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UMG BROADENS SPOTIFY OFFERINGS
Sir Lucian and Daniel are in harmony. (3/28a)
THE COUNT: COLDPLAY IS HOT, COUNTRY'S COOKIN' IN THE U.K.
The latest tidbits from the bustling live sector (3/28a)
YTD MARKET SHARE
Zeroing in on the elite teams (3/28a)
TRUST IN THE TOP 20
Hip-hop is no longer hibernating. (3/28a)
SONG REVENUE:
A STYLISTIC STEW
MC, divas and singer-songwriters rub elbows. (3/28a)
THE NEW UMG
Gosh, we hope there are more press releases.
TIKTOK BANNED!
Unless the Senate manages to make this whole thing go away, that is.
THE NEW HUGE COUNTRY ACT
No, not that one.
TRUMP'S CAMPAIGN PLAYLIST
Now 100% unlicensed!
Music City
MUSIC CITY PITCHMEN: ROYCE RISSER
7/19/16

SVP Promotion, UMG Nashville

L.A. native Risser came to Nashville to attend Vanderbilt and landed an internship with MCA Nashville in his final semester as an undergrad. He was hired shortly thereafter to answer phones in the promotion department while attending grad school. “I fell in love with the business and have been at UMG ever since—25 years now,” he says. In 2013, Mike Dungan transitioned to UMG, just six months before the merger with EMI, whereupon Dungan placed Risser in the role of SVP Promotion, overseeing the promo efforts of the company’s four imprints.

How is launching a project different today than it was five or even three years ago?
It has become in some cases a game of speed, and in others a game of attrition. Some singles fly so fast that they outpace the research—and maybe even fail to lock in with listeners as a song they want to hear or own. On the other side of the coin are songs that take almost a year to get to the top of the charts. It’s hard, grueling and sometimes unfruitful. But when you know a song is a hit, you keep going to get to the point where it’s undeniable. Then it becomes a balancing act to get as many stations as possible to line up for the final run at whatever chart position you can attain.

Why do you feel country artist relationships with radio are so much stronger than at any other format?
I’ve always maintained that the bar is set by the biggest artists in our format. They are the ones that don’t have to do it, but understand the relationship that keeps them front and center with programmers and decision-makers. I’ve also found that programmers who have transitioned to Country almost never want to leave. I have heard from them that the relationships with artists and record labels are the main reason. They’ve indicated that it’s just friendlier—and who doesn’t want that?