Bailey Zimmerman kicked off two back-to-back, sold-out shows at NYC’s Hammerstein Ballroom (3/22-23) with six new plaques. The Core Entertainment presented Zimmerman with the keepsakes on stage to commemorate his now platinum single “Where It Ends,” the 4x platinum “Fall in Love” and 5x platinum “Rock and a Hard Place.”
Co-founded by Kevin “Chief” Zaruk and Simon Tikhman, The Core had a helluva 2023 with Zimmerman’s debut album, Religiously. The Album. (Warner), which earned the biggest first-week streams of all time for a Country debut. Next month, Zimmerman heads to the desert for Stagecoach and will join a fleet of The Core talent, including Nate Smith, Josh Ross and Nickelback.
Seen wishing this photo could run anywhere but here are (back row, l-r) The Core's Tikhman, Elektra's Jake Fain, Zimmerman, Kristi Zimmerman, Warner Music Nashville's Cris Lacy, Elektra's Gregg Nadal and (front row, l-r) Elektra's Adam Soybel and Jonathan Janis, The Core's Zaruk and Tracy Martin, and WMN's Ben Kline.
Photo credit: Isaac Mason
The RIAA honored Big Machine’s Brett Young at the Adventure Science Center in Nashville 3/19 with a coveted diamond certification. Young’s “In Case You Didn’t Know,” which was released in 2017, becomes only the ninth country song to amass 10m units in the U.S.
At the celebration, Young performed “In Case You Didn’t Know,” “Lady” and current single “Dance With You,” from his latest album, Across the Sheets, before accepting the diamond award in front of music-industry friends, media and his family—wife Taylor and daughters Rowan and Presley.
“‘In Case You Didn’t Know’ is truly one of those rare and extraordinary evergreen songs. It’s been seven years since its release and it continues to play and play and reach new audiences for Brett,” said Big Machine Label Group Chairman and CEO Scott Borchetta. “It’s a testament to Brett’s incredible songwriting ability and a shining jewel in his very robust and ever-expanding catalog.”
Pictured above once they managed to get Borchetta out of the Science Center’s full-motion flight simulator: (l-r) Otter Creek Entertainment’s JT Pratt and Haley McLemore, Borchetta, the RIAA’s Erin Burr, Otter Creek’s Van Haze, the RIAA’s Morna Willens, Young, the RIAA’s Jackie Jones and Nashville Harbor Records & Entertainment’s Jimmy Harnen.
In an exclusive preview of this week’s Sunday TODAY on NBC, country star Kenny Chesney returns to MetLife Stadium for a heart-to-heart conversation with Willie Geist and opens up about what writing, recording and performing his songs to his fans means to him.
“It's a level of validation that you don't get anywhere else,” said Chesney, who has three sets of tour prep and rehearsals underway, “When you see Bruce Springsteen in this stadium or on stage giving all of himself…with songs that they [fans]really care about, that’s the bar that was set. When you do see that connection, when you do feel that energy, and that people care about it, that's the best thing in the world.”
Catch the full interview on NBC News’ Sunday TODAY With Willie Geist on 3/24 and peep the clip below.
UMG Nashville has tapped Jake Gear as VP of A&R. Gear arrives at the company with more than 10 years of experience as a publisher, producer and writer manager.
"Jake brings an unparalleled passion for nurturing artists, writers, and producers within the vibrant Nashville community,” said UMGN EVP of A&R Chelsea Blythe. "With his keen ear to the ground and unwavering dedication, I’m excited for the creativity he brings to the department, and I know he’ll be a huge asset to our roster.”
The Iowa-born Gear graduated from Nashville’s Belmont University and kicked off his career in the Music & Licensing department at CMT.
He then went on to hold publishing posts at Magic Mustang Music, Sea Gayle Music and BMG before launching Hang Your Hat Music in 2020 with Concord Music and Songwriters Hall of Fame inductee Hillary Lindsey.
He also managed Lindsey and produced albums for Flatland Cavalry, Ben Chapman, Harper O’Neill and Hailey Whitters.
Gear has notched hit records with artists like Kelsea Ballerini, Dierks Bentley, Priscilla Block, Luke Bryan, Eric Church, Jordan Davis, Tyler Hubbard, Sam Hunt, Parker McCollum, Jake Owen, Jon Pardi, Jelly Roll, Blake Shelton, Cole Swindell, Carrie Underwood, Keith Urban, Morgan Wallen and Little Big Town, among others.
Photo credit: Jason Myers
ERNEST has come into his own. It’s an odd thing to say about a songwriter-artist who’s already received two consecutive CMA Triple Play Awards for scoring three #1s in a single year, whose “Flower Shops” with Morgan Wallen was certified double platinum, who’s spent the last year burning up the road with his own headlining shows, festivals and sharing stages with Wallen.
Many songwriters who attempt the full-on artist shift get close, but don’t quite make it. With Nashville, ERNEST shifts gears. Smoother, broader, more integrated, Ernest Keith Smith’s created a 26-track jubilee of Western swing, ’70s and ’80s country, modern songs pulled through this new aesthetic, a bit of bluegrass, “Twinkle Twinkle” with his son Ryman and an erotically charged take on John Mayer’s “Slow Dancing in a Burning Room.” Aesthetically smooth country of a certain vintage, there’s a freshness to all of it that captures the ear and makes the past vital and now, instead of retro.
There’s also a fiddle ’n’ banjo stroll through Radiohead’s “Creep” with Big Loud labelmate HARDY that demonstrates how good songs can be reinvented in completely unthinkable ways—and maintain every bit of their potency. That holds true for “Holdin’ On” with Wallen, which was written with 808s but is given the full-on Conway Twitty sexy tumble live in the studio.
Raised in Music City and best friends with Mitchell Tenpenny, whose grandmother was legendary Sony Tree Publishing head Donna Hilley, ERNEST solidified all the roots of his raising to create a modern mainstream country sound as the genre is finding a new elevation via Beyoncé, Lana Del Rey and Post Malone.
You’ve really grown, even from Flower Shops (The Album): Two Dozen Roses version. It’s so seamless, the way it’s interwoven—and it’s across a lot of songs.
After all the pieces existed, I was able to do the weaving. It’s not all traditional, and I kept some of the songs I might’ve given away. “Did It for the Story,” “Life Goes On,” “Summertime Flies,” we did my way. “Hangin’ On” was written with 808s, but when we were tracking, we ran it through the same band I did everything else with. It’s the “Opry filter”—that’s what I call it.
It’s like time travel: the songs are now, the sounds are then, but it feels like the future.
I wasn’t thinking about time-traveling, but I didn’t want songs like “Hangin’ On” to feel like an ice bath. There’s that whole sepia-toned thing that gets applied to all of it.
What’s the difference? Because you can hear it.
A lot of growth as a songwriter, even since Flower Shop: Two Dozen Roses. I went even further back in my listening, the ’60s even. Roger Miller, Sinatra, everything Willie Nelson. I’ve loved Willie, but now I was studying it all, not just listening as a fan. Kris Kristofferson’s whole catalog. Really digging in. People say, “Garbage in, garbage out.” Well, why not, “Good stuff in, good stuff out”?
I heard Jamey Johnson say in an interview, “It’s our job to talk about those artists who are one generation away from being forgotten, to make sure they’re remembered. It’s our duty.” We’re in the perfect time for it with country becoming popular—as in popular, and so much pop coming to country music. This record holds [what country was] up, and I’m stoked to put my stamp on this moment.
Beyoncé’s sure put the heat on. “TEXAS HOLD ’EM” is a great country song.
It is. I’m happy Beyoncé’s gonna bring her legendary presence to this music. Country music started as soul and gospel. We’re all about songs wide-open to the roots. That’s what it’s about.
You have songs by old-guard icons. Dean Dillon and Skip Ewing with “Would If I Could” is old-school!
Jessie Jo Dillon sent me that song, and I cut it. Then I heard Lainey Wilson had found it in the vaults, and recorded it for an Apple Music thing, so I called her up and said, “We need to get you on this track.” She heard what I heard.
And you co-wrote with Jessie Jo and Dean, her father. What’s that like, doing the daddy-daughter dance when it’s a Country Music Hall of Fame writer?
She’s pretty great about lettin’ Dean Dean. If you’re gonna have him in the room, let Dean do what Dean does. I mean, two Dillons are better than one. “Would If I Could” is one of my favorite songs I’ve ever heard, so writing with him is awesome.
You’ve really transitioned to artist-writer from songwriter-artist, haven’t you?
Without me setting out on a mission, yeah. I narrowed my circle down. I stopped writing songs for anyone and kept songs for myself. I was on the road a lot, but when I was writing for Morgan, I was writing with Morgan.
I got to flex my songwriting muscle for myself on this record. I could use stories and characters, make it like fiction, which was so freeing. I got to be a steward for songs on this, make it about the songs [I wanted to sing].
And sometimes you got to make it really personal, like “I Went to College, He Went to Jail” with Jelly Roll. I mean, that line “We met at a party over big bags of weed” says it all.
Me and Luke Bryan were writing at his house, then decided to go play golf at Troubadour. He says, “You go way back with Jelly Roll, right?” I said, “Way back. I used to go over to his apartment and freestyle.”
We were talking, and I said, “Yeah, I went to college, and he went to jail.” Luke looks at me, says, “You better write that.” I started singing the chorus and was like, “Yeah.” I called Jelly, told him what we were doing and he’s like, “I’m in.”
Luke and I kicked the chorus around, talked through the verses. Monday morning, I had a writing session with Rivers Rutherford and Chandler Walters, and those type of anthems are Rivers’ wheelhouse.
You, Jelly, Jessie Jo Dillon, Rivers’ son Rhys, it’s also part of evolving the new guard and next generation. And it’s real.
“I Went to College” is polarizing in that there’s nothing like it. But it’s not hard to consume. It’s all true; we’re not playing characters. That story is 100%. Jake Worthington, who’s in my band and is signed to Big Loud, is straight-up Texas country; 26, 27 years old and knows so much about music.
Chandler Walters is my steel player, he’s who I found on TikTok. I hit him up, “Where you at?” He said “Wherever you need me.” He came down to Big Loud, we’ve been brothers ever since day one. He shows up every day, plays and writes songs.
It’s like a new posse’s being formed.
We are the next wave—Rhys, Cody [Lohden] and Rafe Tenpenny are all signed to my publishing company, Cadillac. We are the next wave, but we’ve worked for this—we’ve been simmering for 10 years. It’s our wave to not catch, but we’re head down, horse blinders on.
And then there’s “Slow Dancing in a Burning Room,” which you kill.
One of my favorite songs of all time. John Mayer was such a heavy inspiration on me. In junior high school, playing guitar to the girls on the playground, “Your Body Is a Wonderland.” To me, “Slow Dancing” just fits.
That, “Creep,” some outside songs.
I don’t think I could’ve written “Would If I Could”—I don’t think I’d lived enough life. Or “If You Don’t Know by Now.” Whether a song was 30 years old or three days ago, I didn’t want to leave it off the table.
As an artist, I don’t think you have to write everything. You have to feel it. And as a publisher, I realize that some of these songs by writers who aren’t artists are important. We want to make sure they’re heard.
Your voice seems more settled, too.
I’ve sang live a lot the last 18 months. I’ve smoked a lot of joints. I’ve sung a lot of songs loud.
Writing for me, knowing this was going to be an album, I was writing songs where I felt comfortable singing. I’m more in my talking voice, my lower register than going up to the attic so much with that higher voice. It’s hard to do live, and it’s hard to do over a lot of days.
Ten years, but you’re having fun.
We’re having a blast! We get up every day, we write. In town, we write from 9 to 11am, go have lunch at Losers. I play DJ. They give me the iPad, and it’s all Haggard, Waylon, Willie, Whitley. Then we go back and write another.
Eric Church is kicking off the grand opening of Chief’s, his new downtown Nashville restaurant and live music venue, with his 19-show To Beat the Devil residency.
Beginning 4/5, the shows will take place at the two-story live music venue, The Neon Steeple, within Chiefs, which Church designed with founder/CEO of Adventurous Journey Capital Partners, Ben Weprin, and is aimed in part to house intimate pop-up shows from the CMA Entertainer of the Year.
“These shows at Chief’s will be one of a kind, only for Chief’s and with some songs that will only ever be performed during these shows,” said Church. “It's the most unique show I'll probably ever do, and I'm excited to enjoy this chapter of what Chief’s will be.”
Presale sign-ups will be available to premium Church Choir members beginning 3/12, with general onsale beginning 3/22 here. A portion of proceeds from every ticket benefits Church’s nonprofit organization, Chief Cares.
We asked Stem Head of Artist and Label Strategy Alison Junker and Head of Artist and Label Relations, Rock and Alternative Chris Allen—two key members of the company's Nashville team—about Stem’s strategic expansion, its unique value proposition for artists wary of traditional record deals and more. For some reason, they decided to answer our questions. Dive in below.
What have been some key drivers in helping expand Stem's presence in Nashville?
AJ: In addition to signing some key independent country artists, we’ve been able to penetrate the market with intentional strategy around marketing and pitching. The landscape also continues to work in favor of independent artists. I said it when I started over a year and half ago, and it rings even more true today: There is no better time to be an independent artist than right now.
CA: Relationships are everything. Alison Junker and I have both been part of the community for over a decade. We have worked at labels, publishers, DSPs and distributors. We have strong ties to the community and love artist development. Having a relationship with Big Loud Records is huge—they are one of the most successful independent labels in country music and have expanded into all genres. The managers and publishers are doing the hard work. When they get it right there’s no need for a label in the traditional sense.
What value proposition can Stem offer an artist who is wary of a traditional record deal?
AJ: Our value proposition is multifaceted and ever-growing, but the key difference between Stem and a major label deal is simple: At Stem, you have a team that has the expertise of a major label but you’re able to release your music whenever you want.
CA: Stem is all about independence. I was attracted to their motto: "Helping artists unfuck the music business.” My background is in artist management. As a manager I know the artist and every song—it’s the artist’s life and livelihood—and I’m committed to their success. Stem has the same mindset. Stem is committed to more than just market share. We are taking a curated approach to our roster and the songs we release every week have a much higher batting average in terms of playlisting. Stem's deals are generous for the level of service we provide.
Tell us about some of the artists you've signed to Stem since joining, and what they have cooking in 2024.
AJ: We signed Spencer Crandall a few months after I started and have helped him grow his team with a publishing deal with Warner Chappell and a few additional releases to his breakout album. He’s been writing for the past year or so and we just released his first new song since 2022. We’re working toward an album in 2025 with many more releases this year. Chris Allen and I also signed Shaylen, who has seen success across all aspects of her career over the past year. Her breakout song “What If I Don’t” was added to Hot Country shortly after she signed with us, and it’s now seen over 25m streams on Spotify alone. We’re working on an EP for release in the fall. We’re also working with the newest breakout star, Tucker Wetmore. His first release ever, “Wine into Whiskey,” had over 1.2m first-day streams. To say there is momentum is an understatement and we’re excited to keep that up with more releases this spring.
CA: We've signed a mix of artists and labels, Verswire, Barnaby/Cadence Records (Andy Williams’ label), 800 LB Gorilla, Thriller Records, Set it Off; (coming off a #1 song at Octane, they have another big single called “Fake Ass Friends”), and Go-Jo (over 50m on first single). A massive success has been Richy Mitch & the Coal Miners. In one year with Stem, RMCM have gone from 400k Spotify monthly listeners to over 16m.
With country artists continuing to post record DSP and box office numbers, what are your thoughts on the health of the genre at large? Is there any ceiling in sight?
AJ: Considering the numbers I’m seeing on Tucker Wetmore’s first release, I think the ceiling for country artists is only getting higher. Regardless of genre, great storytelling will always win. That being said, I think country artists do it best.
CA: I don’t see a ceiling or boundaries. We are working with Chugg in Australia. They are doing sold-out festivals, arena and stadium tours regularly with Nashville artists. Beyoncé just released a country record. It keeps expanding in the U.S. and around the world.
What are your thoughts on hot chicken? Is it too hot or not hot enough?
AJ: Not too hot, but I could live without it as a whole.
CA: I’m a fish guy. I’ll do the jalapeño yellowtail and spicy tuna crispy rice. We need a Nobu here.
No big whoop, but Seth England’s Big Loud just happens to have the year’s biggest album in any genre, Morgan Wallen’s One Thing at a Time, which spent a mind-blowing 18 nonconsecutive weeks at #1 on the album chart, amassed 5.3 in ATD, generated billions of streams and launched single “Last Night” into the stratosphere.
Wallen, whose prior set, Dangerous: The Double Album, spent most of the year in the Top 10, took home the Male Artist of the Year trophy at the 2023 ACMs and the Country Songwriter of the Year prize from BMI (“Last Night” also earned a Grammy nom for Best Country Song). He also embarked on an absolute barnburner of a tour that proved he was one of the biggest stars in live music as well.
While Morgan was ruling the world, his pal HARDY was breaking out bigtime—first with the powerhouse single “wait in the truck” f/Lainey Wilson (Which won Music Event of the Year and the video prize at both the CMAs and the ACMs) and subsequently with the concept album the mockingbird & THE CROW, a dazzling fusion of country and hard rock that scored a Top 5 chart bow. He also won the ACMs’ inaugural Artist-Songwriter of the Year award. His playful but hard-charging new single, “ROCKSTAR,” is headed for Active Rock radio.
There were plenty more awards, including ACM New Female Artist of the Year for hot rookie Hailey Whitters, and numerous accolades for Big Loud itself, notably Country Aircheck Label of the Year, the CCMA Awards Record Company of the Year and the MusicRow Awards Label Group of the Year.
England and team—Producer/President of A&R/Partner Joey Moi, Writer/Partner Craig Wiseman, COO Austen Adams, SVP/GM Patch Culbertson, SVP Promo Stacy Blythe, SVP Marketing Candice Watkins, SVP A&R Sara Knabe and VP Insights & Analytics Eric England—extended not only the profile of Big Loud but its reach. They launched Big Loud Texas with Miranda Lambert and Jon Randall, inked a partnership with Severance Records and opened offices in London, England, and Brisbane, Australia. Big Loud Rock, with Greg Thompson, Lloyd Aur Norman and AJ Kasen rounding out the exec team, is making noise in L.A.
Big Loud brought Cayleigh Shepherd and Johnno Keetels aboard as label managers in the U.K. and Australia, respectively, while upping Brittani Koster to director, streaming & commercial partnerships, Ava Boney to A&R manager, Justin Clark to manager, national promotion/associate label manager Canada and Caitlin Erramouspe to digital, manager.
