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Lady A Backstage: Going To Kansas City


A short video moment from the Fan Club meet and greet where the band performed “Dancin’ Away With My Heart” with an acoustic guitar. The backstage schedule is a lot more demanding than many might imagine. Here’s Lady A’s call times from Kansas City. Sound Check 3-3:45; Dinner 5-7; Radio Lounge meet n greet 6; Lipton meet n greet 6:15; Lady A fan club meet n greet 6:30.

• • • • •

After all the meet and greets, local press, rehearsals and more, the band explodes on stage for the main event. Here, center stage, the trio sings its opening number “Own The Night.” (Hillary Scott, Charles Kelley and Dave Haywood.)

Superstar tours move from city to city like self-contained armies equipped with a caravan of 18-wheelers, a cast of technicians, musicians, engineers and full-blown catering. Like a small village of specialized craftsman, each member plays an integral part in helping to set up, present the show and then pack up and move to the next location.

Lady Antebellum’s Own The Night 2012 World Tour began Jan. 31 in Bloomington, Illinois and has enjoyed a string of sold out dates. The show travels overseas to the UK and Ireland this summer where they will open for Bruce Springsteen at the Hard Rock Calling Festival and also perform a series of headline dates.

Your Scribe reviewed the show a few weeks ago (click here) but collided again with Lady A in Kansas City on April 6. Here is a pictorial glimpse of life backstage for a superstar act and its team. (All photos and video David Ross)

These two photos were taken inside the Kansas City, Mo. Sprint Center in the dining area while everyone was socializing and relaxing a bit. Note the oil paintings from a local artist behind Hillary of artists that have performed at the venue. (Photo Left) Lady A’s Hillary Scott (R) with college friend Brittany Moses (L); (Photo right) Lady A’s Charles Kelley (R) with Steve Buchanan (L), President Opry Group, Gaylord Entertainment.

While most everything focuses on the tour and its immediate needs, artists must also look to the future. That’s why it’s not uncommon to find some of Nashville’s top songwriters tagging along working on songs with the artists. (L-R) Marv Green, who co-wrote the Kix Brooks hit “New To This Town”; Susan Stewart, South Regional Director, Nashville Chapter of the Recording Academy; Tim Nichols co-writer of “Live Like You Were Dying”; Jason Sellers, who cowrote the Jason Aldean/ Kelly Clarkson duet “Don’t You Wanna Stay?”; and CMT Sr. VP Music Strategy Leslie Fram.

After the show Lady A surprised Thompson Square’s Keifer and Shawna Thompson—part of the tour—with a cake to applaud their ACM award as Vocal Duo of the Year. The playful moment took place at club La Bellum which is the tour “hangout.” Inside was a ping pong table that travels everywhere with the production plus an island bar area. (L-R) Dave Haywood, Keiffer and Shawna Thompson, Hillary Scott and Charles Kelley.

No. 1 Party: Kenny Chesney’s “Reality”

(L-R): (front row) BMG/Chrysalis' Sara Johnson; Warner/Chappell Music's Steve Markland; co-writers Brett James and Kenny Chesney; manager Dale Morris; and Sony/ATV Music Publishing's Troy Tomlinson; (back row) ASCAP's Mike Sistad; Sony Music Nashville's Gary Overton; producer Buddy Cannon; BMI's Clay Bradley; and BNA Records' Norbert Nix. Photo: Rick Diamond

BNA Records’ Kenny Chesney and songwriter Brett James celebrated their recent co-written No. 1 chart-topper “Reality,” produced by Buddy Cannon, at Sambuca’s Sky Room on Thursday (4/5). BMI and ASCAP co-hosted the event, which honored Chesney’s 23rd trip to the top of the charts.

Presentations were made by BMI’s Clay Bradley and ASCAP’s Mike Sistad, as well as Warner/Chappell’s Steve Markland, Sony/ATV’s Troy Tomlinson, and BMG Chrysalis’ Sara Johnson. Avenue Bank’s Ron Cox presented a financial contribution in the name of the writers to Chesney’s preferred charity, Plan!t Now.

“I’ve been very blessed with a lot of great people that have been part of a really incredible ride,” said Chesney. “The thing that makes me the happiest is when I can sit down with a guy like Brett James and create something that touches people. Thank you everybody for giving us a great reality.”

Brett James also thanked everyone for the accolades and added, “We wrote ‘Out Last Night’ and ‘Reality’ on the same day. Thank God for that day!”


Weekly Chart Report (4/6/2012)

To support her new single “When You Say My Name,” Show Dog-Universal artist Jessie James recently stopped to visit with WGAR/Cleveland PD Charley Connolly and staff. (L-R): SDU Promo rep Nathan Cruise, James, Connolly

LIFENOTES
MusicRow extends its sympathies to KKAJ/Ardmore, OK PD/Mornings Win Patton on the recent loss of his father. Windell Dean Patton passed away April 2 at the age of 64. Memorial services were held yesterday (4/5) at First Baptist Church in Ardmore. Reach out to Win Patton here.

RADIO NEWS
Syndicated Country radio personalities Tony & Kris, in partnership with Thinking Bee Productions, have launched a new web series. Shot in Nashville, “Tony & Kris TV” features man on the street interviews, visits with country artists, and more. The series will air on tonyandkris.com. See a promo here.

SPIN ZONE
In the post-ACM Awards chart, it’s co-host and Male Vocalist of the Year Blake Shelton who hangs on to the CountryBreakout Chart’s No. 1 spot. Shelton’s “Drink On It” took a tiny dip in spins, but successfully held off Rascal Flatts’ “Banjo” and his other half Miranda Lambert’s “Over You.” Closing out the Top 5 are Lee Brice’s “A Woman Like You” and Jason Aldean’s “Fly Over States.” Carrie Underwood’s“Good Girl,” which opened the ACM show, struts into the Top 10 at No. 9.

Know who else had a good ACM Awards night? Kenny Chesney and Tim McGraw, that’s who. The superstar pair will be on tour together this summer, and debuted new single “Feel Like A Rock Star” on the ACM telecast. Programmers eagerly devoured the new single, playing it nearly 800 times in the first week for an excellent debut at No. 39. Band Perry’s praised performance of “Postcard From Paris” was also beneficial, as the trio’s latest gained 230 spins to move to No. 20. Dierks Bentley’s“5-1-5-0” is a hot new item, moving No. 67-37 in its second week.

 

Upcoming Singles
April 9
Jerrod Niemann/Shinin’ On Me/Sea Gayle/Arista
Edens Edge/Too Good To Be True/Big Machine
Lathan Moore/Nothin Like A Woman/Render
Dierks Bentley/5-1-5-0/Capitol
Jaida Dreyer/Guy’s Girl/Streamsound
Scotty McCreery/Water Tower Town/19/Interscope/Mercury

April 16
Greg Bates/Did It For The Girl/Republic Nashville
Rachele Lynae/Party ‘Til The Cows Come Home/Momentum
Tammie Davis/It’s a Beautiful Life/ATP Records.
Kellie Pickler/100 Proof/19/BNA

• • • • •

New On The Chart—Debuting This Week
Artist/song/label — chart pos.
Kenny Chesney & Tim McGraw/Feel Like A Rock Star/BNA — 39
Matt Kennon/You Had To Pick On Me/Roaddawg — 69
Jon Pardi/Missin’ You Crazy/Capitol — 77
Stephanie Grace/If You Asked Me/SMG — 79
Barry Michael/Uncountrify Me/Stockbridge — 80

Greatest Spin Increase
Artist/song/label — spin+
Kenny Chesney/Tim McGraw/Feel Like A Rock Star/BNA — 794
Dierks Bentley/5-1-5-0/Capitol — 491
Toby Keith/Beers Ago/Show Dog-Universal — 324
Luke Bryan/Drunk On You/Capitol — 233
The Band Perry/Postcard From Paris/Republic Nashville — 230

Most Added
Artist/song/label — New Adds
Kenny Chesney & Tim McGraw/Feel Like A Rock Star/BNA — 48
Dierks Bentley/5-1-5-0/Capitol — 29
Justin Moore/’Til My Last Day/Valory — 11
Chris Young/Neon/RCA — 11
Martina McBride feat. Pat Monahan/Marry Me/Republic Nashville — 11
Matt Kennon/You Had To Pick On Me/Roaddawg — 10
David Frizzell/Say Hello To Heaven/Nashville America — 7
Thomas Rhett/Something To Do With My Hands/Valory — 7

On Deck—Soon To Be Charting
Artist/song/label — spins
Brad Wolf/Too Many Mondays/Evergreen — 218
Craig Campbell/When I Get It/Bigger Picture — 215
Steve Richard/Toothbrush/Force MP — 174
Josh Abbott Band/Touch/PDT — 173
Randy Rogers Band/Last Last Chance/MCA — 167

Kenny Chesney (center, in hat) recently appeared at a Clear Channel company meeting in preparation for the launch of his forthcoming album Welcome to the Fish Bowl, due for release on BNA Records June 19.

R&J/Emrose Records recording artist Maggie Rose, who previously impacted the CountryBreakout Chart with “Maybe Tonight” (as Margaret Durante), performed a private radio/industry concert at the MGM Grand Hotel in Las Vegas on Fri., March 30. (L-R): Scott Siman (RPM Management); Mike Culotta (WQYK/Tampa); Maggie Rose, (R&J/Emrose Records); John Shomby (WGH/Virginia Beach); and Tim McFadden (R&J Records)

 

In the days leading up to the ACM Awards, CMT Radio Live’s Cody Alan welcomed an outstanding visitor lineup that included Rascal Flatts (pictured), Lionel Richie, Jason Aldean, and Lady A’s Charles Kelley. RF is currently at No. 2 on the CountryBreakout Chart with “Banjo.” (L-R): Joe Don Rooney, Alan, Gary LeVox, Jay DeMarcus. Photo: Dingo O’Brien

Weekly Register: Lionel Richie Pushes Stats Positive

Early ACM: Don’t believe, even for a minute, that award shows are just about giving out awards. They are about getting your artist a performance slot, attracting viewers  and reminding them to go buy music. Last week’s ACM presentation which attracted 12.2 million viewers is an excellent case study.

The smooth production cut presentations to a mere 8 awards spread over three hours and stuffed the remaining time with a grab bag full of music. We’ll have to wait until next week’s SoundScan numbers to gauge the complete results, but a few clues are showing up in this week’s data and it looks promising. Readers of the Weekly Register know that SoundScan’s week closes on Sunday, so the Sunday evening ACM Awards could have little effect on the physical numbers, but digital downloads—albums and tracks—is another story. Country fans are joining the ranks of the “instant gratification” crowd. So let’s see if we can find any clues about how next week’s sales might fare.

Scotty McCreery’s album got a 172% increase this week. However, he also got a 619% digital album increase which accounts for a large share of his increased album sales overall and likely happened Sunday evening. Scotty’s “Water Tower Town” which he previewed on the show didn’t explode, but debuted with almost 15k downloads. Bring beach wear for next week, when we’ll surf the ACM sales wave.

The Weekly Register
Our story today is about finding new markets, fresh sounds and a job well done by Lionel Richie and the Mercury Records crew who also helped push country’s YTD sales up 3.2%. Tuskegee, a collection of duets with high profile country stars flew to the top of the albums chart this week to debut with an impressive 199k units; 33% of which were digital downloads. Richie’s debut week sales were also enough to also reserve the No. 2 spot on the Top 20 all-genre Albums chart, behind Madonna who scanned a robust 359,000 units with 35% of them digital.

Luke Bryan took the No. 2 position on the Country albums list with over 24k units. That white t-shirt, great voice and slick stage moves have propelled his Tailgates & Tanlines effort onto a collision course with a Platinum Award (891k units total). At No. 3, McCreery shifted over 16k units for a total now of over 996k, also nearing the one million mark. Another Top Ten inhabitant is Brantley Gilbert’s Halfway To Heaven album (No. 9; 9k) which has moved over 500k units. The Band Perry appears at No. 10 this week with a little over 8k units, but an impressive total of 1,230,000 units. Additional million-selling artists in the country top ten are Jason Aldean (My Kinda Party 2,480,000) and Lady Antebellum (Own The Night 1,532,000).

Country tracks traveled wide and far this week. Taylor Swift, who often owns this chart clocked in at No. 1 with “Eyes Open” and over 111k downloads. Her “Safe & Sound” landed at No. 3 with over 78k units. Swift also has four additional tracks on the country Top 100. Luke Bryan, Eric Church, Carrie Underwood and Lee Brice also made nice showings with “Drunk On You” (82k), “Springsteen” (73k), “Good Girl” (66k) and “A Woman Like You” (54k) respectively.

Last year at this bend in the road country album sales were down 13% YTD, so as we speed by the first quarter, it feels good to be up over 3%.

 

DISClaimer Single Reviews (4/04/12)

Jerrod Niemann, Joni Rae Jack

There are lots of new faces to greet us this day.

Newcomers to the column include Chelsea Bain, The Coleman Brothers, L.D. Whiehead & The 80 Proof Band and our DisCovery Award winner, Joni Rae Jack.

Missouri’s LiveWire continues to impress. In between helping its hometown of Joplin rebuild from tornado devastation, the band continues to issue extremely listenable singles. “Gone” got to me. Similarly, Glen Templeton continues his winning ways. Both of these indie acts deserve your support.

You know what I like about Jerrod Niemann? I mean, besides the fact that he spells his last name with two “n’s.” He’s such a cool artist because he isn’t afraid to be different. His records don’t sound like they come from a factory. They sound hand-crafted. And that’s why he wins this week’s Disc of the Day honor. That, and the fact that “Shinin’ on Me” is the catchiest song in this stack.

KIX BROOKS/New to This Town
Writer: Kix Brooks/Marv Green/Terry McBride; Producer: Kix Brooks & Jay DeMarcus; Publisher: none listed, BMI; Arista (CDX)
—“Every street’s a memory/Of how things used to be.” Everywhere he goes, he sees her and remembers what they once had. Kix drawls this with conviction, and the track crackles with power and clarity. Rascal Flatts star DeMarcus continues to impress as a record producer.

JERROD NIEMANN/Shinin’ on Me
Writer: Jerrod Niemann/Lee Brice/Rob Hatch/Lance Miller; Producer: Jerrod Niemann & Dave Brainard; Publisher: none listed, BMI/SESAC; Sea Gayle/Arista (CDX)
—Quirky and funky, this has a loose-limbed charm that’s hard to deny. The bluesy vocal has immense personality, and the bright horn blasts, Dobro solo and organ riffs are all ear-opening. I remain a fan.

JONI RAE JACK/Maybe You’ll Love the Way I Leave
Writer: Wynn Varble/Randy Hardison; Producer: Shayne Morrison & Greg Hunt; Publisher: WB, ASCAP; Ah Ha (www.joniraejack.com)
—Lickety-split stuttering guitar. Pert, personable hillbilly vocal. Twinkling piano plunking. Rapid, bopping, backbeat percussion. Sizzling steel and fiddle work. This rocks splendidly.

MARTY RAYBON/I’ve Seen What He Can Do
Writer: Lee Black/Sue C. Smith/Kenna Turner West; Producer: Mark L. Carman; Publisher: Christian Taylor/BMG/House of Blacks/Universal/Brentwood-Benson/CCBT, no performance rights listed; Rural Rhythm (track) (www.ruralrhythm.com)
—Marty’s Hand to the Plow CD has already yielded one big Christian hit, his self-penned “You’ve Got to Move.” Its second single is a lovely, melodic ballad that glorifies the beauties of nature, the wonders of the human spirit and the power of love to prove the existence of the Almighty. As always, this man’s voice reaches right into your soul. He’s a hoss.

LIVEWIRE/Gone
Writer: Daniel Bell; Producer: Justin Woods; Publisher: Country Party, BMI; Way Out West (615-319-1863)
—I like their silvery harmonies, the catchy tune, the chiming tone, the sterling electric guitar work and the thumping rhythm. I even like the “kiss my ass” line. Definitely worth some spins.

NEAL McCOY/Shotgun Rider
Writer: Rhett Akins/Dallas Davidson/Keith Anderson/Ben Hayslip; Producer: Miranda Lambert, Blake Shelton & Brent Rowan; Publisher: none listed; Blaster (www.nealmccoy.com)
—The songwriting and production credits sure are impressive. In this friendly, innocent-sounding bopper, he wants to cruise in the country with her in the title role.

GLEN TEMPLETON/Sing That Song Again
Writer: Ben Hayslip/Deric Ruttan; Producer: none listed; Publisher: Sony-ATV/Warner Chappell, no performance rights listed; Black River Entertainment
—The songs in question are “Brown Eyed Girl” and “Glory Days,” both of which are certainly worth singing again. Yes, radio plays the soundtrack of our lives, which is what this rocking, romantic sound celebrates. Solid.

THE COLEMAN BROTHERS/Tribute to a Firefighter
Writer: Mike Black/Judy Kellersberger; Producer: Greg Cole; Publisher: Gaylord/Blanco River, no performance rights listed; American Sounds (www.thecolemanbrothers.net)
—At last, someone has rhymed something with “orange.” Here’s how: “The sky is ghostly orange/This ain’t no false alarm.” As the title indicates, it is a straightforward, literal ode to the heroism of these public servants. Complete with sirens.

CHELSEA BAIN/Rockin’ That Trailer
Writer: Peter J. Sallis/Brian Gene White/Karyn Kristyne Williams/Mark David Carson; Producer: none listed; Publisher: none listed; Jobe/Rock Ridge
—Another rock performance trying to pass itself off as “country” by name-checking “Hank” and “the truck” and “trailer” and all such as that. Loud, in-your-face and headache inducing.

L.D. WHITEHEAD & THE 80 PROOF BAND/Mexico
Writer: Larry Doyle Whitehead II; Producer: none listed; Publisher: none listed, BMI; 80 Proof (www.80proofband.com)
—There’s ability here in the writing, the instrumental support and the vocal. But it sounds kinda like a demo. A little more production polish, please.

ACM Weekend Photos

Sony Music Nashville celebrated the 47th Annual ACM Awards with a post-show party at Cili. Columbia Records’ Miranda Lambert took home her third Album of The Year honor as well as her third award for Female Vocalist of the Year.

Top Row: Norbert Nix (VP National Promotion BNA/Columbia Nashville), Jim Catino (VP A&R), Lisa Ramsey-Perkins (Sr. Director A&R), Chris Young, Miranda Lambert, Love and Theft's Eric Gunderson and Stephen Barker Liles, Paul Barnabee (SVP Marketing), Bradley Gaskin, Lesly Tyson (VP National Promotion Arista Nashville). Bottom Row: Caryl Healey (VP Sales), Kenny Chesney, Carrie Underwood, Matt Burr, Grace Potter, Gary Overton (Chairman & CEO), Sara Evans, Lacey Buchanan, Jake Owen, Keith Gale (VP National Promotion RCA). Photo Credit - Edyta Sokolowska

• • •

Warner Music Nashville’s Blake Shelton took home his first ACM Male Vocalist of the Year award last night. Both he and labelmate Hunter Hayes performed during the broadcast, with Shelton reprising his co-hosting role. Hayes was nominated for New Artist of the Year.

L–R: Blake Shelton, John Esposito, President & CEO of Warner Music Nashville, and Hunter Hayes

• • •

Big Machine Label Group’s 2012 ACM winners pose for a photo at the MGM Hotel in Las Vegas last night after the awards. Eli Young Band won a trophy for Song of the Year while Taylor Swift took home the coveted Entertainer of the Year trophy for the second year in a row.

L-R: Chris Thompson, Mike Eli, Taylor Swift, Jon Jones, Scott Borchetta, James Young, Jimmy Harnen

• • •

Capitol Records Nashville celebrated Lady Antebellum’s Vocal Group of the Year win and a night full of stellar performances at the Academy of Country Music Awards with a dinner at Aureole in Mandalay Bay.

Standing (L-R): Capitol Records Nashville COO Tom Becci, Luke Bryan, Lady Antebellum's Dave Haywood, Lady Antebellum's Charles Kelley, former Capitol Records Nashville President & CEO Mike Dungan, Jon Pardi, Dierks Bentley, Eric Paslay, Little Big Town's Jimi Westbrook and Darius Rucker; Seated (L-R): Little Big Town's Karen Fairchild, Capitol Records Nashville SVP Marketing Cindy Mabe, Little Big Town's Kimberly Schlapman, Lady Antebellum's Hillary Scott, Little Big Town's Phillip Sweet, Kelleigh Bannen and Capitol Records Nashville SVP Promotion Steve Hodges.

Tin Pan South: Weekend Edition, March 30-31

Friday (3/30) Bluebird Cafe Round. (Clockwise): Shane McAnally, Brandy Clark, Luke Laird, and Kacey Musgraves. Photo: Alan Mayor

Friday (3/30) for the 6:30 early shows of Tin Pan South Songwriters Festival, MusicRow was at the Rutledge for a round hosted by Barry Dean with Trent Dabbs, Natalie Hemby and Big Machine Label Group’s Ella Mae Bowen.

Dabbs looked dapper in a grey jacket as he sung a few titles including a tribute to his songwriting hero titled, “Somebody’s Neil Young.” The singer brought his Sugar & The Hi Lows band mate, Amy Stroup to the stage for “I’ve Got You Covered,” and his ‘only fast song,’ “Two Day High.”

The raspy-voiced Hemby played a song she co-wrote with Dabbs called, “Home.” She also played a new song called “Pontoon,” which she wrote after her publisher comically misunderstood her song “Fine Tune.” Hemby announced “Pontoon” is expected to be Little Big Town’s new single. Her final song was an audience request for Lee Ann Womack’s cut, “The Bees.”

Barry Dean explained his glasses were making it difficult to read lyrics on the stand for, “Halfway Home,” and “Still Smoked Cigarettes.” Additionally, Dean honored Hemby’s request for “Moving Oleta,” a Reba cut about his grandparents growing old.

Ella Mae Bowen displayed incredible vocal dynamics on her, “Momma Knows Just What To Do” and “Stupid Over You.” Her emotionally revealing co-write with Rachel Thibodeau, “His Name was Sam,” told the story of her grandfather’s guitar he passed down to her. She wrapped up the round with her “Always Kiss Me Goodnight.”

• • •

The late 9:30 round reservation-only Bluebird Café show with Brandy Clark, Luke Laird, Shane McAnally, and Kacey Musgraves showcased all the current songs on the radio that hadn’t been played during Thursday evening’s round at the Rutledge.

Power hitter McAnally hosted the remarkably lively round, playing Chris Young’s latest single, “Neon,” which he wrote with Josh Osborne. He also performed Lee Ann Womack’s “Last Call,” and Kenny Chesney’s “Somewhere With You.” The young writer finalized the round with Jake Owen’s current No. 1, “Alone With You.”

Laird showcased the aforementioned “Pontoon,” (his co-write with Hemby). Additionally, he invited Barry Dean to the stage to sing their, “Cassette Generation.” Laird played another previously mentioned title, “Still Smoked Cigarettes,” written with Dean and Lori McKenna and expected to appear on Tim McGraw‘s upcoming album. Finally, Laird expressed his gratitude for Sara Evans‘ cut, “Stronger,” which he co-wrote with Hillary Scott and Hillary Lindsey.

Musgraves’ cool and simply-styled voice showcased her latest, “Merry Go Round.” The singer performed a new title called, ”Step Off,” and a ‘Glen Campbell-ish’ song she wrote with Clark and MacAnally called “Dandelion.” Before she played “Mama’s Broken Heart,” she proudly announced it was track number five on Miranda Lambert’s Four The Record CD.

Musgraves’ harmony with bright new talent, Brandy Clark, was reminiscent of The Judds. Clark’s title “Crazy Women,” explains that crazy men are the contributing factor to making women crazy. She also showcased a melancholy, “Get High,” and made a dedication to the night’s Mega-Millions lottery drawing with “Pray and Play.” Clark wrapped up with “I Hate Stripes,” a song about killing a cheating lover that McAnally contributed on the premise that ‘no crime of passion’s worth the crime of fashion.’

• • •

Saturday’s early Rutledge round was hosted by Jen Foster and featured Stephanie Chapman, Emily West, and Kate York.

Foster showcased “The Least I Can Do,” which was written from her mother’s bedside. Foster also treated the audience to her, “Second Hand Love,” about longing for a genuine relationship.

York sang her version of the Sarah Buxton co-write, “Stronger Than Me.” The Big Yellow Dog songwriter also played her first ever country cut, “Some Things You Can’t Go Back To,” featured on Little Big Town’s new album.

Stephanie Chapman, accompanied by her producer husband, Nathan Chapman, sang a pensive song co-written with Leslie Satcher called “Reasons To Hang On.” West offered her voice for a song she co-wrote with the Chapmans, “Loser,” a play on words about a loser guy about to ‘lose her.’

West’s powerhouse vocals reverberated around the room on her, “Boys in the Morning.” She sang a perfect a cappella for her, “Why Do Lovers Leave.” To end the round, West dramatically requested the lights to dim as she sung the title track of her EP, I Hate You, I Love You.

ACM Awards Offer Memorable Performances, Surprises

Miranda Lambert and Sony Music Nashville Chairman/CEO Gary Overton

At the 47th Annual Academy of Country Music Awards in Las Vegas last night (4/1), Taylor Swift, Blake Shelton, Miranda Lambert, and more emerged as the event’s big winners. On the not-so-winning side, Ashton Kutcher sang part of a George Strait song, but the less we say about that the better.

The show opened on Carrie Underwood, her magenta dress popping against the black and white uniforms of her band. The singer delivered her current single “Good Girl,” accompanied by video screens of dancing 18-wheeler mudflap girls, but (I’m guessing) she might have been having some sound issues because I can’t recall ever seeing Carrie not hit every note with laser precision.

Co-hosts Reba and Blake Shelton gave some comic banter that kept the evening light and fun. A couple of their best:

Reba: “I remember back when you were just a life support system for a mullet.”
Blake: “I didn’t get a chance to see a lot of your early career… until we got the History Channel.”

Blake: “Peyton Manning is now a Denver Bronco. And Tim Tebow is a New York Jet. I guess the Denver Broncos were so anxious to win another Super Bowl, they were willing to sacrifice a virgin.”

Early performances included Chris Young on the up-tempo album cut “Save Water, Drink Beer,” and Zac Brown Band kicking off the ACM Fan Jam down the street at Mandalay Bay with “Keep Me In Mind.”

Sound issues also seemed to be plaguing The Band Perry during “Postcard From Paris,” but that didn’t stop Kimberly Perry from conducting herself like a star. You can’t teach that kind of stage presence.

Song of the Year was presented to a very excited Eli Young Band for “Crazy Girl,” accompanied by writers Lee Brice and Liz Rose. Singer Mike Eli was genuinely shocked, saying “I have dreamed about the moment my whole life.”

If it seemed like there were more performances this year, it’s because there were. A couple of the awards categories were dropped from the broadcast, including Vocal Duo of the Year. That honor went to Thompson Square, who beat out the reigning (and perhaps expected) winners Sugarland for their first-ever ACM win. They were presented with the news during the ACM Salute to the Military Concert at the ACM Experience on Saturday (3/31). Also winning an off-camera award was Toby Keith, whose “Red Solo Cup” was named Video of the Year.

Over at Mandalay Bay, host Zac Brown introduced New Artist of the Year nominee Hunter Hayes with the pointed comment that he’s “somebody who actually plays on his own records.” All the New Artist nominees–Hayes, Brantley Gilbert, and Scotty McCreery–got a very brief one verse, one chorus performance slot. Scotty was eventually named the category’s winner.

Miranda Lambert got her first of two wins for Album of the Year, making Four The Record her third consecutive album to win the honor. “My albums are my babies,” said Lambert. “It’s what wakes me up in the morning.” She also took home Female Vocalist of the Year.

Later in the show, the RCA Records star turned in one of the night’s best performances with “Over You,” which her hubby Blake Shelton called “the most important and personal song of our lives together.” Clad in a striking black dress, Miranda’s emotive performance of the song about loss and grief proved that she doesn’t need fireworks and shotguns to get her point across.

KISS, in full makeup, presented Lady Antebellum with the Vocal Group of the Year Award, prompting Charles Kelley to say “I feel like I need to pull [my shirt] down and give a little chest hair.” Later in the show, the group sang an atmospheric “Dancin’ Away With My Heart” on a very foggy stage.

EMI Nashville’s Eric Church gave a great performance of “Springsteen,” and the cameras caught Keith and Nicole singing along in the audience. Also, is anyone else starting to wonder if Church sleeps in those sunglasses?

Brad Paisley ripped through “Camouflage” with gusto, showing his trademark flashing guitar licks. Paisley re-appeared later in the show to play guitar on Zac Brown Band’s “Whiskey’s Gone,” clad in a beanie to match Brown’s signature headgear.

Photo: Getty Images

Jason Aldean, Kelly Clarkson, and Michael Knox won the Single Record of the Year ACM for “Don’t You Wanna Stay.” Aldean revealed that his intuition about recording the song had been right. “I thought it needed a female vocal, and Kelly was the first name I threw out.”

Reba gave the late Earl Scruggs a shout out before legendary comedian Steve Martin turned up to play the title instrument on the Rascal Flatts single “Banjo.” He seemed underutilized, however, staying mostly in the background.

Shelton introduced Toby Keith’s “Red Solo Cup” by saying it was “the biggest surprise hit since Osama Bin Laden said ‘Who is it???'” Vegas comedian Carrot Top randomly showed up during Keith’s march around the arena during the boozy hit.

Tim McGraw and Kenny Chesney sounded good together on “Feel Like a Rockstar,” which was shipped out to radio during the show. Call me crazy, but I suspect their Brothers of the Sun Tour this summer might go pretty well.

Photo: Getty Images

Another excellent performance came from Dierks Bentley, who was introduced via video by Bono. “His music reaches all the way to my kitchen in Dublin,” said the legendary rockstar before Bentley delivered an anthemic, sing-along version of “Home” that wouldn’t have been out of place at a U2 show.

Then things took a turn for the gimmicky with the much-publicized wedding during Martina McBride and Train singer Pat Monahan’s performance of “Marry Me.” What was probably a nice idea on paper fell flat in execution as the audio panned between Martina’s vocals and the wedding official doing the “to have and hold” bit, leaving many viewers scratching their heads.

Co-host Shelton was presented with the Male Vocalist award, continuing his and Miranda’s reign as the King and Queen of the format. “I didn’t see this coming!” he said. “I was thinking about Dierks’ song. It’s been a long hard road, and we’ve got a way to go still.”

Other performances included Keith Urban’s “For You” from the movie Act of Valor; Blake Shelton on “Drink On It”; Little Big Town mixing Hunter Hayes’ song “Here’s Hope” with John Lennon’s “Imagine” and a children’s choir to raise awareness for the Child Hunger Ends Here campaign; Jason Aldean on “Fly Over States”; and Sara Evans on “My Heart Can’t Tell You No.”

Photo: Getty Images

Taylor Swift, who didn’t perform, was presented with her second consecutive Entertainer of the Year Award. “To my fellow nominees, I respect you so much. We work hard and try to give back. Thank you to the fans for voting, and also my family!”

Shelton got a second performance slot to close out the show, and was joined by Lionel Richie to duet on Richie’s hit “You Are” which appears on the duets project Tuskegee.

Check out a full winners list from the 47th Annual ACM Awards right here.

The Producer’s Chair Interview With Greg Archilla

By James Rea

Details at www.theproducerschair.com.

Two-time Grammy nominated producer/engineer/mixer Greg Archilla was born in Manhattan but grew up in Fayetteville, NC. Inspired by his music biz dad, Greg got his feet wet in the industry by booking shows. He then moved into road management and live sound.

By 1985 Greg was 22 and had spent four years on the road with Badfinger and others. He moved to Atlanta, and scored an internship at Southern Tracks Recording Studio, working with studio manager Mike Clark and engineer Doug Johnson (today an executive at Nashville’s Black River Entertainment). Greg gained a lot of experience at Southern Tracks, and had the opportunity to work with artists including The Burch Sisters, Doug Stone, and Billy Joe Royal.

After five years under Johnson’s wing, Greg moved to Memphis and became an independent engineer. A chance meeting with Collective Soul led to Greg mixing the band’s No. 1 hit “Gel.” Producers Ed Roland and Matt Serletic invited Greg to work with them on Collective Soul’s album, and later on Matchbox 20’s record-setting debut, Yourself or Someone Like You.

In 1991, Greg engineered and mixed Albert Collins’ Iceman (Point Blank), which received a Grammy nomination for Best Contemporary Blues Album. In 1997 his skills behind the glass received another Grammy nod, this time for Best Rock Album on Neil Young’s Broken Arrow (Reprise). Some of Archilla’s other studio credits include Edwin McCain, Buckcherry, James Brown, Mavis Staples and Jerry Lee Lewis, as well as live productions with Neil Young, Matchbox 20, Collective Soul, Santana, Survivor and a slew of others.

Since Greg and the love of his life Lisa moved to Nashville in 2005, he has discovered bands Safety Suit and The Veer Union, and helped secure record deals for them with Universal/Motown Records. He’s also very excited about other new acts that span the country and rock spectrum including Jason Sturgeon, Rotation, Colour Of London, Hip Kitty, and Corey Golden. Greg says he wants everyone to know that his door is open to listen to all kinds of music.

Producer’s Chair: Is there an evolving rock scene in Nashville?
Greg Archilla: There’s a growing underground rock community. It isn’t a Seattle scene yet, but there’s a significant enough base of scouts, producers, writers and contacts, to be noticed. That said, rock music these days is the least selling of all formats. Over the last year some labels were not interested in even listening to rock bands. Today you can get in the Top 40 at Rock radio by getting around 100-140 spins a week, and there are only a little over 100 Rock stations left. So if you’re No. 1 at Rock, you would only be getting the same number of spins as a Top 20-30 at Hot AC, and a Top 30-40 at Pop. The top AC record gets 4000-5000 spins a week, that’s double what a No. 1 at Active Rock gets, with double the listening audience as well. Coupled with rock records not selling very well right now, it is difficult to get an active rock act signed these days.

Do rock artists search for songs to record?
Yes, but less than in Country or pop music. Most of the rock bands get signed on a single they wrote. Most young rock bands were never nurtured into being great songwriters, but they also have a hard time letting in an outside song. They have less of a hard time if they’re co-writing with a great writer. I do believe a reason why nobody’s buying rock albums is the lack of great songs on the records these days.

If more artists subscribed to “the best song wins” mentality, do you think the public would buy more music?
I don’t have a crystal ball, but yes it is possible. The general public only gets to hear what the industry puts out. I believe most people have to search for great music these days. The mainstream market only allows the public to hear what they want them to hear. So maybe the lack of sales means the general public doesn’t quite agree with what they are being offered.

The band’s team members should try to convince the artist that it is to their advantage to record the best songs they can find. The challenge should always be to find great songs for a record. It shouldn’t matter where the songs come from.

What is the first thing you look for in an artist?
A star with a song. It’s a personality thing—there’s confidence. And you recognize the special ones. My vision is not to always find something that relates to today’s music. My vision leads me to try and find something that may be happening next year. Years ago I was at a meeting with some executives and suggested that a country/rap artist would be cool. I got laughed under the table…two years later, along comes Cowboy Troy.

Do labels tell producers what they’re looking for?
Labels want to know about the band’s story; they want an act that’s working. They want to know how many friends they have on Facebook, and about investors and sponsors. These days my job is to be the middleman A&R guy. I have to find an act, nurture it, do the demos, make a quality record, and present them to labels. We used to be able to send in an acoustic-vocal. Nowadays, we have to literally hand the labels the complete record. We have to tell them how to market it, what videos we’ve made, and what shows we’re doing.

What’s your biggest challenge today?
Making money. Back in the 90s, a point or two on the record was great. That was when selling less than two or three million units was a failure. Nowadays, if an artist can sell a million records he or she is a superstar. Today producers are starting to cut deals involving publishing and with less concentration on points. I like to find acts that I can write a couple of songs with for the record, because at the end of the day, that’s where the money is. So producers have to figure out creative ways of making money, which is why a lot more acts are getting signed to 360 deals, so that the people backing them are more involved in management, publishing, merchandising and touring income.

John Oates Recruits Nashville’s Finest For Aspen Songwriters Festival

The Blue Sky Riders with John Oates, who joined many of the artists onstage throughout the festival.

Photos by Jason Buehler

Aspen, Colorado was on a hot streak last week as some of Nashville’s finest songwriters ventured to the Rockies to perform at the 7908 Songwriters Festival. Hitmaker John Oates produces the event in his hometown and handpicked the sophisticated, genre-crossing line-up that included Sam Bush, Darrell Scott, Angel Snow and The Blue Sky Riders. Among other top-draw acts were enthusiastic funk/soulster Marc Broussard, and established songwriter/rocker Matt Nathanson (familiar to country fans for collaborations with Jennifer Nettles).

Held at the historic Wheeler Opera House, the five-day series opened Wed., March 21 with Darrell Scott, and Yonder Mountain String Band members Adam Aijala and Ben Kaufmann. Unfortunately Skates On The Case missed the action Wednesday and Thursday (James McMurtry and Bob Schneider), but arrived in time for Blue Sky Riders’ Friday night headlining set. The trio comprised of Georgia Middleman, Gary Burr and Kenny Loggins—songwriters with a track record of individual success—is working on a debut album. The polished group entertained the packed venue with an acoustic set devoted mostly to new material including “You Took The Words (Right Out of My Mouth),” “Little Victories,” “I’m A Rider (Finally Home)” and the moving standout “A Thousand Wild Horses.”

An in-the-round segment allowed the writers to showcase a few of their individual hits such as “I’m In” (Middleman), “What Mattered Most” (Burr) and “Danny’s Song” (Loggins). Burr’s sarcastic sense of humor added to The Riders’ engaging onstage dynamics. He cracked up the crowd with jokes about how he was selected to play the festival: “I’m the best songwriter in my price range.” Apparently it had nothing to do with the fact that his hitmaking career landed him in the Nashville Songwriters Hall of Fame.

Exceptional talent on display, Sam Bush and John Oates.

A key part of the 7908 Festival—aptly named for Aspen’s altitude which had Nashvillians hitting the oxygen tank backstage—is to facilitate unique artist pairings, putting together performers who wouldn’t have otherwise teamed up. Oates and bluegrass hero Sam Bush joined The Blue Sky Riders, and most of the festival’s other acts, for a few songs per set.

The two geniuses enthralled the house with their own Sunday night show. Oates, recognized for his major success with Hall & Oates, shined when offering his lesser-known work. Among the remarkable songs were “Six Men Gonna Lay You Down,” a Jim Lauderdale co-write, and “A Day In The Life of An American Man,” written with Marcus Hummon, who played last year’s festival.

Bush’s spectacular musicianship on the fiddle and mandolin was on display all week, and his songwriting talent was equally apparent on tunes including “The Ballad of String Bean and Estelle,” an exceptionally crafted story song about the murder of the Grand Ole Opry star.

Angel Snow offered an impressive set.

Rising songstress Angel Snow opened the Sunday night show, captivating the audience and wooing new fans. Oates joined her for “Lie Awake,” one of three songs she penned that appear on the latest album by Alison Krauss and Union Station. Snow’s set veered from the searing break-up song “Easin’ Away,” to the beautiful soundtrack of heartbreak “Holiday,” and into pop-folk territory with “Stay Away.” With lyrics like those in “Holiday,” it’s no wonder Krauss and Oates have fostered Snow’s career. (“There’s something within your mind/that’s gonna craze this world and leave us girls all blind.”) Be on the lookout for her album to be released in August.

Harley Ellis impressed as winner of the Aspen Songwriting Competition, which earned a slot opening for Matt Nathanson. The Aspen native who grew up visiting the venue has also lived in Nashville and worked as a personal assistant for Tim McGraw and Faith Hill. Now he’s based in Austin as tour manager for Band of Heathens. His songs were insightful and clever—someone give this guy a publishing deal.

Aspen’s fabulous food was outdone only by the hospitality of The Wheeler Opera House staff under the guidance of Executive Director Gram Slaton. Equally helpful during the week were Nashville publicist Kate Richardson, and event sponsor Martin Guitar. The festival has steadily grown and evolved since 2009, so expect next year’s line-up to be an equally talented mix of new faces and top-bill hitmakers.