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Lady Gaga Performs Stripped-Down ‘Hold My Hand’ From ‘Top Gun: Maverick’ at the 2023 Oscars

Lady Gaga took the stage at the Dolby Theater in Los Angeles on Sunday night (March 12) to perform her hit best song nominee “Hold My Hand,” from the blockbuster sequel Top Gun: Maverick.

“I wrote this song with my friend BloodPop for the film Top Gun: Maverick in my studio basement,” she began her performance. “It’s deeply personal for me, and I think that we all need each other. We need a lot of love to walk through this life, and we all need a hero sometimes. There’s heroes all around us, in unassuming places, but you might find that you can be your own hero even if you feel broken inside.”

Gaga then delivered a stripped-down version of the Maverick power ballad, with just a piano for accompaniment for the first verse and chorus, before being joined by drums and bass for the remainder of the performance. It was an appropriate raw and intimate-feeling version of the song, given its emotional introduction.

“Hold My Hand” hit No. 49 on the Billboard Hot 100 in 2022 — one of two Hot 100 hits from Maverick, along with OneRepublic’s “I Ain’t Worried.” Lady Gaga previously won the Oscar for best original song at the 2019 Academy Awards, for her Hot 100-topping Bradley Cooper duet “Shallow” from A Star Is Born.

Top Gun: Maverick is nominated for six total categories at this year’s Academy Awards, also including best editing, best adapted screenplay and best picture. It is one of two box office-besting sequels to be nominated for best picture this year, along with Avatar: The Way of Water.

Fans Choose TWICE’s ‘Ready to Be’ as This Week’s Favorite New Music

TWICE‘s Ready to Be has topped this week’s new music poll.

Music fans voted in a poll published Friday (March 10) on Billboard, choosing the group’s latest project as their favorite new music release of the past week.

Ready to Be brought in more than 58% of the vote, beating out new music from Miley Cyrus, Calvin Harris and Ellie Goulding, and more.

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K-pop stars TWICE dropped Ready to Be, their 12th mini album, on March 10, after receiving the Breakthrough Artist honor at the 2023 Billboard Women in Music Awards on March 1.

“We are ready to show more of our beautiful inner side to the world and ready to show more of ourselves,” Tzuyu shared with Billboard on the red carpet, chatting about Ready to Be. TWICE will be embarking on a world tour in April.

Trailing behind Ready to Be on the fan-voted poll is Miley Cyrus’ Endless Summer Vacation, with 29% of the vote, and Calvin Harris and Ellie Goulding’s “Miracle,” with 9% of the vote.

See the final results of this week’s poll below.

New ‘The Little Mermaid’ Trailer Debuts at 2023 Oscars: Watch

The official trailer for Disney’s live-action The Little Mermaid, starring Halle Bailey, has arrived. It was introduced by Bailey and co-star Melissa McCarthy during the 2023 Oscars on Sunday night (March 12).

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Bailey stars as Ariel in the reimagining of the Disney animated classic, with an ensemble including McCarthy as Ursula, Javier Bardem as King Triton and Jonah Hauer-King as Eric.

Following a recent 30-second teaser and a clip focused on Bailey’s beautiful rendition of “Part of Your World” from D23, this extended preview — with a runtime of two minutes and twenty seconds — gives viewers a cinematic look at Ariel’s world and the characters that surround her, from life under the sea to life newly on land.

The Little Mermaid hits theaters on May 26.

Watch the trailer for the The Little Mermaid below.

David Byrne Dons Hot Dog Fingers for ‘This Is a Life’ Oscars Performance Alongside Stephanie Hsu and Son Lux at 2023 Oscars

Son Lux, Stephanie Hsu and David Byrne performed best song nominee “This Is a Life,” from the acclaimed Everyone Everywhere All at Once, at the 2023 Oscars in Los Angeles on Sunday night (March 12).

Dressed in all white — along with a throng of similarly costumed backing dancers — the performers delivered a deliberately choreographed version of the soundtrack song, in front of a backing band and video clips of the film’s Raccacoonie character. It ended with Hsu and Byrne at center stage, Byrne showing off his elongated fingers — a la the hot dog fingers displayed in one of the film’s many alternate universes.

Acclaimed indie rock singer-songwriter Mitski co-performed the original “This Is a Life” with Talking Heads frontman Byrne, but was not present for the performance. Hsu, who pulled double acting duty in Everyone Everywhere All at Once as daughter Joy Wong and villain Jobu Tapaki, filled in for Mitski for the brief “Life” rendition.

David Byrne is a prior Oscar winner, having co-composed the score for 1988 best picture winner The Last Emperor along with Ryuichi Sakamoto and Cong Su. Hsu was nominated for best supporting actress at this year’s awards, but lost to Jamie Lee Curtis for her performance in the same movie. Everyone Everywhere All at Once is the most-nominated movie on the evening, with 11 total nods, including for best picture.

“This Is a Life” faces stiff competition in the best original song category from the starry likes of Lady Gaga (for Top Gun: Maverick) and Rihanna (for Black Panther: Wakanda Forever), as well as frequent nominee Dianne Warren.

Justin Bieber Shares New Snapshots With Hailey Bieber: ‘Luv U Baby’

Justin Bieber popped onto Instagram this weekend to share some sunny snapshots with his wife, Hailey Bieber, following weeks of internet gossip related to an alleged feud between Hailey and his ex-girlfriend Selena Gomez.

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In a pair of photos uploaded on Sunday (March 12), Hailey is seen embracing Justin on a boat, snuggling with him in swimwear.

“LUV U BABY,” Justin captioned his post.

Hailey commented on photos with an emoji of hands making a heart.

The model had recently made headlines along with Gomez over drama stemming from various social media posts.

Last week, Gomez — who saw a boost in on-demand U.S. audio streams amid the chatter — encouraged her followers to be more empathetic. “Please, please be kinder and consider others’ mental health,” Selena said on a makeup tutorial via via TikTok. “My heart has been heavy and I only want good for everyone. All my love.”

See Justin and Hailey’s new Instagram snapshots below.

Jimmy Kimmel Jokes About Nick Cannon’s Kids, the Will Smith Slap in 2023 Oscars Opening Monologue

Jimmy Kimmel returned as Oscars host for the third time on Sunday (March 12) at the Dolby Theatre at Ovation Hollywood. With discourse around Will Smith’s onstage slap of 2022 Oscars host Chris Rock (prior to winning best actor) being one of the biggest stories of last year, it was predictable but perhaps inevitable that Kimmel would wedge a joke about it into the 95th annual Academy Awards.

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In his opening monologue, 2023 Oscars host Kimmel made jokes about Rihanna’s nine-month-old pooping backstage during rehearsals, Elvis Presley still being alive and, of course, The Slap. “Most importantly – we want me to feel safe. We have strict policies in place. If anyone in this theater commits an act of violence at any point during this show, you will be awarded the Oscar for best actor and permitted to give a 19-minute-long speech,” Kimmel said. Separately, Kimmel also jested that with five Irish actors nominated at the 2023 Oscars, “The odds of a fight on stage just went way up.”

Later in the show, Kimmel returned to the topic before the award for best documentary feature was given out. “You may recall this is where we had that little skirmish last year. Hopefully this time it goes off without a hitch – or at least without Hitch,” he said, referencing the 2005 Will Smith film. “Please put your hands together and then keep them to yourself.”

Nick Cannon’s brood of children got a shoutout during the show. Mentioning that Avatar: The Way of Water cost Disney two billion, he quipped, “Just to break even, all Nick Cannon’s kid had to see Avatar four times.”

“This is my favorite duo of the year: Steven Spielberg and Seth Rogen. What a pair,” Kimmel said of The Fabelmans duo. “The Joe and Hunter Biden of Hollywood. Seth, what are you on right now, be honest. Nothing? Mushrooms, right?” Noting that Spielberg has never done a drug in his life, Kimmel joked, “You mean to tell me you were sober when you made a movie about an alien who eats Reese’s Pieces all day and can’t remember how to phone home?”

2023 Oscars Red Carpet Photos: See All the Best Pics

The 95th Academy Awards took over the Dolby Theatre at Ovation Hollywood on Sunday (March 12), airing live on ABC. Jimmy Kimmel returned as Oscars host this year, marking the third time the late-night show host helmed the Academy Awards.

Some of music’s biggest stars were present and accounted for, including Lady Gaga and Rihanna (both nominated in the best original song category) and Janelle Monáe and Halle Bailey. The pop queens — both of whom have headlined the Super Bowl Halftime Show — are performers during the 2023 Oscars broadcast.

Lenny Kravitz – who performs the In Memoriam segment during the 2023 telecast – also walked the carpet, in addition to Talking Heads frontman David Byrne, who was nominated alongside Ryan Lott and Mitski in the best original song category for “This Is A Life” from Everything Everywhere All At Once.

Everything Everywhere All At Once, which earned 11 nods, is the most-nominated film this year. “All of our mothers are sometimes overlooked, and it was time to show that all of our moms are superheroes,” said best actress nominee Michelle Yeoh on the champagne carpet ahead of the show.

Baz Luhrmann’s biopic on 20th century icon Elvis Presley, Elvis, was nominated for eight Oscars, including best picture; it also earned a best actor nomination for Austin Butler, who portrayed the King of Rock & Roll. “It feels like a dream come true,” said Butler of the nomination during the pre-show. “That’s like choosing your favorite kid – I can’t choose one,” Butler said when asked to name a favorite song from Presley.

Here Are All the Winners From the 2023 Oscars (Updating Live)

The 95th Academy Awards take place on Sunday (March 12) at the Dolby Theatre at Ovation Hollywood and air live on ABC, with Jimmy Kimmel returning as Oscars host for the third time.

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Everything Everywhere All At Once, which earned 11 nods, is the most-nominated film this year. One of those 11 nominations is for best original song (David Byrne, Ryan Lott and Mitski’s “This Is A Life”). They’re competing against Lady Gaga and BloodPop for “Hold My Hand” (Top Gun: Maverick), Tems, Rihanna, Ryan Coogler and Ludwig Goransson for “Lift Me Up (Black Panther: Wakanda Forever), Diane Warren for “Applause” (Tell It Like a Woman) and M.M. Keeravaani and Chandrabose for “Naatu Naatu” (RRR). This is Warren’s 14th nomination, with no wins so far. Gaga previously won this category for co-writing “Shallow” from A Star Is Born.

Baz Luhrmann’s biopic on 20th century icon Elvis Presley, Elvis, was nominated for eight Oscars, including best picture; it also earned a best actor nomination for Austin Butler, who portrayed the King of Rock & Roll.

Check out the complete winners list below, updating live throughout the show.

Best Actress in a Supporting Role

Angela Bassett in “Black Panther: Wakanda Forever”
Hong Chau in “The Whale”
Kerry Condon in “The Banshees of Inisherin”
Jamie Lee Curtis in “Everything Everywhere All at Once”
Stephanie Hsu in “Everything Everywhere All at Once”

Best Costume Design

“Babylon” Mary Zophres
“Black Panther: Wakanda Forever” Ruth Carter
“Elvis” Catherine Martin
“Everything Everywhere All at Once” Shirley Kurata
“Mrs. Harris Goes to Paris” Jenny Beavan

Best Sound

“All Quiet on the Western Front” Viktor Prášil, Frank Kruse, Markus Stemler, Lars Ginzel and Stefan Korte
“Avatar: The Way of Water” Julian Howarth, Gwendolyn Yates Whittle, Dick Bernstein, Christopher Boyes, Gary Summers and Michael Hedges
“The Batman” Stuart Wilson, William Files, Douglas Murray and Andy Nelson
“Elvis” David Lee, Wayne Pashley, Andy Nelson and Michael Keller
“Top Gun: Maverick” Mark Weingarten, James H. Mather, Al Nelson, Chris Burdon and Mark Taylor

Best Original Score

“All Quiet on the Western Front” Volker Bertelmann
“Babylon” Justin Hurwitz
“The Banshees of Inisherin” Carter Burwell
“Everything Everywhere All at Once” Son Lux
“The Fabelmans” John Williams

Best Adapted Screenplay

“All Quiet on the Western Front” Screenplay by Edward Berger, Lesley Paterson & Ian Stokell
“Glass Onion: A Knives Out Mystery” Written by Rian Johnson
“Living” Written by Kazuo Ishiguro
“Top Gun: Maverick” Screenplay by Ehren Kruger and Eric Warren Singer and Christopher McQuarrie; Story by Peter Craig and Justin Marks
“Women Talking” Screenplay by Sarah Polley

Best Original Screenplay

“The Banshees of Inisherin” Written by Martin McDonagh
“Everything Everywhere All at Once” Written by Daniel Kwan & Daniel Scheinert
“The Fabelmans” Written by Steven Spielberg & Tony Kushner
“Tár” Written by Todd Field
“Triangle of Sadness” Written by Ruben Östlund

Best Live-Action Short Film

“An Irish Goodbye” Tom Berkeley and Ross White
“Ivalu” Anders Walter and Rebecca Pruzan
“Le Pupille” Alice Rohrwacher and Alfonso Cuarón
“Night Ride” Eirik Tveiten and Gaute Lid Larssen
“The Red Suitcase” Cyrus Neshvad

Best Animated Short Film

“The Boy, the Mole, the Fox and the Horse” Charlie Mackesy and Matthew Freud
“The Flying Sailor” Amanda Forbis and Wendy Tilby
“Ice Merchants” João Gonzalez and Bruno Caetano
“My Year of Dicks” Sara Gunnarsdóttir and Pamela Ribon
“An Ostrich Told Me the World Is Fake and I Think I Believe It” Lachlan Pendragon

Best Actor in a Supporting Role

Brendan Gleeson in “The Banshees of Inisherin”
Brian Tyree Henry in “Causeway”
Judd Hirsch in “The Fabelmans”
Barry Keoghan in “The Banshees of Inisherin”
Ke Huy Quan in “Everything Everywhere All at Once”

Best Animated Film

“Guillermo del Toro’s Pinocchio” Guillermo del Toro, Mark Gustafson, Gary Ungar and Alex Bulkley
“Marcel the Shell with Shoes On” Dean Fleischer Camp, Elisabeth Holm, Andrew Goldman, Caroline Kaplan and Paul Mezey
“Puss in Boots: The Last Wish” Joel Crawford and Mark Swift
“The Sea Beast” Chris Williams and Jed Schlanger
“Turning Red” Domee Shi and Lindsey Collins

Best Original Song

“Applause” from “Tell It like a Woman”; Music and Lyric by Diane Warren
“Hold My Hand” from “Top Gun: Maverick”; Music and Lyric by Lady Gaga and BloodPop
“Lift Me Up” from “Black Panther: Wakanda Forever”; Music by Tems, Rihanna, Ryan Coogler and Ludwig Goransson; Lyric by Tems and Ryan Coogler
“Naatu Naatu” from “RRR”; Music by M.M. Keeravaani; Lyric by Chandrabose
“This Is A Life” from “Everything Everywhere All at Once”; Music by Ryan Lott, David Byrne and Mitski; Lyric by Ryan Lott and David Byrne

Best International Feature Film

“All Quiet on the Western Front” Germany
“Argentina, 1985” Argentina
“Close” Belgium
“EO” Poland
“The Quiet Girl” Ireland

Best Makeup and Hairstyling

“All Quiet on the Western Front” Heike Merker and Linda Eisenhamerová
“The Batman” Naomi Donne, Mike Marino and Mike Fontaine
“Black Panther: Wakanda Forever” Camille Friend and Joel Harlow
“Elvis” Mark Coulier, Jason Baird and Aldo Signoretti
“The Whale” Adrien Morot, Judy Chin and Anne Marie Bradley

Best Production Design

“All Quiet on the Western Front” Production Design: Christian M. Goldbeck; Set Decoration: Ernestine Hipper
“Avatar: The Way of Water” Production Design: Dylan Cole and Ben Procter; Set Decoration: Vanessa Cole
“Babylon” Production Design: Florencia Martin; Set Decoration: Anthony Carlino
“Elvis” Production Design: Catherine Martin and Karen Murphy; Set Decoration: Bev Dunn
“The Fabelmans” Production Design: Rick Carter; Set Decoration: Karen O’Hara

Best Cinematography

“All Quiet on the Western Front” James Friend
“Bardo, False Chronicle of a Handful of Truths” Darius Khondji
“Elvis” Mandy Walker
“Empire of Light” Roger Deakins
“Tár” Florian Hoffmeister

Best Visual Effects

“All Quiet on the Western Front” Frank Petzold, Viktor Müller, Markus Frank and Kamil Jafar
“Avatar: The Way of Water” Joe Letteri, Richard Baneham, Eric Saindon and Daniel Barrett
“The Batman” Dan Lemmon, Russell Earl, Anders Langlands and Dominic Tuohy
“Black Panther: Wakanda Forever” Geoffrey Baumann, Craig Hammack, R. Christopher White and Dan Sudick
“Top Gun: Maverick” Ryan Tudhope, Seth Hill, Bryan Litson and Scott R. Fisher

Best Film Editing

“The Banshees of Inisherin” Mikkel E.G. Nielsen
“Elvis” Matt Villa and Jonathan Redmond
“Everything Everywhere All at Once” Paul Rogers
“Tár” Monika Willi
“Top Gun: Maverick” Eddie Hamilton

Best Documentary Feature

“All That Breathes” Shaunak Sen, Aman Mann and Teddy Leifer
“All the Beauty and the Bloodshed” Laura Poitras, Howard Gertler, John Lyons, Nan Goldin and Yoni Golijov
“Fire of Love” Sara Dosa, Shane Boris and Ina Fichman
“A House Made of Splinters” Simon Lereng Wilmont and Monica Hellström
“Navalny” Daniel Roher, Odessa Rae, Diane Becker, Melanie Miller and Shane Boris

Best Documentary Short Subject

“The Elephant Whisperers” Kartiki Gonsalves and Guneet Monga
“Haulout” Evgenia Arbugaeva and Maxim Arbugaev
“How Do You Measure a Year?” Jay Rosenblatt
“The Martha Mitchell Effect” Anne Alvergue and Beth Levison
“Stranger at the Gate” Joshua Seftel and Conall Jones

Best Actor in a Leading Role

Austin Butler in “Elvis”
Colin Farrell in “The Banshees of Inisherin”
Brendan Fraser in “The Whale”
Paul Mescal in “Aftersun”
Bill Nighy in “Living”

Best Actress in a Leading Role

Cate Blanchett in “Tár”
Ana de Armas in “Blonde”
Andrea Riseborough in “To Leslie”
Michelle Williams in “The Fabelmans”
Michelle Yeoh in “Everything Everywhere All at Once”

Best Directing

“The Banshees of Inisherin” Martin McDonagh
“Everything Everywhere All at Once” Daniel Kwan and Daniel Scheinert
“The Fabelmans” Steven Spielberg
“Tár” Todd Field
“Triangle of Sadness” Ruben Östlund

Best Picture

“All Quiet on the Western Front” Malte Grunert, Producer
“Avatar: The Way of Water” James Cameron and Jon Landau, Producers
“The Banshees of Inisherin” Graham Broadbent, Pete Czernin and Martin McDonagh, Producers
“Elvis” Baz Luhrmann, Catherine Martin, Gail Berman, Patrick McCormick and Schuyler Weiss, Producers
“Everything Everywhere All at Once” Daniel Kwan, Daniel Scheinert and Jonathan Wang, Producers
“The Fabelmans” Kristie Macosko Krieger, Steven Spielberg and Tony Kushner, Producers
“Tá”r Todd Field, Alexandra Milchan and Scott Lambert, Producers
“Top Gun: Maverick” Tom Cruise, Christopher McQuarrie, David Ellison and Jerry Bruckheimer, Producers
“Triangle of Sadness” Erik Hemmendorff and Philippe Bober, Producers
“Women Talking” Dede Gardner, Jeremy Kleiner and Frances McDormand, Producers

Adele Reacts to Shakira’s Fiery ‘Music Sessions Vol. 53’ Performance on ‘Fallon’: ‘Her Ex Is in Trouble!’

Adele caught Shakira‘s live collab with Bizarrap on The Tonight Show Starring Jimmy Fallon and had some thoughts about it — which she shared with her own audience in Vegas this weekend.

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Shakira brought her latest global hit, her Bizarrap-produced, post-breakup diss track “Music Sessions Vol. 53,” to Fallon’s late-night show Friday night (March 10). The Colombian star delivered a fired-up live take of the personal track, closely surrounded by fans.

On Saturday night, Adele interacted with her own fans at The Colosseum at Caesars Palace in Las Vegas, one of whom happened to name Shakira as one of her favorite artists when Adele asked.

“Oh, I saw her performance last night on Jimmy Fallon … Oh, her ex-husband’s in trouble!” Adele said with a cackle. (Slight correction: Shakira and her ex partner Gerard Piqué were together for 11 years and have two children together, but they were not married.)

In her interview with Fallon on Friday, Shakira said that she knew the song — which throws jabs at Piqué and his new love interest, and has broken 14 Guinness World Records — would be a hit.

“I started to feel it in my body, you know,” Shak said. “I usually have this visceral sort of physical reaction to music.”

Hear Adele chatting about Shakira, and watch the performance of “Music Sessions Vol. 53,” below.

Country Radio Seminar: A Year After Major Wakeup Call, Broadcasters Plot Their Future

A year ago, Country Radio Seminar (CRS) gave broadcasters a wakeup call.

With the 2023 edition of the conference, it should become clearer if the industry is facing a new day head on or if it simply hit the Snooze button.

Panelists in 2022 lamented a four-year decline in listenership, a drop that overlaps with a system in which singles often take over 40 weeks — sometimes as much as 60 weeks — to run their course. By contrast, labels are increasingly gearing their marketing plans to streaming platforms that expose wider arrays of music and target individuals’ playlists with greater specificity. On the final day last year, Country’s Radio Coach owner/CEO John Shomby gave a TED Talk-style presentation that chided broadcasters for a nagging sameness and called for a committee of radio and music business executives to figure out a reboot.

As Country Radio Broadcasters revs up CRS again March 13-15, that chat continues to echo in the agenda at the Omni Nashville Hotel. Shomby’s CRS Music Committee — which generated 60-70 respondents in its first hour, according to CRB executive director R.J. Curtis — has been segmented into four overlapping subcommittees that will likely make their first reports in an upcoming CRS360 webinar. Meanwhile, the CRS presentations include several topics that address the issues that have brought the format to a crossroads — “Radio & Records: Redefining the Relationship,” “Just Effing Do It: The Rewards of Taking Risks” and “Fred Jacobs’ Fred Talk: The Future Ain’t What It Used To Be.”

“CRS should be a reality-check moment,” Curtis says. “I don’t believe our purpose is to just shake each other’s hands and high-five and congratulate each other on another great year because not every year is great. We’re facing a lot of different challenges, and I think it’s important for us to own them and figure out how to solve them.”

Country music has a long history with radio. March 2022 marked 100 years since Fiddlin’ John Carson became the first hillbilly act to perform on-air, on WSB Atlanta, and Jan. 4 represented a century since country was introduced on the medium west of the Mississippi River, via The Radio Barn Dance on WBAP Dallas-Fort Worth. Still, the genre never had a full-time station until KDAV Lubbock, Texas, debuted in 1953.

Radio ultimately became the primary method of exposing the genre’s new music. It went largely unchallenged in that position until streaming took hold this century. The new medium operates differently — pressing a Skip button allows a streaming listener to skirt individual titles while still listening to the playlist, whereas skipping a song on the radio requires changing stations. To preserve listenership in this era, programmers generally relied on safe measures that had worked previously, cutting the size of playlists and/or hanging on to proven titles for longer periods of time. Those solutions tend to pay off in the short run, but over the long haul, they can discourage extended listening among the most passionate music fans. 

“They’re just afraid of making a mistake,” says Shomby of programmers’ dilemma. “It’s like a football team that just hands the ball off to one guy and he runs up the middle, and then you hope that somebody opens up a hole. There’s no [taking chances] — there’s no throwing any long passes, you’re not doing any double reverses or anything like that. You just run left. And that’s kind of the way I feel like our industry is at this point.”

Actionable Insights Group head of research Billy Ray McKim was among the attendees who signed up for the CRS Music Committee last year after Shomby’s presentation.

“Plenty of people talked about it for days and weeks, and I continue to hear people refer back to it,” McKim says. “He managed to tie a bow on it.”

McKim is now overseeing the subcommittee studying the life cycle of songs, generally aiming to speed the march of singles through national radio charts and energize the format. The issue is complex.

“There was this idea that we would spend a year and find a finite solution and move on,” says McKim. “What’s become even more clear through this process is there isn’t a simple solution. So I think that this committee will continue to live and evolve.”

Changing aspects of the industry will get center stage through much of CRS. Digital streaming, for example, has a full day of convention programming. CRS also offers a panel on “expansive inclusion” and an examination of evolving demographics in “Okay Boomer! A Conversation With Gen Z.”

CRS will continue to offer some familiar elements. Garth Brooks and Kenny Chesney will be the focus of keynote artist Q&As, the annual research panel presents insights from a 700-song auditorium test, and the closing New Faces of Country Music dinner will feature Jackson Dean, Priscilla Block, Jelly Roll, Nate Smith and Frank Ray

That latter event will include recognition of a new wrinkle in the convention. The last of CRS’ founders, Charlie Monk, died Dec. 19, and this will be the first year he is not at the seminar in some form or fashion. New Faces is expected to honor his influence, which is particularly fitting this year. Monk’s ability to process the past and anticipate the future should provide some inspiration for the industry as it moves forward: the “Mayor of Music Row” counted classic singer Frank Sinatra as his favorite artist, but often said his favorite single was whatever was No. 1 that particular week.

“He didn’t get stuck in one particular era, and that’s very evident by the amount of people much, much younger than him that called him a mentor and a friend,” Curtis says. “He sought out younger leaders in our format. He benefited from their knowledge and their way of doing business, and I think it was really impressive.”

Country music’s relationship with radio predates even Monk’s arrival. Programmers’ goal during CRS will be to create some forward movement for a platform that is still regarded as a key means of exposure for even the newest generation of talent.

“I come across a lot of young artists, and they still have that dream to be heard on the radio,” says Shomby. “I mean, it doesn’t get them as excited to have a song playlisted on Spotify as it does to hear their song on their local radio station. So there’s still something there that creates a passion for the format.”

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