MusicRow Magazine presented its 26th annual subscriber-voted MusicRow Awards earlier this evening (June 18) during a ceremony hosted by BMI at the performing rights organization’s Nashville offices. The awards event, led by MusicRow Publisher and Owner Sherod Robertson, recognized the 2014 Breakthrough Artist, Breakthrough Songwriter, Song of the Year and Producer of the Year. Additionally, Top Ten Album All-Star Musician Awards were presented to session players who performed on the most top ten albums during the eligibility period.
26th Annual MusicRow Award Winners
Breakthrough Songwriter of the Year—(tie) Cole Swindell, Sony/ATV, BMI. Hit(s): “Chillin’ It,” written with Shane Minor, recorded by Cole Swindell; “Get Me Some of That,” written with Michael Carter and Rhett Akins, recorded by Thomas Rhett; “This Is How We Roll,” written with Luke Bryan, Tyler Hubbard and Brian Kelley, recorded by Florida Georgia Line.
(tie) Nicolle Galyon, Warner/Chappell, BMI; Hit(s): “Automatic,” recorded by Miranda Lambert; “We Were Us,” written with Jimmy Robbins and Jon Nite, recorded by Keith Urban and Miranda Lambert
Producer of the Year—Frank Liddell
Breakthrough Artist of the Year—Brandy Clark (Slate Creek Records)
Song of the Year— “All Kinds of Kinds” by Phillip Coleman and Don Henry. Publishers: Gravitron, Carnival, Warner-Tamerlane; SESAC/BMI. Producers: Frank Liddell, Chuck Ainlay and Glenn Worf
Top 10 Album All-Star Musician Awards
Vocals—Wes Hightower
Keys—Charles Judge
Guitar—Ilya Toshinsky
Steel—Russ Pahl
Bass—Jimmie Lee Sloas
Fiddle—Aubrey Haynie
Drums— Greg Morrow
Engineer—Justin Niebank
An in-depth look at the award recipients can be found in MusicRow’s June/July 2014 print edition, available now. The MusicRow Awards is one of three annual events hosted by MusicRow. Others include Rising Women on the Row and the CountryBreakout Awards.

While the music industry’s current era has been one brimming with drastic changes, an ever-evolving digital terrain, and growing power for independent music labels, some things remain permanent. The often awe-inspiring creativity of songwriters prevails as the lifeblood of an inventive industry that aims to affect the souls of the masses.
BMI’s Del Bryant has understood the triumphs and challenges of the songwriter community since he was a young boy whose parents were songwriters Boudleaux and Felice Bryant, the creators behind songs such as “Rocky Top,” and “Bye Bye Love.” A young boy who counted creating rhythms and rhymes as a natural pastime, it seems that Bryant was destined to be involved in music. “I was raised in that culture, having parents who were songwriters,” Bryant said. “I saw how my parents were nurtured as writers. I’ve helped carry that forward at BMI.”
A Nashville, Tenn., native, Bryant joined BMI in Nashville in 1972. Over the next few decades and an eventual relocation to New York, he rose to Executive VP of Repertoire and Licensing, before being named President in 2004. Bryant served as President and CEO of BMI from August 2004 until Sept. 15, 2013.
After four decades of work, Bryant helmed a company that now represents more than 600,000 songwriters and more than 8.5 million works. As Bryant steps into more of a consultant role with the company (he is succeeded as BMI CEO by Michael O’Neill), he seems as determined as ever to aid the company in its future endeavors. “I look forward to being any help I can be to the writers of this community, and to the BMI execs in this community. I am willing to serve, and I’m a keeper of the culture. I know a lot of the old history and old stories. When Frances Preston was tapped to be President of BMI, she carried a nurturing culture forward.”
Bryant asserts the current struggles songwriters face against consent decrees, low digital streaming royalties from companies such as Pandora, and other challenges are simply the latest in a long line of battles. “In some ways it’s very old information to people such as myself, especially because my parents were part of even earlier injustices—systems to pay [songwriters] almost nothing at all, much less fairly,” he says. “So I’m not surprised that it’s currently a big issue. It’s always been the issue.”
During his career Bryant observed a number of high-profile disputes, including the 1979 Broadcast Music Incorporated vs. Columbia Broadcasting System. The TV network filed an antitrust suit, and alleged the system used by the PROs to collected fees for blanket licenses was essentially price fixing; the Supreme Court held the blanket licenses did not constitute price fixing. Blanket licenses came under fire again in the 1980s, via a Buffalo Broadcasting Company suit.
“There have been very serious issues throughout my tenure at BMI,” he said. “There are many who feel there is so much money in the hands of the major players—the Googles and the Microsofts—that so many of the decisions are hard to fight. I think the balance of dollars has always been stacked against the creator. Though the massive players in the world would rather build their businesses on the back of copyright—also known as songwriters and publishers—I have to think wisdom will prevail.
“We’ve been tied to an antiquated consent decree. We are under one of the oldest, if not the oldest, in the country. It’s time to unfetter ourselves from antiquated consent decrees, or at least have them changed so they are reflective of those that fight hard for copyright, to reflect the true value of it. Writers should be able to receive the value their works have in a free market.”
As Bryant enters the twilight years of his career, or as he calls it, “waving to the crowd on my last lap around the arena,” he is proud of what BMI accomplished under his leadership. “I’m proud people feel there was great continuity between Frances and myself,” he said. “When you go from an iconic leader to the next guy, that is a situation everybody worries about—certainly the next guy, at least. I’m proud we moved through that transition smoothly, providing great comfort to employees and to those we served.” Bryant’s tenure continued not only stability, but growth. For the fiscal year ending June 30, 2013, BMI reported revenues increased by $45 million over the previous year, a gain of five percent, exceeding $944 million.
“It’s a difficult job getting the value up and making those extra dollars and negotiating those agreements, but we’ve been able to do it because of something else I’m proud of,” Bryant said. “Our repertoire has grown dramatically. We’ve done an incredible job of bringing the most talented creators to our ranks, and I’m proud of the growth we’ve achieved and the world has recognized our writers.”

The American Country Countdown Awards will debut live from Nashville on Monday, Dec. 15, on Fox. The show is a joint venture from Fox, Cumulus and Dick Clark Productions. The show will also pay tribute to the first-ever “NASH Icon” award winner.
American Country Countdown with Kix Brooks celebrates its 41^st year as America’s longest-running country music countdown show on radio. American Country Countdown launched in 1973.
“Fans of the ‘American Country Countdown’ are some of the most loyal and passionate fans around, so it’s a natural next step to bring that popular brand to television,” said Simon Andreae, executive vice president of Alternative Entertainment for Fox. “Fox has a long history of big, bold music events, and we can’t wait to bring down the house in Nashville this December with some of the most popular names in country music.”
“Expanding our NASH brand and the audience for our iconic ‘American Country Countdown’ franchise to a national TV audience is an exciting example of how we’re committed to serving the needs of America’s rapidly growing passion for country music,” said John Dickey, executive vice president and co-chief operating officer of Cumulus.
“The ‘American Country Countdown’ radio show is one of the most respected brands in country music, highlighting the most successful stars on country radio,” said Mike Mahan, president of Dick Clark Productions. “Through our broadcast partnership with Fox and Cumulus, we are able to create an innovative and new television format honoring superstars and spectacular emerging talent that fuel American country radio.”