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American Country Countdown Awards Winners [Updated]

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Pictured (L-R): Miranda Lambert, Reba, and Kelly Clarkson.

Pictured (L-R): Miranda Lambert, Reba, and Kelly Clarkson. Photo: ACCA/Getty


Jason Aldean took home the evening’s biggest prize, Artist of the Year, last night (Dec. 15) during the inaugural American Country Countdown Awards, which aired live on FOX. The honor was sweet for the Georgia native, who told the Nashville audience that “never in a million years” did he dream he would make a living performing for fans in stadiums across the country and hearing his songs on country radio. The win was a full-circle moment for Aldean, who recalled listening to the American Country Countdown radio show each weekend as a child.
“The American Country Countdown was the one avenue I had in Nashville to keep up with what was going on,” he said. “Thank you for allowing me to have a career doing something I truly, truly love.”
Lady Antebellum perform during the American Country Countdown Awards.

Lady Antebellum perform during the American Country Countdown Awards. Photo: ACCA/Getty


Luke Bryan and the evening’s hosts Florida Georgia Line earned the most trophies during the awards show, with three apiece. Bryan took home Male Vocalist of the Year honors, while Florida Georgia Line was honored as Group/Duo of the Year. Bryan and FGL’s collaboration “This Is How We Roll” earned trophies for Collaboration of the Year and Digital Song of the Year.
“The crazy thing is Tyler and I started this thing in my Chevy Tahoe with a dream and prayer of playing country music and all of this is thanks to you guys,” FGL member Brian Kelley said.
After winning Album of the Year for his project The Outsiders, Eric Church gave one of the most endearing speeches of the evening. “The coolest thing we get to do is play our songs live for the fans,” Church said. “There’s a lot of people who think albums are a thing of the past … but albums matter more now than ever.” He also treated the crowd to current single “Talladega.”
Eric Church accepts Album of the Year honors for 'The Outsiders.'

Eric Church accepts Album of the Year honors for ‘The Outsiders.’ Photo: ACCA/Getty


American Country Countdown radio host and entertainer Kix Brooks was on hand to toast friend and fellow performer Reba with the American Country Countdown Awards’ Nash Icon award, honoring more than four decades of success in country music. Brooks took the time to remind the audience of Reba’s career highlights, including selling more than 56 million albums and notching 35 No. 1 songs. A multi-faceted entertainer, Reba has had success in two television sitcoms and on Broadway, where she starred in Annie Get Your Gun.
ACCA Female Vocalist of the Year winner Miranda Lambert and Kelly Clarkson performed a tribute to Reba, including the McEntire hits “How Blue,” “Take It Back,” and “Fancy.” The Country Music Hall of Fame member joined Clarkson and Lambert on “Fancy,” to the delight of artists watching in the audience. The cameras caught Bryan, Sara Evans and Carrie Underwood singing along.
“It sure means the world to be thought of as a valued member of our country music family,” McEntire said in accepting the Nash Icon honor. “In music as it is in life, it’s all about connecting with people and I feel very blessed to have made such a deep and lasting connection with all of you.”
Kenny Chesney was also the recipient of a special honor, the Groundbreaker Award, for his success in touring and music. After performing current single, “Til It’s Gone,” Chesney humbly accepted saying, “God gave me an incredible gift and that gift was he put a song in my heart and that song has taken me to places that I never dreamed it would.”
Brett Eldredge and Kip Moore also heard their names called as winners during the two-hour event. Eldredge’s ear-candy single “Beat of the Music” earned Song of the Year, while Moore was named Breakthrough Artist of the Year.
Brett Eldredge performs during the American Country Countdown awards.

Brett Eldredge performs during the American Country Countdown awards. Photo: ACCA/Getty


The show launched with Underwood performing a medley of some of her biggest hits, in promotion of Carrie Underwood: Greatest Hits: Decade #1. The performance was fitting, given that Underwood got her start on another FOX program, American Idol.
ACCA finalists are determined by statistics and radio airplay charts from Nov. 1, 2013 through Oct. 31, 2014. Finalists for Album of the Year are based on album sales information from Soundscan, while finalists for Artist of the Year are based on a combination of Mediabase airplay, digital data from Big Champagne and tour information from Pollstar. The other award categories are based on the largest audience reach according to Mediabase. The only fan-voted category is Breakthrough Artist of the Year.
American Country Countdown Awards Winners:
Winners bolded and in red.

ARTIST OF THE YEAR
  • Jason Aldean
  • Luke Bryan
  • Florida Georgia Line
  • Lady Antebellum
  • Blake Shelton  
MALE VOCALIST OF THE YEAR
  • Jason Aldean
  • Dierks Bentley
  • Luke Bryan
  • Randy Houser
  • Blake Shelton 
FEMALE VOCALIST OF THE YEAR
  • Danielle Bradbery
  • Miranda Lambert
  • Cassadee Pope
  • Taylor Swift
  • Carrie Underwood
GROUP/DUO OF THE YEAR
  • The Band Perry
  • Eli Young Band
  • Florida Georgia Line
  • Lady Antebellum
  • Zac Brown Band 
SONG OF THE YEAR
  • “When She Says Baby” – Jason Aldean
  • “Beat Of The Music” – Brett Eldredge
  • “Lettin’ The Night Roll” – Justin Moore
  • “Drink To That All Night” – Jerrod Niemann
  • “Chillin’ It” – Cole Swindell
 COLLABORATION OF THE YEAR
  • “This Is How We Roll” – Florida Georgia Line featuring Luke Bryan
  • “Small Town Throwdown” – Brantley Gilbert featuring Justin Moore and Thomas Rhett
  • “Meanwhile Back At Mama’s” – Tim McGraw featuring Faith Hill
  • “My Eyes” – Blake Shelton featuring Gwen Sebastian
  • “We Were Us” – Keith Urban and Miranda Lambert 
ALBUM OF THE YEAR
  • “Crash My Party” – Luke Bryan
  • “The Outsiders” – Eric Church
  • “Here’s To The Good Times” – Florida Georgia Line
  • “Just As I Am” – Brantley Gilbert
  • “Platinum” – Miranda Lambert 
DIGITAL SONG OF THE YEAR
  • “Burnin’ It Down” – Jason Aldean
  • “Drink A Beer” – Luke Bryan
  • “Play It Again” – Luke Bryan
  • “Dirt” – Florida Georgia Line
  • “This Is How We Roll” – Florida Georgia Line featuring Luke Bryan 
BREAKTHROUGH ARTIST OF THE YEAR PRESENTED BY SAMSUNG GALAXY®
(Fan-voted Award via Twitter)
  • Brett Eldredge
  • Tyler Farr
  • Kip Moore
  • Thomas Rhett
  • Cole Swindell

ASCAP CEO LoFrumento Announces Retirement

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ASCAP's John LoFrumento

ASCAP’s John LoFrumento


ASCAP’s John LoFrumento has announced that he will retire as CEO of the performing rights organization, effective Jan. 1.
LoFrumento spent 33 years at ASCAP, with 17 of those year in the CEO role. LoFrumento’s career began in accounting, where he worked his way to a vice president and controller role at American Express prior to joining ASCAP as a controller in 1981. He worked his way through organization’s ranks, becoming CEO in 1997.
“When I became CEO in 1997, we set a course aimed at transforming ASCAP into a new kind of organization that would be ready to meet the demands of the 21st century, and I am so proud of what we have achieved,” LoFrumento said in a statement to staff. “Through a commitment to innovation and continuous improvement in all areas of our operation, ASCAP has become the world’s most sophisticated and efficient music rights organization, home to more than 520,000 of the world’s greatest music creators. And I am able to retire with tremendous confidence in ASCAP’s future, knowing that the Board’s search for a new CEO is well underway.”
ASCAP is home to many of music’s top songwriters and artists, including Beyonce, Justin Timberlake, Drake, Brad Paisley, Dierks Bentley, Brandy Clark, and Jennifer Nettles.
“I started out as an accountant and I never imagined I would end up in a career that brought me the absolute joy of helping to serve and protect the world’s greatest songwriters – many of whom have become great friends,” LoFrumento summed in the memo. “It has been an incredible journey — not always easy, but endlessly exciting and fulfilling.”
LoFrumento’s successor will be named shortly.

'MusicRow' Reveals 2015 'Next Big Thing' Stars

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NBT_Reveal11MusicRow is proud to announce today the inaugural 2015 Next Big Thing artists. The big reveal will happen from 9 a.m. to 2 p.m. on MusicRow’s Facebook (@MusicRowMag) and Twitter (@MusicRow) pages. The 11 Next Big Thing artists range from established hitmakers prepping their next moves, to newcomers ready to claim their turns in the spotlight.
Be sure to pick up your copy of the print magazine here, or receive your free copy with the purchase of a yearly subscription.
“We treat the creation of this list with the serious weight it deserves,” says MusicRow Publisher/Owner Sherod Robertson. “As Nashville’s music industry trade publication, we are uniquely positioned to see the incredible talent on the cusp of breaking new ground. Whether reaching new heights in an already successful career or poised to make their first significant entrance to the national stage in 2015, the Next Big Thing artists are destined for bigger spotlights.”
Each artist will be profiled in the 2015 Next Big Thing print issue, which features plenty of other exclusive editorial content. A spotlight shines on the unique practices of Lou Taylor’s Tri Star business management. Kevin Kadish, producer and co-writer of Meghan Trainor’s “All About That Bass,” provides insight about why the song is smash. Brad Turcotte, UMG Nashville marketing executive, talks about country music’s potential for brand partnerships and growth overseas. Other articles examine businesses committing to homes on Music Row, and how to maximize the potential of YouTube and SoundExchange.
MusicRow‘s ‘Next Big Thing’ Artists (list to be updated as artists are revealed throughout the day)
• Chase Bryant (BBR Music Group/Red Bow Records)

• Clare Dunn (UMG Nashville)
• Brett Eldredge (Warner Music Nashville/Atlantic Records)
• Tyler Farr (Sony Music Nashville/Columbia Nashville)
• Sam Hunt (UMG Nashville/MCA Nashville)
• Dustin Lynch (BBR Music Group/Broken Bow Records)
• Maddie & Tae (Big Machine Label Group/Dot Records)
• Native Run (Show Dog-Universal)
• RaeLynn (Big Machine Label Group/The Valory Music Co.)
• Chase Rice (Sony Music Nashville/Dack Janiels/Columbia Nashville)
• Cole Swindell (Warner Music Nashville/Warner Bros. Nashville)

DISClaimer: A Santa Sack Full of Seasonal Sounds

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claireLynchBandHoliday2014As usual, Nashville artists have a Santa sack full of seasonal music for your consumption.
We begin our two-part roundup of holiday listening with a stack of platters that includes offerings from country, Americana and bluegrass artists, plus even a jug band. Headliners on hand today include Kenny Chesney, Jerrod Niemann, The Swon Brothers and Jamey Johnson.
The Disc of the Day award goes to The Claire Lynch Band. The group’s Holiday! collection is one that I would happily buy. You should, too.
It says here that the Christmas Jug Band has been at it for 38 years. Call me behind the times, but this is my first exposure to the ensemble. So there’s your DisCovery Award winner.
THE HENNINGSENS/White Christmas
Writer: Irving Berlin; Producer: Preston Dalton & Spencer Dalton; Publisher: none listed, ASCAP; Arista (CDX)
—It lopes along at a gentle tempo. The horse knows the way to carry the sleigh, so the sleepy vocals hardly even matter.
THE SWON BROTHERS/Run Rudolph Run
Writer: Johnny Marks/Marvin Brodie; Producer: Mark Bright; Publisher: none listed, ASCAP; Arista (CDX)
—This rocks with a solid backbeat, stinging electric guitar, rampaging organ and fierce vocals. Just the thing to heat up your holiday party.
DAN + SHAY /Have Yourself a Merry Little Christmas
Writer: Hal Blaine/Hugh Martin; Producer: Scott Hendricks; Publisher: EMI Feist Catalog, ASCAP; Warner Bros. (CDX) 
—Soulful, with a searing tenor lead vocal in a lustrous instrumental bed.
JERROD NIEMANN/Holly Jolly Christmas
Writer: Johnny Marks; Producer: Jimmie Lee Sloas & Jerrod Niemann; Publisher: St. Nicholas, ASCAP; Arista (CDX) 
—This is probably my least favorite holiday tune. Niemann gives it a jazzy reading and the pickers provide swinging accompaniment, both of which mitigate its usually irritating, sing-songy melody.
ChristmasJugBandCHRISTMAS JUG BAND/Santa Lost a Ho
Writer: P. Rogers; Producer: Tim Eschliman; Publisher: Dum Ditty, BMI; Globe (track) (www.christmasjugband.com/jugology)
—Apparently, this ensemble has been a holiday institution in the San Francisco Bay Area for 38 years. Who knew? Anyhow, their new Jugology CD compiles years worth of “favorites” including this goofy hokum ditty, complete with kazoo, slide whistle, washboard, clarinet and, of course, jug. A smile a minute.
LENNON & MAISY/Christmas Coming Home
Writer: MaryLynne Stella/Brad Stella; Producer: none listed; Publisher: none listed; Back 40 Entertainment (www.lennonandmaisy.com)
—The “Rayna Jaymes” kids on the Nashville TV show have a Christmas single that bops and bubbles along merrily. Their twin-like harmony voices are backed by a track that features bells chiming, snappy drumming and ringing electric guitars. Very listenable indeed.
OVER THE RHINE/Another Christmas
Writer: Linford Detweiler; Producer: Linford Detweiler & Karin Bergquist; Publisher: Scampering Songs, ASCAP; Great Speckled Dog (track) (www.overtherhine.com)
—This highly acclaimed Americana duo has a seasonal CD titled Blood Oranges in the Snow that it describes as reality Christmas music. Which means there is a wide range of emotions on it, including sadness as well as joy. This song, for instance, yearns for Christmas blessings in a world of sin, violence and pain. The aching delivery has you hanging on every line. Most of the collection is self-penned, although Merle Haggard’s downbeat “If We Make it Through December” is covered.
KENNY CHESNEY/Christmas in Blue Chair Bay
Writer: Kenny Chesney/Brett James/David Lee Murphy; Producer: Buddy Cannon & Kenny Chesney; Publisher: Sony-ATV/Basuare/WB/Songs of Brett/External Combustion/Old Desperados/N2D, BMI/ASCAP; Blue Chair/Columbia 
—Simple and lilting, this relaxing ode to celebrating the season in the Caribbean goes down easily. The balmy ode is recorded acoustically.
THE CLAIRE LYNCH BAND/Heaven’s Light
Writer: Steven Sheehan/Claire Lynch; Producer: The Claire Lynch Band; Publisher: Reynsong/Scared Stiff/Universal Songs of PolyGram/Sound Cell, BMI; Thrill Hill (track) 
—Let me just say up front that this bluegrass songbird is one of my favorite country vocalists. She and her band have released a simply stellar collection titled Holiday! It shimmers like new fallen snow, whether on standards like “Home for the Holidays,” “It Came Upon a Midnight Clear” and “Jingle Bells” or on newly composed songs like this star-at-midnight gem.
JAMEY JOHNSON/The Christmas Song
Writer: Robert Wells/Mel Torme; Producer: none listed; Publisher: none listed; Big Gasssed (track) 
—Johnson has a five-song holiday EP with this as its title tune. He takes the standard at a languid pace, leaving plenty of space for the backing instrumentalists to shine. His baritone delivery is as smooth as silk. Highly recommended.

Honorees Announced for 7th Annual T.J. Martell Foundation Honors Gala

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Steve and Judy Turner, Ken Levitan, Billy Ray and Bill Hearn, Becca Stevens, and Jeffrey Balser have been named as the 2015 honorees for the 7th annual T.J. Martell Foundation Honors Gala. The celebration will be held March 30 at the Omni in Nashville. The gala begins at 5:30 p.m. with a cocktail reception and premiere silent auction, followed by a dinner at 7:00 p.m., the awards presentation, musical performances, and a live auction.
Steve and Judy Turner will be honored with the Spirit of Nashville award; Dr. Jeffrey Balser, the Medical Research Advancement award; Bill and Billy Ray Hearn, the Frances Preston Lifetime Music Industry Achievement award; Ken Levitan, the Tony Martell Outstanding Entertainment Achievement Award, and Becca Stevens, the Lifetime Humanitarian award.
Co-chairs for the 2015 event are Ree Buchanan, George Anderson, and Danielle Bouharoun.
The gala has netted over $2 million since 2009. Ticket, table and sponsorship information can be found at tjmartell.org. Table sponsorships range from $11,500 to $100,000. Individual tickets are $1000.
nashville honors galaThe Honorees:
Steve Turner is a former chairman and chief executive officer of FNB Financial Corporation and founder of MarketStreet Equities Company, and investment firm with diversified holdings and active in community banking. Steve and wife Judy moved to Nashville in 1986.
Judy Turner previously served on the Metropolitan Nashville Historic Commission for 12 years. The Kiwanis Club named Steve and Judy Turner “Nashvillians of the Year” in 2001, and in 2012 they received the Jeannie R. Hastings Vision Award. The Turners are involved with Vanderbilt University (Steve is a member of the Board of Trust), the Nashville Symphony Association, Nashville Library Foundation, Nashville Public Television, Senior Citizen’s Fifty Forward Award, Nashville Convention & Visitors Bureau, Cumberland Region Tomorrow, the Leadership Nashville Foundation, the Nashville Area Chamber of Commerce and others. Steve is the chairman of the Country Music Foundation and has led the $100 million expansion of the Country Music Hall of Fame and Museum.
Jeffrey Balser is the Dean of the School of Medicine at Vanderbilt University. He also serves as the Vice Chancellor of Health Affairs, overseeing all health-related programs. He currently sits on the board of the Institute of Medicine of the National Academy of Sciences.
Bill Hearn, president and CEO of Capitol Christian Music Group, oversees a leader in the Christian/Gospel music industry. After assuming the role of CEO of Sparrow Records from his father in 1996, Hearn worked to secure that Gospel music was recognized through Soundscan, which, at the time, did not record Christian retail sales. He also initiated the successful WOW multi-artist compilation series.
Billy Ray Hearn formed Sparrow Records in 1976 in California, and went on to produce or executive produce more than 2 million selling and Grammy Award-winning projects. He sold his label to EMI Music in 1992. Hearn is a member of the Gospel Music Hall of Fame and the recipient of the Lifetime Achievement Award from the Gospel Music Association. He is active in various charitable endeavors including the Nashville Symphony, Baylor University, the American Cancer Society, T.J. Martell, and the Easter Seals. He also chairs his own Sparrow Foundation.
As founder and co-president of Vector Management, Ken Levitan has guided the careers of Kings of Leon, The Fray, Hank Williams, Jr., Emmylou Harris, Meat Loaf, and others. After graduating from Vanderbilt University and earning a law degree from University of Dayton, he returned to Nashville and co-founded Vector Recordings. He serves on the boards of the Country Music Hall of Fame, Country Music Association, Nashville Convention & Visitors Bureau, and the Music City Council.
Becca Stevens is an author and founder of Nashville-based Thistle Farms and Magdalene. Stevens is an Episcopal priest at St. Augustine’s Chapel on Vanderbilt University’s campus. She attended University of the South and the Vanderbilt Divinity School. She is married to singer-songwriter Marcus Hummon. Since founding Thistle Farms in 2001, Stevens and graduates of the program have raised more than $15 million for supported organizations. Stevens recently released her 7th book, The Way of Tea and Justice: Rescuing the World’s Favorite Beverage from its Violent History.
In 2011, Stevens was named a Champion of Change by the White House. She has been inducted into the Tennessee Women’s Hall of Fame and Tennessean of the Year and Social Entrepreneur of the Year. She was recently conferred an honorary doctorate by the University of the South and is the youngest and first female recipient of their Distinguished Alumnus award.

Nettwerk Acquires Stake In Ten Ten, Launches Joint Venture

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From left to right: AJ Burton (Nettwerk One), Mark Jowett (Nettwerk One), Barry Coburn (Ten Ten Music), Blair McDonald (Nettwerk One)

(L-R): AJ Burton (Nettwerk One), Mark Jowett (Nettwerk One), Barry Coburn (Ten Ten Music), Blair McDonald (Nettwerk One)


Nettwerk One Music (NW1) has acquired a 50 percent stake in Ten Ten Music and the two companies have formed a publishing joint venture.
Under the acquisition agreement, NW1 now retains publishing interest in significant hits including Miranda Lambert’s “Fastest Girl In Town,” Reba McEntire’s “Turn On The Radio,” Papa Roach’s “Kick In The Teeth,” Tracy Byrd’s “Watermelon Crawl,” Blake Shelton’s “The Baby,” Alan Jackson’s “Here In The Real World” and “Between The Devil And Me,” and many others.
NW1 will take over worldwide copyright and administration duties for the existing catalogue and will provide film, TV and advertising sync services through its existing team based in Los Angeles, New York and London. NW1 is the publishing division of Nettwerk Music Group.
Through the joint venture, NW1 and Ten Ten will combine creative resources to work already signed writers David Lee, Porcelain Black, Scott Stepakoff and Femke Weidema, and will look to build on that roster together with Nettwerk Nashville head, AJ Burton, and the Ten Ten team.
NW1’s Blair McDonald says, “We are thrilled to be in business with Barry Coburn and his team at Ten Ten. This opportunity immediately felt like a great fit for everyone involved. Barry has proven over the years that he has a great understanding of songs, songwriters and the world of music publishing. During his career, he has also been enormously successful as an artist manager, concert promoter, live agent and record company executive. That broad experience makes him a great partner for Nettwerk. This catalogue is a very significant addition to Nettwerk’s growing publishing business, but just as importantly, we look forward to building on the roster and creating one of the most vibrant, international and forward thinking independent publishing houses in Nashville.”
Ten Ten President Barry Coburn adds, “I am so glad to be launching a new beginning for Ten Ten Music Group with Nettwerk One Music. We discovered that we formed our independent companies, one in Vancouver, the other in Nashville, within a few days of one another 30 years ago in September. The spirit of entrepreneurship and the pursuit of great music was a major factor in us coming together in this new venture. Nettwerk has developed so many great artists and writers, as has Ten Ten, and we look forward to building a great strong presence as publishing partners.”

Country Favorites Among Grammy Nominees

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grammy 2014Grammy nominations were announced in four categories Friday morning (Dec. 5) on CBS This Morning, and several Nashville artists were among the early nominees. Additional nominations have been announced throughout the day via the Recording Academy’s social media outlets.
In the Best Country Album category are Brandy Clark‘s 12 Stories, Dierks Bentley‘s Riser, Eric Church‘s The Outsiders, Miranda Lambert‘s Platinum, and Lee Ann Womack‘s The Way I’m Livin‘.
Brandy Clark scored a second Grammy nomination in the all-genre Best New Artist category, alongside Sam Smith, Iggy Azalea, Bastille, and HAIM.
Producer Jay Joyce (Little Big Town, Eric Church, Cage The Elephant) earned a Producer of the Year Grammy nomination, alongside Max Martin, Paul Epworth, John Hill, and Greg Kurstin.
Kenny Chesney‘s “American Kids,” Lambert’s “Automatic,” Church’s “Give Me Back My Hometown,” Glen Campbell‘s “I’m Not Gonna Miss You,” and Tim McGraw (ft. Faith Hill)’s “Meanwhile, Back at Mama’s” earned nods for Best Country Song. The award goes to the songwriters of each composition.
Keith Urban, Hunter Hayes, Church, Lambert, and Carrie Underwood all earned Best Country Solo Performance nominations.
In the Americana realm, the Best Americana Album nominees included Rosanne Cash (The River & The Thread), John Hiatt (Terms of My Surrender), Keb’ Mo’ (Bluesamericana), Nickel Creek (A Dotted Line), and Sturgill Simpson (Metamodern Sounds in Country Music).
The Best Country Group/Duo Performance includes nominations for Little Big Town (“Day Drinking”), Miranda Lambert featuring Carrie Underwood (“Somethin’ Bad”), Tim McGraw featuring Faith Hill (“Meanwhile, Back at Mama’s”), Keith Urban featuring Eric Church (“Raise ‘Em Up”), and The Band Perry (“Gentle On My Mind”).
Other artists with Nashville ties scoring early morning Grammy nominations are Taylor Swift and Meghan Trainor. Both artists are nominated for Record of the Year. Swift is nominated for her first pop radio single, “Shake It Off,” while the seemingly endless popularity of Trainor’s infectious “All About That Bass” earned a nod in the same category. They are competing against Sia‘s “Chandelier,” Iggy Azalea and Charli XCX’s “Fancy,” and Sam Smith‘s “Stay With Me” (Darkchild version). Both Swift and Trainor are also up for Song of the Year, for the same compositions.
Jack White, Paramore, The Black Keys–all artists with strong Nashville ties–were among the nominees in the rock categories.
The Album Of The Year nominees will be announced on A Very Grammy Christmas (Friday, Dec. 5, 9/8c, CBS).
The 57th annual Grammy awards will air live on CBS on Sunday, Feb. 8, beginning at 8 p.m. ET/7 p.m. CT.
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57th Annual Grammy Nominations (Selected Categories)

Producer of the Year
Jay Joyce
Max Martin
Paul Epworth
John Hill
Greg Kurstin
Best Country Duo/Group Performance
“Gentle On My Mind,” The Band Perry
“Meanwhile, Back at Mama’s,” Tim McGraw featuring Faith Hill
“Raise ‘Em Up,” Keith Urban featuring Eric Church
“Day Drinking,” Little Big Town
“Somethin’ Bad,” Miranda Lambert featuring Carrie Underwood
Best Country Solo Performance
“Give Me Back My Hometown,” Eric Church
“Invisible,” Hunter Hayes
“Automatic,” Miranda Lambert
“Something In The Water,” Carrie Underwood
“Cop Car,” Keith Urban
Best Americana Album
Rosanne Cash, The River and the Thread
John Hiatt, Terms of My Surrender
Keb’ Mo’, Bluesamericana
Nickel Creek, A Dotted Line
Sturgill Simpson, Metamodern Sounds in Country Music
Best Traditional Pop Album
Cheek to Cheek, Tony Bennett and Lady Gaga
Night Songs, Barry Manilow
Nostalgia, Annie Lennox
Sending You A Little Christmas, Johnny Mathis
Partners, Barbra Streisand with Various Artists
Song of the Year
“All About That Bass,” Meghan Trainor (Songwriters: Meghan Trainor, Kevin Kadish)
“Chandelier,” Sia (Songwriters: Sia Furler, Jesse Shatkin)
“Shake It Off,” Taylor Swift (Songwriters: Max Martin, Shellback, Taylor Swift)
“Stay With Me” (Darkchild Version), Sam Smith (Songwriters: Sam Smith, William Phillips, James Napier)
“Take Me To Church,” Hozier (Songwriter: Andrew Hozier-Byrne)
Best Country Song
“American Kids,” Kenny Chesney (Songwriters: Rodney Clawson, Luke Laird, Shane McAnally)
“Automatic,” Miranda Lambert (Songwriters: Lambert, Nicolle Galyon, and Natalie Hemby)
“Give Me Back My Hometown,” Eric Church (Songwriters: Eric Church, Luke Laird)
“I’m Not Gonna Miss You,” Glen Campbell (Songwriters: Glen Campbell, Julian Raymond)
“Meanwhile, Back at Mama’s,” Tim McGraw ft. Faith Hill (Songwriters: Tom Douglas, Jaren Johnston, Jeffrey Steele)
Best New Artist
Brandy Clark
HAIM
Sam Smith
Iggy Azalea
Bastille
Best Reggae Album
Ziggy Marley, Fly Rasta
Lee “Scratch” Perry, Back on the Controls
Sean Paul, Full Frequency
Shaggy, Out of Many, One Music
Sly & Robbie & Spicy Chocolate, The Reggae Power
Soja, Amid The Noise and the Haste
Best Rock Song
“Lazaretto” (Jack White)/Jack White II (songwriter)
“Gimme Something Good” (Ryan Adams)/Ryan Adams (songwriter)
“Fever” (The Black Keys)/Dan Auerbach, Brian Burton, and Patrick Carney
“Blue Moon” (Beck)/Beck Hansen (songwriter)
“Ain’t It Fun” (Paramore)/Hayley Williams & Taylor York (songwriters)
Best Country Album
Riser, Dierks Bentley
The Outsiders, Eric Church
12 Stories, Brandy Clark
Platinum, Miranda Lambert
The Way I’m Livin’, Lee Ann Womack
Best Pop Vocal Album
Ghost Stories, Coldplay
Bangerz, Miley Cyrus
My Everything, Ariana Grande
Prism, Katy Perry
X, Ed Sheeran
In the Lonely Hour, Sam Smith
Best Urban Contemporary Album
Sail Out, Jhene Aiko
Beyoncé, Beyoncé
X, Chris Brown
Mali Is …, Mali Music
Girl, Pharrell Williams
Record of the Year
“Fancy,” Iggy Azalea ft. Charli XCX
“Chandelier,” Sia
“Stay With Me,” Sam Smith
“Shake It Off,” Taylor Swift
“All About That Bass,” Meghan Trainor
Best Pop Solo Performance
“All of Me,” John Legend
“Chandelier,” Sia
“Stay With Me,” Sam Smith
“Shake it Off,” Taylor Swift
“Happy,” Pharrell
Best Rock Album
Ryan Adams, Ryan Adams
Morning Faze, Beck
Turn Blue, The Black Keys
Hypnotic Eye, Tom Petty and the Heartbreakers
Songs of Innocence, U2
Best Contemporary Christian Performance/Song
“Write Your Story,” Francesca Battistelli (Songwriters: Francesca Battistelli, David Arthur Garcia & Ben Glover)
“Come As You Are,” Crowder
“Messengers,” LeCrae ft. For King and Country (Songwriters: Torrance Esmond, Ran Jackson, Ricky Jackson, Kenneth Chris Mackey, Lecrae Moore, Joseph Prielozny, Joel Smallbone & Luke Smallbone)
“Shake,” MercyMe (Songwriters: Nathan Cochran, David Arthur Garcia, Ben Glover, Barry Graul, Bart Millard, Soli Olds, Mike Scheuchzer & Robby Shaffer)
“Multiplied,” NeedtoBreathe (Songwriters: Bear Rinehart & Bo Rinehart)
Best Contemporary Christian Music Album
If We’re Honest, Francesca Battistelli
Run Wild. Live Free. Love Strong, For King and Country
Hurricane, Natalie Grant
Welcome To The New, MercyMe
Royal Tailor, Royal Tailor
Best Gospel Performance/Song
“Help,” Erica Campbell Ft. LeCrae (Songwriters: Erica Campbell, Warryn Campbell, Hasben Jones, Harold Lilly, Lecrae Moore & Aaron Sledge)
“Sunday A.M. (Live),” Karen Clark Sheard (Songwriters: Rudy Currence & Donald Lawrence)
“I Believe,” Mali Music (Songwriter: Kortney J. Pollard)
“No Greater Love,” Smokey Norful (Songwriters: Aaron W. Lindsey & Smokie Norful)
“Love On The Radio,” The Walls Group (Songwriter: Kirk Franklin)

The Producer's Chair: Frank Liddell

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Frank Liddell

Frank Liddell


By James Rea
Don’t miss Frank Liddell’s fourth appearance on The Producer’s Chair on Thursday, Dec. 11 at Douglas Corner at 6 p.m. It’s the last show of this year. (Doors open at 5:30 p.m.)
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Frank Liddell has staked his claimed as one of Nashville’s most respected artist advocates and trusted creative partners. The 2014 MusicRow Producer of the Year has a growing trophy collection which includes winning CMA Album of the Year twice, and ACM Album of the Year three times, as well as wins for ACM Producer and Single of the Year—all largely due to his work with Miranda Lambert. But Frank’s less interested in talking about trophies and more interested in talking about music, artists, songwriters, and musicians—proof of the dogged focus that paved his path to success.
Along with serial collaborators Chuck Ainlay and Glenn Worf, Frank also co-produced David Nail’s well-received third album I’m a Fire, released in March, and his wife Lee Ann Womack’s anticipated masterpiece The Way I’m Livin’, released in September.
In the early ’90s, Frank moved from Houston to Nashville, where his first two career stops were Bluewater Music and Decca. He pitched songs, scouted talent, and helped creatively direct careers. At Decca, he also began producing.
Then came his own Carnival Music, an embodiment of his fully formed music-first philosophy. Frank launched the company’s publishing arm in 1997 with partner Travis Hill. Today Carnival has 14 staff writers: Adam Wright, Aubrie Sellers, Brent Cobb, Dani Flowers, David Nail, Derik Hultquist, Hailey Whitters, Logan Brill, Mando Saenz, Scooter Carusoe, Stephanie Lambring, Stoney LaRue, Troy Jones, and Gretchen Peters. Since its inception, Carnival has published the first No. 1 singles of eight songwriters’ careers, and diligently shepherded songs as they circulated for a decade or more waiting for the perfect performer and perfect time. Carnival Recording Co., the record label division, is currently developing Cobb, Brill, Hultquist and Saenz. The dedicated staff—Brittany Hamlin, Courtney Gregg, Matthew Miller, Emily Schiraldi, and consultant Dale Dodson—are like members of Frank’s extended family.
Frank is an ACM board member, CMA member, and serves on the board of The Recording Academy, where he is part of the Advocacy Committee and the Producers & Engineers (P&E) Wing.
The Producer’s Chair: How did you and Miranda meet?
Frank Liddell: She heard a record I’d produced on Jack Ingram called Electric. She bought it, listened to it, and hated it. Then she listened to it again, and it inevitably grew on her. She looked at who produced it and said, “That guy’s making my record.” She never wavered—even when I tried to talk her out of it. Before she had anything going, she had decided that she wanted me to produce her record. She was in Texas at the time. She talked a little bit about her career goals, but for the most part all we ever talked about was music. And that was all she ever wanted—that was the most important thing. Like, “Let’s just come make a badass record.”
Miranda has won the CMA Award for Female Vocalist of the Year five times—more than any other artist. Now that she has conquered Country music, does she have movies or TV in mind?
I stay out of that. The most important thing to her is to be an artist. Not an entertainer or a celebrity. Everything stems from her artistry, not from the entertainment factor. And she’s Country. We’ve never remixed or done a radio mix for her to crossover into pop music. She’s comfortable with the success she’s having as a Country artist. She touches a lot of lives and a lot of people. She has a lot of respect across a lot of genres.
Has Miranda changed over the years and if so, have those changes affected your job as her producer?
She’s exactly same. When making her records, we’ve always tried to take a picture of who she is at that time, with each record. She’s not an 18-year-old girl anymore. She’s a 30-year-old woman. So, that’s the difference in the picture. It’s not that we changed the lens. She’s always had great instincts—spot on—and that’s hard to find. She doesn’t weigh opportunities. She just tries to take the best song, and when you’re working on arrangements it’s either right or wrong. For this record, my gut was, “Let’s not change a thing from the last record.” These musicians have been with her ten or twelve years. It’s the same band on every record, which I dig, because instead of changing a sound, the change was from within—adopting her own. I feel in a weird way like everybody, including Miranda and the musicians, felt the pressure this time. It was a blast, but it was really intense. [Every record has been critically acclaimed and hard to follow.] And every time, we would just talk. I’d say—and I got this from Richard Bennett—“You just get the right songs and you treat every song with the respect that it individually deserves, and everything will turn out OK.” So, we’ve taken that approach from the beginning.
Do you still work with artists and writers in Texas?
I still do that a little bit, and I always will because I’m a big fan. Stoney LaRue is a perfect example. His music really inspires me. It’s not flavor of the month. And it’s going to be hard, but if he can stick with it, sooner or later something good will come his way. When you’ve finished a record, it’s hard to say whether you got it right or wrong, or you would have changed this or that. And with Stoney, we got it right. Moving forward, it’s going to take some holing up and some belief in what we do, because there’s not any compromise in that record. Stoney LaRue just needs to build his fan base.
In our last interview, four years ago, you said, “I feel like there’s a bigger gulf than ever between the creative and the business side.” Do you still feel that way?
Here we are today, and it’s probably bigger. I’m just hard-wired differently. I love this town. I love what people do. My goal for our future is for me to do what we’re about, not to follow or chase [trends]. It’s not always easy. Miranda’s a perfect example. Her career was born out of her music. I still think that there’s a lot of music in this town that, to me, the marketing plan exists and the music is just sort of dropped in it.
The great thing is it’s still the songwriter capitol of the world. There are great songwriters here, old and young, and it’s the musician capitol of the world. And as long as it’s an artistic center where artists have the opportunity to make new art and for that art to grow—I hope that opportunities increase for some people. It used to be that you could have a great artist that had a brilliant career and they wouldn’t even go Gold but could make a lot of money touring, earn a lot of respect and have a great career. Now, everything’s gone. So, people aren’t really giving anyone a shot unless they think it can go Platinum. I would hope in the coming years as perhaps the copyright is monetized better, that we would be able to open up some doors to some more younger artists, more thoughts, more opinions, more creative ideas. I’ve been here a long time. I’ve seen the artists that labels got in bidding wars over—they were going to be the hot new thing. I’ve seen them disappear. So, basically I was standing here four years ago, and I thought the same thing I think now.
Four years ago you joined the Grammy P&E Wing. What are some of their biggest concerns?
There are a lot of things we talk about on the P&E Wing. We discuss a lot of the future of monetizing music: defending and sticking up for the producer and engineer, protecting and making our contracts better, and strengthening the business side of things for us. There’s also the sound quality and the protection of the copyright—protection of your sound and original ideas. I sometimes walk into the studio and say, “We’re going to make a record.” And it’s pretty simple. But you go into the meetings and you realize how intense the situation is. From the future of recording records, to what they’re stored on, to how they are archived, to what they’re going to sound like in years—and to making sure that as a producer I’m protected and somebody can’t just come out and remix something. There are a ton of concerns.
In another interview you said, “There are a lot of great writers out there whose work is being overlooked because they don’t know how to play the game.” What game?
I’ve always thought that. It’s now a business game. Years ago, the art of this business was getting two great writers together, or for one great writer to write a great song. Now, everything is like, “Let’s stick this writer with this writer and the artist.” So, a lot of publishing these days is managing calendars and trying to get your writer with artists. It’s less about, “Hey, I want to go get a great song for people to fight over,” like “The Dance” or “I Hope You Dance.” It’s become more political. I know very few people out there who aren’t writing most of their songs with other people. There’s a business objective behind it and not necessarily the objective of making the best music.
Can independent writers play the game or do they really need a publisher to play the game?
I think for the most part independent writers struggle, and they always have. I know a few who are doing OK now. They have help. I’ve always felt like publishers earn every dime they make for the most part. You know the old saying about the attorney who represents himself in court has a fool for a client.
How should they play the game?
I don’t know. I look at where Carnival is right now and where we need to go, and, to me, I just want to get better at what we do. I don’t necessarily want to play the game. I don’t hate the game. I have friends in the game, and I respect the hell out of them, but I came here because I love music. The longer I’m here the more I just want to make sure that every bit of music I’m surrounded with is music that I love and I would have loved in my gut when I got here. So, to me, it’s how do we design our own game to succeed with that philosophy? It’s not easy.
Someone was telling me we have a song on a new record and it’s the only song on there that had only two writers. I found that interesting. We also have a song on the Garth Brooks record. It’s 100 percent. Adam Wright wrote it by himself. That takes the place of three cuts. You write a great song by yourself and somebody acknowledges it. Good things happen.
What are your thoughts on signing writers?
At Carnival the first two writers we signed were Bruce Robison and Luke Reed. Bruce had a few people sniffing around but he had never lived here and no one would give him a shot. And Luke was already an established writer and had some cuts. Never on a huge level, but he was a good guy for sure.
Today I’m still hoping that age and gender have absolutely nothing to do with it. If I were a writer and I went and listened to Gretchen Peters speak at her Songwriter Hall of Fame induction, I’d think, “Buddy, I better step it up.” She’s a genius. If somebody walks in my door who’s 22 years old and has the promise of being able to do what Gretchen does, I’m going to be excited. I’m not going to be excited about working with an established writer who has made it and who is dabbling in it now. Gretchen is touring a lot and making records. We represent her and help her collect her money. But when she plays a song it will kill you. She’s damn Gretchen Peters, and she sets a mark in this building.
If this stuff never matters again—well then, it’s over for me. And if that’s the case then I’ll go home. But if it still matters then I don’t see how Gretchen is not relevant. Take the song “All Kinds of Kinds,” which is ours that Miranda cut, written by Phillip Coleman and Don Henry. It was at least 15 years old. My goal is to be able to work with music that is as good as or better than music that inspired me growing up. That’s a tall but simple task. And to help our writers make a great living makes it even better.
How has 2014 been for Carnival, compared to 2013?
Carnival has always existed on one hit a year. We’ve gotten lucky and had two before. We’ve gone six or eight months without anything on the charts, which is not unusual for Carnival. The problem is [sinking album sales]. Fifteen years ago we had a No. 1 song with The Dixie Chicks and the album sold 10 million records. Today, the $900,000 you’d make roughly off of that copyright would probably exceed the performance money. So there was never a problem that a handful of good cuts weren’t going to take care of. We’ve got a bunch of album cuts right now but they don’t sell anymore. If those things can be fixed we’ll be fine—if we can get compensated for the things we’re doing. But I don’t think [consumers] are ever going to buy disposable music. I know what we’re good at and we have to get better at it. If you have a boutique store on the same block as Walmart, you better have something they don’t have or you’re going to get killed.
Tell me about your musical family: Aubrie Sellers and Anna Lise Liddell.
Aubrie is in her early 20s and we’ve been working with her in the studio finishing things up. She has both a mother and a father from whom she can draw a wealth of experience in the artist world, and a stepfather who has been a publisher and A&R guy and a producer. She’s covered! She’s in Texas right now playing some shows and my wife is leaving tomorrow night to go on the road in the Northeast. Anna, who is 15, is going to go and play guitar with her.

DISClaimer: Mining For Songwriter Gold

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Josh Dorr


The excitement in discovering new sounds is what I live for in these columns.
And today I was especially rewarded. Josh Dorr, The Jacob Martin Band, Joshua Radin and Adam Searan all lifted my spirits.
The DisCovery Award goes to singer-songwriter Adam Searan for the fine work displayed on his debut, six-song EP. The Disc of the Day prize belongs to new RCA record maker Josh Dorr, who is coincidentally also a singer-songwriter. Come to think of it, all of these DisClaimer first-timers are. So hooray for that.
ADAM SEARAN/Last
Writers: Adam Searan/Jon D’Agostino; Producers: Jason Garner/Jon D’Agostino/Adam Searan; Publishers: Demolition, no performance rights listed; Demolition (track)
-This Nashvillian won the John Lennon International Songwriting Contest’s grand prize in the country division with this ringing, stirring, upbeat anthem about questing for answers in an uncertain world. I can certainly hear why. It is immensely melodic and effortlessly hooky. The bonuses are that he sings it like a bird, and the production is a mini masterpiece. Essential listening.
BOB MORRISON/Kill the Moon
Writers: Bob Morrison/Eric Emerson; Producers: Bob Morrison/Joe Funderburk; Publishers: none listed; BM (track)
-Morrison is a highly successful Music Row tunesmith (”Lookin’ for Love,” “You Decorated My Life,” “Love the World Away,” “Don’t Call Him a Cowboy,” “Tonight the Heartache’s on Me,” etc., etc.). He has a pair of new CDs that compile songs from his catalog that have been overlooked. The Bucket List Sessions Volume 1 contains country tunes. Volume 2 has pop selections. He’s correct in his feelings that these are all potential hits. This two-step, for instance, is as dandy as anything being written today. Session leader Chris Leuzinger backs him with excellent pickers. With CDs like these lying around, there’s absolutely no excuse for producers complaining about not being able to find quality material.
Adam Searan

Adam Searan


BERNADETTE/Life After Life
Writers: Bonnie Jewel Baker/Verlon Thompson; Producers: John Mock/Bernadette; Publishers: Stage Three/Songs of Otis Barker, no performance rights listed; Rachael (track)
-During the making of her new CD Not the Same Me, this Irish-born singer was devastated by the death of her fiancee, Brian Fitzgerald. The tragedy and her grief inform several of the selections, including this hopeful-heartache lyric. Songwriting contributors include Leslie Satcher, Vince Gill, Al Anderson, Dolly Parton and Jon Randall. As with her other Nashville projects, country sounds mingle with instrumentation echoing her Emerald Isle homeland.
JOSH DORR/Save Your Breath
Writers: Josh Dorr/Jason Mizelle; Producer: Jim Catino; Publishers: Old Red Cape/Joshua Dorr/Offer You Can’t Refuse/Black River, ASCAP/BMI; RCA (CDX)
-I like this guy. He has a boyish, romantic, sexy vibe on this steady bopper. The thumping bass-drum undertow contrasts effectively with his yearning tenor-vocal delivery. That sidewinder electric guitar is nice, too. Mighty fine.
VINCE HATFIELD/Pray For Me
Writers: Allen Shamblin/Rob Crosby; Producer: Eric Paul: Publishers: Built on Rock/Music of Ever Country, ASCAP/BMI; Blue Moon (CDX)
-Hatfield has been kicking around on the indie scene for years. He’s never been a barn burner of a singer, but this time around he has a super-strong piece of material. In the song, an encounter with a homeless fellow transforms the singer’s attitude toward life.
JACOB MARTIN BAND/Take It To The Moonlight
Writers: Jacob Martin/Mike Guy; Producer: Jody Stevens; Publisher: SB21, ASCAP/SESAC; Hype Train (CDX)
-The verses are okay, but the song truly takes flight on its rumbling, soaring choruses. I’d have put a little echo on his somewhat dry lead vocal.
CONNIE BRITTON & LAURA BENANTI/Gasoline and Matches
Writers: Buddy Miller/Julie Miller; Producer: Buddy Miller; Publisher: none listed; Big Machine (track)
-The first volume of the music from the Nashville TV show’s third season is out. Star Connie Britton duets with newcomer Laura Benanti on this super catchy rocker. If it sounds familiar it’s because it has previous recordings by LeAnn Rimes (2013) and by its composers (2009), both of which are better.
CHIP ESTEN/I Know How To Love You
Writers: Chip Esten/Deana Carter; Producer: Buddy Miller; Publishers: none listed; Big Machine (track)
-Britton may be the star and Hayden Panettiere might be the show’s most compelling vocalist, but of all the Nashville cast members, Chip Esten (”Deacon”) has made the strongest commitment to Music City. He has moved here permanently and is present for every benefit and do-good cause where he’s asked. Plus, he has co-written this lovely ballad with our hometown gal, Deana Carter. He sings it with wonderfully homespun sincerity. A winner.
JOSHUA RADIN & SHERYL CROW/Beautiful Day
Writers: none listed; Producers: none listed; Publishers: none listed; Glass Bead (track)
-Radin’s songs have been heard in more than 150 films, commercials and TV shows, including Grey’s Anatomy, Scrubs and House. He has performed on The Tonight Show and Conan. Ellen DeGeneres invited him to play at her wedding. He has toured with Nashville’s Sheryl Crow, and she’s evidently impressed enough with his talent to duet with him on his lilting, acoustic, folkie new single. The result is utterly charming.
DYLAN SCOTT/Lay It On Me
Writers: Dylan Scott/Josh Kerr; Producers: Matt Alderman/Jim Ed Norman; Publishers: Curb/Songs of Black River; ASCAP; Sidewalk (CDX)
-Oh goody. More bro-country.

Reba, Brooks & Dunn Set For Las Vegas Residency

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reba brooks & dunn111Reba, Kix Brooks and Ronnie Dunn are set for a country music residency in 2015. Reba, Brooks & Dunn: Together in Vegas will open June 24, 2015 at The Colosseum at Caesars Palace. Tickets for select performances in 2015 go on-sale tomorrow, Dec. 4, at 10 a.m. PT.
Presented jointly by Caesars Palace and AEG Live, the initial dates announced for 2015 are:
June 24-27; July 1, 3, 4; December 2, 4, 6, 9, 11, 12
The residency marks Brooks & Dunn’s first performances together since their final concert tour date at Nashville’s Bridgestone Arena in 2010.
The residency also marks a reunion for the trio, who toured together in 1997, and had a hit with “If You See Him/If You See Her” the following year. The song was included on McEntire’s If You See Him project, as well as Brooks & Dunn’s If You See Her album. Reba also provided a guest vocal on the duo’s hit “Cowgirls Don’t Cry,” in 2008.
Both Reba and Ronnie Dunn recently announced signings to Big Machine Label Group’s Nash Icon label, which is a co-venture between Big Machine Label Group and Cumulus Media (though the label has not made an official comment or announcement on the Dunn signing). Kix Brooks hosts Cumulus’ syndicated radio show American Country Countdown.
Tickets for Reba, Brooks & Dunn: Together in Vegas, may be purchased in person at The Colosseum at Caesars Palace Box Office, by calling 866-320-9763 or online at thecolosseum.com or axs.com. Orders are subject to additional service charges and fees. Ticket prices are $205/ $155/ $105/ $85/ $59.50 (prices include 10% Live Entertainment Tax). For groups of 10 or more, call 866-574-3851. All shows are scheduled for 7:30 p.m.
Watch below for a behind-the-scenes video of Reba and Brooks & Dunn during their photo shoot for the Las Vegas residency.

YouTube video