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SPOTLIGHT ON NASHVILLE

Music City Specialists
Major-label execs. Music publishers. Managers. So many tribes in Nashville, and beyond the realm of the easily ID’d, there are "the Others." They go out of their way to remain on the fringe—and have massive impact from the edge. Whether it’s an indie notching legit pop hits like Dualtone’s Scott Robinson, a tour promoter helping break acts to headliner like Brian O’Connell, a musico keeping a truly artist-driven indie with major distribution hummin’, like Mark Wright, or a self-described "data geek" who crunches all available information to help an artist find the bull’s-eye in their fanbase like Jay Frank, these folks make a difference.

SCOTT ROBINSON’s fiercely indie label hit in 2001 with honky-tonker David Ball’s #1 "Riding With Private Malone," then released records on Grammy-winning roots icons June Carter Cash, Guy Clark and Jim Lauderdale & Ralph Stanley With the Clinch Mountain Boys. But it was their role in The Civil Wars’ success, followed by The Lumineers’ platinum breakout with "Ho Hey," that made Dualtone more than "the little label that could."

Robinson is bullish on Nashville. "The Dualtone team talks about how lucky we are: It’s a great lifestyle; our work reflects our community and families—and the biscuits are pretty damn good!"

Beyond carbo-loading, Robinson loves Nashville’s streamlined nature. "It’s a great place to build and develop artists, to explore, implement and vet new opportunities, where a larger musical frame doesn’t always allow that. Bigger’s not always better.

"And that puts so many variables to the formula, which helps. Obviously, we employ patience, micro, micro, micro. Our eye is always on the fence to hit that home run, but for us—really—it’s all about singles, doubles and triples. We all love a hit, but what we really love are careers. Whatta fucking concept!"

MARK WRIGHT’s reality is schizophrenic. Toby Keith, whose Show Dog Records Wright runs, is one of the 21st century’s biggest stars; his records get the same thrust any superstar’s would. But Show Dog is developing acts from the ground up.

"Because of Toby, we have the resources—and because we’re small, when something happens we can put all 18, 19 hands on deck quickly," Wright says. "If radio has been a bit challenging ’cause we don’t have four superstars on the road, coming into their town, it forces us to focus on the music, find other ways.

"We have J.T. Hodges from Fort Worth, who’s having some success; Toby’s daughter Krystal, who’s legitimately good; Josh Thompson, who rocks a bit; and Joel Krauss from Massachusetts—so you see they’re all different. We work to that. And being in Nashville, I can pick up the phone and talk to Angelo [Petraglia], who produces Kings of Leon, about different techniques. Creatives here are generous, and I think it makes the music—and the business—stronger."

Synergy is everything for JAY FRANK and the company he’s built, DigSin. As he says of his social-media/analytic data firm’s location, "Nashville infuses a spirit that has everyone ready to dig in their heels and get in the dirt to make success happen. It’s a different grit than the big cities, and the shift is a winning one. With so much music out there, an artist has to work with their fans to be competitive. Our data-driven approach allows growth to happen strategically, so the growth has greater impact. I'm not diminishing the importance of radio, live, etc. They’re all extremely vital. Digital just needs to be in the same breath as an equal, and not as an also-ran anymore, because small differences in our artists’ lives daily creates a cavalcade of small wins from this information—it really does impact, without needing a major budget."

BRIAN O’CONNELL, Live Nation’s President of Country Touring, takes the opposite approach: get the artists to the fans, forge that connection. "We want the live community to thrive. We want to see fans back the next time we are in town with our artists. Since most country acts release new music every 18 months, the cycle is endless. So we tour. That’s what we do. All the time."

Having promoted Brooks & Dunn’s Neon Circus, having first taken Toby Keith and Rascal Flatts to headliner status, and more recently Jason Aldean and Luke Bryan into stadiums, he knows whereof he speaks—and believes concerts cement the fan-artist bond. He also knows being ready is critical.

"I believe in holding back that extra year, when you could do it on your own. Waiting. Line up the next record, the press, then hit the onsales—and BOOM! Slow and steady wins.

"Having two hits doesn’t mean you’re a direct support and [should] demand a 60-minute set. I’ve seen lots of acts get burned that way, and it’s unfair. Pay attention: watch iTunes, the merch tables, the response—and know: you’re always building. That’s how you get there! Great shows, great music, one fan at a time."

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