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OUR POST-GRAMMY CHEW TAKES LESS THAN FOUR HOURS TO READ
We'll let you get back to your day ASAP. (2/7a)
HITS LIST WINNERS
Here's who's lighting up the scoreboard before and after the Grammys. (2/3a)
GRAMMY-WEEK ALBUM: PICS TO CLICK
Including shots of several luminaries entrapped by a HITS nerd. (2/8a)
GRAMMY RATINGS SOAR
The emphasis on star power seems to have worked. (2/7a)
A TASTE OF RAINMAKERS:
JIM ROPPO
Building blocks of a singular career (2/8a)
HIP-HOP AT 50
The astonishing first half-century of a world-rocking genre.
THE NEXT BIG PLAYER
in the catalog game is...
INDIE BREAKOUTS
More independent music rises at the DSPs.
THE GOP CONGRESS
At last, America can focus 24/7 on Hunter Biden's laptop.
Music City
NASHVILLE'S NEW WAVE:
JANET WEIR
7/19/16

RED LIGHT MANAGEMENT

Starting with Terry McBride and Nettwerk 24 years ago, Janet Weir moved from assistant through the ranks, as well as physically moving to L.A. from Vancouver. A witness to the start of Lilith Fair, Sara McLaughlin’s hits, Avril Lavigne’s demos, Dido as a female voice on Eminem’s “Stan” and the Coldplay EP Yellow, seen and heard a lot of music. Finding—and signing—Old Crow Medicine Show to Nettwerk after hearing them at a Vanderbilt frat party, her eventual move to Nashville was inevitable. But it took Red Light’s Will Botwin and Bruce Flor to hasten the inevitable, moving the young manager into their fold. Now managing Sony’s breakout girl Maren Morris, Weir has plenty of leg to stand on—and the boots custom-made for walking to do it.

How do you shift or swerve around the classic management model?

I think we did a lot of things differently, though Maren did come from the publishing side of songwriters. We wanted it to be organic, so based on the other projects I’d worked on, I wanted to have a way to put the focus on music first. We did our own record, putting it out ourselves through Spotify. I wondered, would it hurt us with the majors? But I’d seen her social numbers. Knowing how much work needed to be done, I knew this was a way to do that. So if Maren wasn’t initially ready to release music on a major label, by the time she got to a major, she had momentum.

What’s your greatest triumph? How’d you pull it off?

“My Church” is a little bit of an outlier, but it’s where she is as an artist. With Country radio, and the way people react to it, we saw from the very beginning we had something. She played London at the O2 Arena and only had two songs on a side stage and pulled the audience in with no one really knowing who she was. A year ago, we released this song on our own to see what would happen to her. This week is my birthday, Maren’s record is #1, and I’m moving my family to Nashville. Sure, I could go sign a huge act looking for a manager, but I just really love being in the trenches. She’s doing so many things for the first time, and to be part of that? It’s incredible.