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ROCK HALL NOMS:
SWEET LITTLE 16
Todd's on the ballot. (10/15a)
A SUPER DEBUT
This #1 debut is brought to you by the letter M. (10/14a)
JAY FRANK: A GREAT MIND, A GREATER FRIEND
Tribute to a music-tech oracle (10/14a)
SUPERM WINS THE CHART BATTLE
Unexpected drama (10/14a)
GRAMMY CHEW:
BEST NEW ARTIST
An uber-competitive category (10/15a)
RIHANNA PREPARES TO RULE THE ROOST
What shoes go with dancehall?
WHAT'S NEXT FOR R&B?
How certain projects connect at streaming.
THE K-POP LANDSCAPE
농담은 한국어에서 더 잘 작동합니다.
THE NEW GRAMMY POWER
Change is nigh.
Music City
NEXT-WAVE PUBLISHERS: JOSH VAN VALKENBURG (SONY/ATV NASHVILLE, A&R)
7/8/19

Josh oversees the SATV Nashville A&R team, home to such superstar artist/writers as Taylor Swift, Luke Bryan, Eric Church, Miranda Lambert, Darius Rucker and Thomas Rhett. He’s guided the careers of hit songwriters Josh Osborne (Sam Hunt’s “Body Like a Back Road,” Midland’s “Drinkin’ Problem”), Ross Copperman (Kenny Chesney’s “Get Along,” Dierks Bentley’s “Woman Amen”) and Jon Nite (Cole Swindell’s “Break Up in the End,” Luke Bryan’s “Strip It Down”), as well as star artists Kelsea Ballerini, Brett Eldredge and Chase Rice. Writers in his charge have amassed over 60 country #1s.

“As record labels have enjoyed a serious increase in revenue due to streaming,” he says, “we’ve seen an increase in artist signings and thus more product. More releases equals more opportunities for our writers to get songs on records. While we’ve still got a long way to go in terms of fair compensation for songwriters and publishers from streaming, it’s encouraging to see more songs get a chance to be heard and consumed. Hopefully, this will lead to more songwriters getting the chance to make a living doing what they were born to do.”