail, Native Run, and Amber Carrington, and in partnership with Red Light Management, Lady Antebellum and Ryan Kinder.

Miller sat down with MusicRow for an article which ran in the February/March issue. Here is the rest of his interview:

How did you get involved in the music business?

I grew up in a small town called Bowling Green, Missouri, north of St. Louis. I identify with country music because of that first access through country radio in Missouri, and going to county fairs and watching concerts. I left there 18 years ago, so Nashville is home to me now.

I started in the business in 1998 working for Schatzi Hageman’s Hot Schatz Public Relations. It was a really small company, just she and Wes Vause and myself. I helped with tour press on everybody from Waylon Jennings to Trace Adkins.

Then I went to work for Simon Renshaw’s management company, when it had a Nashville office. The Dixie Chicks were about to launch their second album and first major tour, so I handled VIP ticketing and working with box offices and promoters on the Fly tour in 2000.

As the Chicks tour was winding down, Tim and Faith were getting ready to go out on their first Soul2Soul Tour. Borman managed Faith Hill, so I joined Joni Foraker as her assistant at Borman in September 2000. I was part of the day-to-day teams in an assistant capacity for Faith, Lonestar, and Keith Urban. When Tim and Faith went on tour again, I set up all the VIP ticketing and expanded their fan club bases through ticketing and packages.

You worked on some of the biggest tours in country music history. How does that experience in live entertainment help you today?

I got into the music business because I was so intrigued by live events. When I would go to concerts I was fascinated by all the people that were involved, trying to figure out how this massive production travels from city to city, and what it takes to sell tickets and put on the show.

The one thing you can’t replicate is the live experience. Most people can record a good sounding album with today’s technology, but it’s pretty hard to fake it in a live setting. So, I want to work with artists who are able to convey their stories in the live setting to their audience for a really long time.

Having a background in publicity and getting a message out to people is really important. It is also helpful to understand the ticketing process, box office operations and the technology, especially for popular tours that sell tickets really quickly. We want everyone to have the opportunity to buy a great ticket and hopefully prevent scalping. We want to engage fans and for their whole experience to be great. I also learned how to take care of family, friends and industry that want to come to the show. Everything I’ve done has touched on some element of the live experience, and always will.

How did you start working with Lady Antebellum?

After a few years at Borman, I wanted to start with an artist from the very beginning and help put together a team and evolve their career. One of the assistants at CAA invited us to a show at 3rd and Lindsley to see Lady A. I walked up to Charles [Kelley] and jokingly said, “I don’t really understand the name, but I love your music and think we can help.” So we spent seven years launching that project which went incredibly well. Then once we got to that point [of success], I wanted to realize one of my own personal goals.

As hard as it was, I stepped away from a project I loved and had put so much time into, and a company that I enjoyed being part of. I was about to turn 40 years old and I figured that if I was ever going to step out, that was the time to do it. Then late last year I got a surprising call from Coran Capshaw saying that Lady A was making a management change. He asked if I would be interested in re-engaging with them in this new capacity and we worked it out.

How did you go about growing Lady A’s career overseas? 
[Lady A received the 2012 CMA International Artist Achievement Award and is currently on the European leg of their headlining Wheels Up 2015 Tour]

We started early on in Canada. I’m a huge believer of their music market because the audience embraces artists who go there. Next, we played the country festival in Gstaad, Switzerland, maybe in 2009. We knew that Lady A’s musical direction lent itself to a global audience, so almost every year since the beginning of their career, we’ve tried to go to Canada and the U.K. They’ve been to Australia, New Zealand and eight or nine different countries in Europe. It has worked really well.

One of the best pieces of advice they ever received was when they opened for Bruce Springsteen in Hyde Park in London a couple of years ago. Bruce told them that in the early ‘70s he played Europe and said he would never go back. But he returned the next year, and the next year. The audiences grew every time and he knew that he would always have a career there because the international fans are so passionate.

The U.K. audience is sometimes better students of music than we are in the States. They pay attention to lyrics, songwriters, album credits and musicians. About two years ago at the Hammersmith Apollo in London, Lady A was singing an album track that was not a single and the audience was singing along so loudly they were almost overpowering the P.A. The band was amazed.

In July 2012 Lady Antebellum took a break from the European leg of their headlining world tour to open for Bruce Springsteen in London’s Hyde Park. (L-R): Jason Gambill (guitar, Lady Antebellum), Dave Haywood, Bruce Springsteen, Hillary Scott and Charles Kelley. Photo: Adam Boatman

In July 2012 Lady Antebellum took a break from the European leg of their headlining world tour to open for Bruce Springsteen in London’s Hyde Park. (L-R): Jason Gambill (guitar, Lady Antebellum), Dave Haywood, Bruce Springsteen, Hillary Scott and Charles Kelley. Photo: Adam Boatman

What has surprised you about running your own company?

I didn’t expect to spend as much time on the operations—dealing with budgets, insurance, payroll, building maintenance. I also spend a lot of time with attorneys and agreements. I want to spend my time creating opportunities and helping artists achieve their dreams. If I spent too much time on that other stuff, the artists are the ones who suffer and that’s defeating the point.

What do you tell an artist who wants to change producers, agents or other team members?

It depends. We’re never quick to make changes, unless we feel like the career is stifling or the relationship itself is damaging. If the relationship naturally comes to an end, or feels like it’s no longer the right match, then we look at it. That kind of disruption can throw off an artist’s psyche, so we are really careful to not recommend big shifts unless there is a problem or creativity has run out.

How often do you turn down artist endorsement deals?

We’ve turned down a lot, often because they want to portray the artist as something other than a musician or artist. They want them to be a spokesperson for their brand, or dress up in a crazy costume or hold a product they wouldn’t use. If it doesn’t align with advancing their musical career, it’s not worth it. There are also a lot of deals that would compete with what we do with country radio or another partner. A paycheck attached to a deal that is damaging to a relationship and a career isn’t worth it.

Have any of your artists hosted a destination concert event?

It seems like destination events are more common than they used to be. It’s for a segment of the fan population that wants a bigger experience. They want to be able to have a fun vacation, and if you add music by their favorite artists it enhances the whole experience.

We don’t do a lot of them because sometimes they’re difficult to travel to—which means you’re committing a big amount of time. If it’s during a touring season, that knocks out the ability to play other dates. But sometimes it works out great. Lady A recently did two nights in Cozumel. The boat was docked the whole time, so they would go on the ship, perform and come back off. It was November after the CMAs, and they were winding down the year. For those type of events, usually the schedule isn’t grueling and it doesn’t create a conflict that would keep them out of the market. We can usually play a market once a year. The artists don’t earn significantly more money but it’s a good way to create a work vacation for bands, crew, staff and spouses who work really hard. It’s nice to be able to be pay people to be in an exotic location.

Weekly Register: Debuts From Shania Twain, Kelly Clarkson

Shania-Still-The-One-Live-From-VegasShania Twain Still The One: Live In Vegas, a WalMart exclusive CD/DVD set, debuted with 11K units sold, coming in at No. 2 this week. (She wasn’t able to push UMG labelmate Sam Hunt from his stronghold on the top country spot.)

Twain recently announced her first North American tour in more than 11 years entitled Rock This Country. The 48-date run follows her hit two-year residency in Las Vegas at The Colosseum at Caesars Palace. The tour visits Nashville’s Bridgestone Arena on July 31. A presale is going on now at ShaniaTwain.com.

kelly clarksonKelly Clarkson’s Piece By Piece landed at No. 1 on the Top 200 with total activity of 97K, including 83K album sales. The Grammy winner also announced her 2015 tour, which will visit her adopted hometown, Nashville, Sept. 5 at the Bridgestone Arena. Tickets go on sale Saturday (March 14).

Other country debuts include Asleep At The Wheel with 4K, and Average Joes’ Mud In The Club Vol. 1, a remixes album, with 3K.

Top 5 Country Albums
Sam Hunt Montevallo 16K TW, 365K RTD
Shania Twain Still The One… 9K, 11K
Jason Aldean Old Boots, New Dirt 8K, 868K
Florida Georgia Line Anything Goes 6K, 587K
Carrie Underwood Greatest Hits 6K, 301K

The longevity of some of the albums in the top 10 is worth noting. Luke Bryan’s Crash My Party is still selling over 4K units per week, 83 weeks after release, for a RTD total of 2.395 million. Eric Church’s The Outsiders is 56 weeks old and still moving more than 5K per week, for 868K RTD. Miranda Lambert’s Platinum is selling over 4k per week, 40 weeks into its run, with 652K RTD.

Top 5 Country Tracks
Sam Hunt “Take Your Time” 57K TW, 603K RTD
Zac Brown Band “Homegrown” 37K, 260K
Cole Swindell “Ain’t Worth The Whiskey” 26K, 414K
Little Big Town “Girl Crush” 25K, 222K
Blake Shelton ft. Ashley Monroe “Lonely Tonight” 24K, 468K

Top Albums YTD with TEA
Sam Hunt, 237K
Jason Aldean, 160K
Carrie Underwood, 148K
Florida Georgia Line 131K
Luke Bryan 131K

reba and granddaughter river

Clarkson’s family helped spread the word about her new music.

[Updated]: LifeNotes: ‘Billboard’s’ Wade Jessen Passes

wade jessen

Billboard Sr. Chart Manager, Nashville, Wade Ray Jessen passed away unexpectedly this morning, March 5, 2015. He was 53 and suffered a massive heart attack.

With the publication since 1994, Jessen managed the Music City operations, and oversaw all radio and retail charts for bluegrass, Christian, country and gospel. He also represented those charts to the global press community and provided weekly chart analysis on multiple delivery platforms.

He was a well-liked and respected member of the Nashville music community for more than 20 years. He was a former ACM Board member, and was active with the CMA, GMA, IBMA, Leadership Music, SGMA and The Recording Academy.

Jessen was also a SiriusXM radio host on the Willie’s Roadhouse channel. A self-described “country music nerd,” he had extensive knowledge of music history and took particular interest in classic country, antique radios, phonographs, and microphones.

A helpful friend to fellow media, Jessen annually assisted MusicRow in compiling data to tabulate the publication’s Top 10 All-Star Musician Awards.

He was born Nov. 15, 1961 in Roosevelt, Utah. Jessen’s first job in radio was at age 16, as an on-air personality at KNEU/Roosevelt. He later moved to KSOP/Salt Lake City and then to WSM-AM/Nashville, where he was named Billboard’s medium market music director of the year in 1994.

With widely varying interests, Jessen also studied rural, farming, and ranching issues. He enjoyed good wine, cooking, furniture and china.

He was preceded in death by parents Robert Gary Jessen and Rosalee Brown Jessen of Utah. He is survived by spouse Corey Jones. 

Funeral arrangements are as follows:

Visitation from 11 a.m. to 7 p.m. on Sunday, March 8, 2015 with the family receiving guests from 3 p.m. to 7 p.m. at Spring Hill Funeral Home, 5110 Gallatin Pike, Nashville, Tenn.

Visitation at 11 a.m. Monday, March 9, 2015 with Mass at 12 noon at the St. Vincent de Paul Catholic Church, 1700 Heiman Street, Nashville, Tenn.

There will be a viewing at the Jessen Family home in Utah Friday, March 13, 2015 from 4-8 pm. Graveside services and interment at the Mt. Home-Boneta Cemetery, Mt. Home, Utah Saturday, March 14, 2015 at 11 am. Arrangements entrusted to Spring Hill Funeral Home and Cemetery, 5110 Gallatin Road, Nashville, TN 37216. Click here for additional details.

Weekly Chart Report (3/6/15)

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Click here or above to access MusicRow‘s weekly CountryBreakout Report

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