MUSIC'S MOST BEWILDERING NIGHT
Gauchos got what they'd long deserved, 20 years too late. (12/30a)
TOP 50: A LITTLE SZA, A WHOLE LOTTA CHRISTMAS
We won't have to hear "The Little Drummer Boy" again for 10 months. (12/27a)
PHOTO GALLERY: PICS OF THE WEEK OF THE YEAR (PART TWO)
More weasel photo ops (12/30a)
TOP 50: A LITTLE SZA, A WHOLE LOTTA CHRISTMAS
The final album chart of the year (12/27a)
| ||
NOW WHAT?
We have no fucking idea.
COUNTRY'S NEWEST DISRUPTOR
Three chords and some truth you may not be ready for.
AI IS ALREADY EATING YOUR LUNCH
The kids can tell the difference... for now.
WHO'S BUYING THE DRINKS?
That's what we'd like to know.
|
Ryan works with artists and writers such as Randy Montana, Dustin Lynch, Lady Antebellum, Rhett Akins, Lee Brice, Will Weatherly and Riley Green, among others. The Michigan native previously served at ASCAP (where he co-founded the GPS Project to help unsigned acts navigate the pub world) and worked in A&R for UMG on the label side before joining Warner Chappell in 2014; he was upped to VP in 2017.
“The role of a publisher has become incredibly multifaceted, especially with respect to artist development,” he says. “The fundamental approach of strategy, collaboration and song pitching is still the bedrock of a great publisher. But it’s becoming more and more common to act as a manager or record label during the early stages of an artist’s growth cycle. It’s doing the A&R for an EP, implementing digital strategies for DSPs/social media and working with the agencies planning the road strategy. The role continues to evolve—which, for a Type 7 [i.e. a high-spirited, optimistic extrovert] who sees endless possibilities and loves innovation, makes the publishing world an exciting place to be.”