The Carnival Music boss reflects on a changing biz.

How are the considerations surrounding Nashville pub deals changing, if at all, given the current economics of the biz?
That's a good question and I'm not certain that I am the right person to ask. We are doing new deals and I have intelligent help from many people in putting our deals together, but it's hard for me to wrap my brain around the future. Specifically, as mechanicals have all but disappeared, how can a writer ever recoup? It is possible for an unrecouped writer to make a lot of money for a publisher, but developing writers who need recoupment dollars to help them stay in the game, are going to be in trouble. That's the biggest question for me right now.

To what extent/degree are your writers working on projects outside of the country genre?
We are a company of singer-songwriters who predominantly come from the southern half of the U.S., so country and Americana is where we have earned our keep. But as we have always walked our own paths, I'm open for those paths to go other places. I have some ideas here, happy to discuss on the phone, but would be premature in elaborating on words. However in a nutshell, I think in the coming years, there will be more and more opportunities for us in other genres.

What has been the most surprising development in the sector, from your perspective?
Nashville in many ways, follows trends, and what you saw in pop music over the last few decades is making its way here. Chiefly as I said, teams of songwriters dominating the songwriting business. Again, that's ok, many of them are brilliant and are writing wonderful songs. But losing the path for the true lonely songwriter (who many would argue built this town) leaves me scratching my head. The future Dean Dillons, Richard Leighs, Bruce Robisons, Matraca Bergs, Kris Kristoffersons, Sonny Throckmortons, Don Schlitzes and Gretchen Peterses (you get the point) of the world, what is their model, and does one exist?

To be continued.