Cindy Mabe was recently promoted to the role of president at Universal Music Group Nashville, including Capitol Records Nashville, EMI Records Nashville, MCA Nashville, and Mercury Nashville. Previously Sr. VP of Marketing, the North Carolina native and Belmont University graduate has overseen marketing, digital marketing, media marketing, creative services, production and international strategies for Capitol Records since 2007.
In 2013, Mabe was honored as one of MusicRow’s Rising Women on the Row.
Prior to her work at UMG Nashville, she oversaw marketing and day-to-day strategy at Arista Nashville, where she was instrumental in the careers of Alan Jackson, Carrie Underwood and Brad Paisley.
How will your responsibilities change in this new role?
I will continue to run marketing for Universal, but now all other departments will also report to Mike Dungan and me. My hope is that this position will allow us to not only be more in sync with the day-to-day planning and investments in our artists but ultimately, we will start building the infrastructure for what the future music business will look like over the next few years. People are consuming music differently and in the next five years, it will look completely different than it does now. Car companies, smartphones and technology are changing the way we listen, discover and invest in music. This position was created to help strategically build the groundwork for the consumer shift.

What are some of the biggest challenges today in overseeing artist marketing?
Country radio has been the primary marketing machine for so long and it continues to be our most cost efficient, key driver. But for many artists, particularly traditional [sounding] artists, females and new artists, it’s harder to fit within the boundaries of what Country radio will play and it can take an enormous amount of time to get one song to connect with a mass audience. It can be painful to run a business solely on that.
We look at the partners that best fit each artist and build the strategy differently every time. There are more music discovery platforms than ever before with streaming services and new subscription models. Brand partners want to be in the entertainment business and there are more TV shows completely built on music discovery. Retailers are investing in their own content platforms to help consumers discover new releases. Satellite radio and Internet radio present opportunities for breaking new artists.
With that said, marketing is still about answering the same question: “Why should I care [about this artist]?” Ultimately our job is to show why these artists are unique, and find the people who are drawn to them and their music. We make sure we have presented them in a way that is key to exposing their music and building the legions of fans who will recite their brand message and buy their music.

UMG is home to Luke Bryan and Eric Church–two successful artists with very different brands. What do you see as the next step in the development of each of their brands?
It’s been really fun and challenging to be a part of these guys’ careers over the past seven years. They are both unique cases in artist development. When you know you have something that special, you can never quit trying. Judging from the first or second albums from either of them, wouldn’t have given you great confidence that they’d be where they are now.
Luke is touring stadiums. His brand really is an extension of his life. When you see him on stage, he doesn’t take himself too seriously and he echoes his brand message of ‘Leave your problems at the door.’ He is a guy who lives to love his life and enjoy every day. In the world we live in, that message cuts through and resonates with the fans.
Eric’s songwriting and live showmanship separate him from everyone. He’s Nashville’s quality control guy. No matter how far he pushes the boundaries of the musical sound, he is so lyrically adept that you will follow him. Eric is never going to make a record that bores anyone and he will always challenge the walls around him because he will never fit in the box. That’s why his fans are diehard fans and that’s why Nashville needs him so desperately. He keeps us all interested.

New artist Sam Hunt was recently signed to MCA Nashville. How do you go about differentiating him from the numerous other male solo artists that are dominating the Country radio charts right now?
Sam separates himself in the way he writes, his phrasing, the R&B soulfulness he brings to his music. He’s a dynamic live performer, he is a very visual creator of video, music and performance.
When we were in the process of signing Sam, every discussion was about how we could get music to the fans in a different timeline than the typical 35-week single to album launch mentality. He had already put out an acoustic mix tape on his website for fans to find him. We put a little more strategy into the game plan but it all came from Sam’s original thought that his music is more dynamic than just one single will show. When fans are discovering an artist, you want as much music content as they can have to keep them invested.
We have followed that strategy with our set up. We have had partners like Spotify and Sirius/XM who have invested their own money and time in Sam before we ever had a single at Country radio. We have pushed video content out that is super-serving the young fan base he is building and as he goes in to play each market, they already know multiple songs despite the fact we just went for adds at Country radio. Clear Channel and CBS have both stepped out of the box on our first single “Leave the Night On.” Many more programs and partners are stacked up for the next couple of months and he will be the guy we’re talking about for a long time.
You are the first woman to hold the title of president of a major label in Nashville. How does that make you feel?
I never wanted to get here just because I am a woman, but I am certainly proud to be one in this role. I want to make a difference.

Chapter 461
This statement will come as a surprise to none of you: Texans like to do things BIG.
I offer as a case in point, last weekend’s induction into the Texas Heritage Songwriters’ Assoication’s (THSA) Hall of Fame. This isn’t just a gig, it’s three-day fiesta. Bobby Karl put the event on his radar this year, although the organization that tosses these bashes is 10 years old. It took place on June 20, 21 and 22 in Austin.

FRIDAY
Friday evening was the opening event of the Texas Heritage Songwriters Hall of Fame weekend. It took place south of town, at Saxon’s Pub on South Lamar. You can’t miss it: There’s a giant suit of armor out in front. This venue is legendary.
“This club is 24 years old, and 30,000 artists have performed here,” said owner Joe Ables, who hosted the show. Favorites there have included such Texas tunesmiths as Ray Wylie Hubbard, Rusty Weir, Joe Ely and the late Stephen Bruton. On this night, Ables’ stage featured banners reading, “Music In Its Purest State” and “2014 Homecoming Weekend.”
That’s because the starring writers were prior Hall of Fame inductees Aaron Barker (who is from San Antonio), Sonny Throckmorton (Wichita Falls), Bruce Channel (Grapevine), Larry Gatlin (Seminole) and Allen Shamblin (Huffman), plus Bonnie Bishop, Kevin Welch, Dustin Welch and newcomer Mignon Grabois.  
Working the packed room and grooving on the tunes were such familiar Nashville names as Waylon Payne, Susan Nadler, Mary Miller, Connie Nelson and Evelyn Shriver.

SATURDAY
The second THSA event occurred the following evening. It took place in the fabulous Bob Bullock Texas State History Museum. From the 40-foot bronze Lone Star towering over its plaza to the observatory-dome top floor, from the terrazzo floor depicting Texas history to the IMAX theater, this facility puts other state museums to shame. Tennessee legislators need to visit and take notes. I know Texas is a much bigger state, but at the very least our museum needs it own building.

Anyhow, the Saturday evening event was billed as “The Darrell K. Royal Songwriters Homecoming,” an elegant reception and show. Organizer Bill Schneider was the best bud of Darrell Royal (1924-2012), the legendary football coach who led The University of Texas to three national championships. Royal was also a huge songwriter fan, who always hosted guitar pulls at the golf tournament he co-hosted with Willie Nelson for years. This whole weekend grew from Royal’s enthusiasm.
The reception in the museum lobby was attended by 400+ VIPs, including Jody Williams, Bill Thornbury, Stan Moress, Gary Nicholson, Colleen Fisher, Freddy Powers, Dean Miller, Perry Howard, Amos Brown, Kelly Gonzales, Mason Hunter and more.
The cocktail supper featured chicken quesadillas, pork belly with apple chutney, jalapeno-chicken and pulled-pork sliders, grilled Mexi-corn cups and watermelon agua fresca with goat cheese. You could also indulge in pecan-pie diamonds and/or donuts with chocolate dipping sauce.
Emcee Terry Boothe brought on Schneider, who presented a Darrell Royal autographed “game ball” to THSA executive director Michelle Johnson.
Gov. Rick Perry appeared and got a standing ovation. “When you think about this state, this songwriters’ association gets to the heart of who we are as a people,” said Perry. “I don’t think there’s anybody who loved country music and its people more than your husband,” he said to widow Edith Royal. Perry presented the Darrell K. Royal Texas Music Legends Award to iconic radio broadcaster and hit songwriter Bill Mack (WBAP, Sirius/XM, “Drinking Champagne,” “Blue”).
“We live in the greatest state,” said Mack. “I’m so glad that Rick Perry is our governor.
“This isn’t political,” Mack added, before plugging Perry for President. In that very week, Perry had asserted that homosexuality was the same thing as being genetically pre-disposed to alcoholism (it isn’t) and that terrorists from Syria were coming across the border from Mexico into Texas (they aren’t).
The genial, likable Perry proclaimed Jessi Colter, as well as Natalie Hemby, Rhett Akins and Luke Laird to be honorary Texans. Larry Gatlin introduced the three Nashville songwriting stars. “I’m kind of the Susan Lucci of the Nashville Songwriters Hall of Fame,” said Gatlin. “Because I’ve been nominated six times. But the way I look at it is, the best songwriters in the world are from the state of Texas.” He is, needless to say, a Texas S/W Hall of Fame member. Gatlin sang “Strings Attached” and “Johnny Cash Is Dead and His House Burned Down,” before turning over the show.
Laird (“Give Me Back My Hometown,” “Drink in My Hand,” “Keep It to Yourself”), Hemby (“Baggage Claim,” “White Liar,” “Drinks After Work”) and Akins (“That Ain’t My Truck,” “Honeybee,” “Take a Back Road”) were stellar. “Thank y’all for having us cats from Nashville crash your party,” said Atkins. Booked for the gig by BMI, all three did Music City proud.

SUNDAY
Next on our THSA agenda was a VIP reception in the mezzanine lobby of the Moody Theater at Austin City Limits downtown. The walls were completely covered with photos of ACL performers, from Sheryl Crow, B.B. King, Pearl Jam, Dave Matthews and Elvis Costello to Dolly Parton, Merle Haggard, Keith Urban, Rosanne Cash and Bill Monroe. Not to mention Willie Nelson, a bronze statue of whom  also smiles benignly on the theater’s entry plaza.

The theater itself, is a marvel. With no columns anywhere, the sight lines are flawless. The sound is sterling. You’ve seen it on TV, and it’s just as cool in real life.
“There is no place I’d rather be than right where we are,” said show host Red Steagall. “There are only three kinds of Texans – those who were born here; those who got here as fast as they could; and those who are on their way.
“Darrell K. Royal…brought a group of us together and created a family. This is a continuation of that family.”
Inductee K.T. Oslin received a standing ovation before she uttered a word or sang a note. “Texas, I’m home!” she exclaimed. She sang “Cornell Crawford,” explaining, “This is the first song I ever wrote. All those years in New York just went away, and out came Texas.”
Oslin was transcendent, enthralling the crowd with “Do Ya,” “Hey Bobby,” “New Way Home,” “Hold Me” and “80s Ladies” in much the same way that she did at her Franklin Theater comeback show in November. “What an honor this is for me,” she said.
Lee Roy Parnell sang for inductee Buck Owens (1929-2006). “Buck was my friend,” Parnell said. “This is a particular honor for me. The greatest night of my life was when I was inducted, and tonight is up there with ‘em.” With Bonnie Bishop doing Don Rich-style harmonies, Parnell performed “Under Your Spell Again,” “Crying Time,” “Together Again,” “Tall Dark Stranger” and “Love’s Gonna Live Here.” He promised to place the award on display at Owens’ Crystal Palace nightclub in Bakersfield.
Kris Kistofferson was first up to honor inductee Waylon Jennings (1937-2002). “I’ve been a fan of Waylon ever since the first time I heard him sing at a demo session for one of Harlan Howard’s songs,” said Kristofferson. “I’d never heard anything like him, and I still haven’t.”
Son Shooter Jennings did “Sad Songs and Waltzes,” “Lonesome On’ry and Mean” and “Belle of the Ball.” Then widow Jessi Colter provided her own “I Ain’t the One” and “Storms Never Last” to the proceedings. She and Shooter brought this tribute section to a close with a rocking “Why You Been Gone So Long.”
All three tribute segments featured video testimonials. Among those appearing on screen were Joe Galante, Guy Clark, Bill Anderson, Miranda Lambert, Tim DuBois, Rodney Crowell, Dwight Yoakam, Vince Gill, Richie Albright, Ralph Emery and Ringo Starr. It’s also essential to mention that Johnny Nicholas & Hell Bent, featuring dobro/steel sizzler Cindy Cashdollar, were a superb backing band throughout the show. These folks are also Saxon Pub regulars.
The evening concluded with a 71st birthday celebration for Kristofferson, who led everyone in singing “Me and Bobby McGee.” Schmoozing at the gig were Texas boosters Kimmie Rhodes, Ray Benson, Tamara Miller, Charlie Stewart, Turk Pipkin and Lisa George.
“God bless Texas!” said Red Steagall. “Will you join us again next year?” Loving songwriters as I do, I just might do that.
Read about Bobby Karl’s favorite Austin restaurants.
 

BOBBY KARL WORKS THE ROOM Chapter 460

It is high time for a big-time MusicRow shout-out to BMI.

The performance rights organization hosted the 26th annual MusicRow awards ceremony on Wednesday evening (June 18) with so much style that I must comment. You know where that big reception desk is at the far end of the lobby? Well, that zone now converts into a large staging area with a video-wall backdrop. That wall had a huge, glowing blow-up of the awards logo. “Look at this set-up,” exclaimed the mag’s Sherod Robertson. “I feel like a star up here.”

That’s not all. The sound in the echo-y lobby has been famously bad, which BMI overcame with a much-improved audio system. BMI put on the dog in the food department, too. Meat balls. Chunky guacamole with tortilla chips. Stuffed peppers. Chicken tenders. And BMI writers are featured on the cover of the current print, awards-edition of the publication. The father-son BMI songwriter duo of Rhett Akins and Thomas Rhett are smiling there. “We’re proud to have this event here,” said BMI’s Clay Bradley to the throng of attendees. “To me, this is always the kick-off to summer.”
“These awards started in 1989,” said Robertson. “Some of my staff members weren’t born in 1989. I guess I’m okay with that.” The magazine’s Eric Parker and Sarah Skates presented the Top-10 All-Star Musician awards. These are the only honors by any organization that salute the session musicians who make Nashville’s hits. This year, the group included Russ Pahl (steel), Aubrey Haynie (fiddle), Ilya Toshinsky (guitar), Greg Morrow (drums), Charles Judge (keyboards), Jimmie Lee Sloas (bass), Wes Hightower (background vocalist) and Justin Niebank (engineer). Pahl is a first-time winner in his category. Producer of the Year winner Frank Liddell is on vacation, but sent in this statement: “I’m in the Virgin Islands, celebrating the hell out of this.”

“All Kinds of Kinds” was written way back in 1998, but Miranda Lambert finally made it a hit and the MusicRow Song of the Year. “I told my mom I had a Miranda Lambert cut,” said co-writer Phillip Coleman. “She said, ‘Which song is it?’ I told her it was ‘All Kinds of Kinds,’ and she said, ‘That’s my least favorite song you’ve ever written.’” “Any time you can get a song on the country charts with a cross dresser in it, I’m all for it!” quipped co-writer Don Henry. Coleman and Henry performed the song splendidly at the event.

The Breakthrough Artist award went to Brandy Clark over four other nominees, all but her on major labels. “I was a little shocked when I heard that I had been nominated,” she confessed. “The critics, who most people hate, I love. This project has been driven by the press,” she explained offstage, “and by other artists.” Eric Church has chosen her as his current opening act. “Everybody loves you,” I told her. “At least, everybody with taste.” Her album is 12 Stories. “Since it came out, it’s been the most talked-about thing in the music business,” said Robertson. “It’s the best album EVER,” said Woody Bomar. There was a tie for Breakthrough Songwriter. Sony/ATV’s Terry Wakefield accepted for Cole Swindell. The co-winner was Nicolle Galyon.

“I write for the best publishing company in town,” said Galyon. “It took a lot of people believing in me and fighting for me. B.J. Hill signed me [to Warner-Chappell] when I was 23 years old. I’m almost 30 now.” She also thanked Rodney Clawson for his support. “Everybody here knows he’s a great songwriter,” she said. “I can attest to what a great husband and father he is.” Finally, she thanked her father. The day was his birthday, which he spent pouring concrete in 100-degree weather back home in Kansas. “If that doesn’t make us all want to work harder, I don’t know what does,” Galyon concluded. The classically trained pianist sang her co-written Lambert hit “Automatic” in a strong, emotive voice.

The denizens of Music Row turned out in full force for the ceremony. David Ross, David Preston, David Wykoff, Dave Pomeroy and Dale Bobo were there. Plus John Ozier, John Briggs, John Beiter and John Mullins (“I can’t believe a wholly SESAC song won Song of the Year”). Not to mention Joe Moscheo, Josh Osborne, James Elliott, Janie West, Jim Femino, Jody Williams and Jessie Jo Dillon.

Mike Vaden, Mike Martinovich, Martha Moore, Scott Stem, Beth Laird and Luke Laird mingled with Ben Vaughn, Barry Dean, Beth Gwinn and Bill Wence, who has just returned from performing with Wanda Jackson on the Queen Mary in L.A. at an “Iron & Ink” tattoo convention. I don’t make this stuff up. Wence says that Junior Brown and Merle Haggard were there singing, too. Back at the party: Susan Collier, Shannan Hatch, Steve Nathan, Sherrill Blackman and new artist Sydney Lett worked the room with Allen Brown, Al Schiltz, Lance Miller and Leslie Mitchell. Other fabulons attending included Trent Summar, Pat Higdon, Ree Guyer Buchanan, Rich Fagan, Earle Simmons, Holly Bell and Phil Graham. Speaking of Graham, thank-you, again, BMI.