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Nashville-based booking outfit The Neal Agency, known for a roster that includes artists Morgan Wallen and Bailey Zimmerman, has launched a music publishing division, Billboard can reveal.
The Neal Agency’s head of business development, Ryan Beuschel, will spearhead the new division. Beuschel joined The Neal Agency earlier this year following stints at Warner Chappell Nashville (as vp of A&R/strategy and ASCAP.
The new division’s first signing is singer-songwriter Palmer Anthony via a co-publishing venture with Warner Chappell Music (WCM). Anthony previously signed with The Neal Agency for booking.
“The ultimate goal for the company is to be truly a place to develop artists,” Neal tells Billboard. “Obviously, a big part of that is on the road, but [also] being able to have a hand in the creative process. … As the music industry continues to evolve, we have the opportunity to help create and build artists from the ground up.”
Beuschel says, “I think Palmer is a great example of being the first person that we did this with because he was signing to the agency, and then shopping around and looking into publishing deals. At one point, he mentioned, ‘It would be amazing if we could work together,’ and we knew each other before he signed with The Neal Agency. He had been touring in Texas and was writing some really compelling stuff alone and with co-writers. I felt like it was a great opportunity for The Neal Agency to have creative direction and touring strategy inside the same building, communicating with each other back and forth to push his career as far and as fast as we can.”
“Working with Ryan, with his background at ASCAP and Warner Chappell, this partnership makes a lot of sense,” adds Warner Chappell Music Nashville president/CEO Ben Vaughn. “I met Palmer because of [Beuschel and Neal] and it’s been really cool to watch Palmer starting to network through the town and co-writing. It’s great to build this new thing out with them.”
Anthony grew up primarily in northern California and went on to play baseball at the University of California, Santa Barbara, before pursuing songwriting. After graduation, he moved to Fort Worth, Texas, and immersed himself in the Texas music scene, opening for artists including Riley Green, Chase Rice and Randall King.
The Neal Agency agent Haley Teske was responsible for bringing Anthony’s talent to the attention of the company in the first place, leading to his initial signing for booking.
“I saw him at [Nashville music event] Whiskey Jam and I could tell he was a hard worker, and [I] just kept in touch until the time was right,” says Teske.
“I’ll say it was a best-case scenario for me, too,” Anthony says, “because Haley was a supporter very early in the whole scene and the fact that all these pieces kind of fell into place, with Ryan at The Neal Agency and Ben at Warner Chappell. It was a perfect scenario for me to keep it kind of in-house for publishing and booking.”
Neal launched The Neal Agency in 2022, following his departure from WME. The company’s initial roster included Wallen, ERNEST, Riley Green, HARDY, Seaforth, John Morgan, Chase Rice. and Ashland Craft. It has since grown to include Zimmerman, CCM/country artist Anne Wilson, Ella Langley and lifestyle brands Stevenson Ranch and Whiskey Jam.
Neal says passion — not an allegiance to a certain genre — will continue to drive new signings.
“Me, personally, I listen to a lot of alt-rock. I grew up on Southern hip-hop, Project Pat,” he says, noting that the agency also works with rapper mike for booking. “So we’ve grown to understand that, having to forge relationships with promoters and festivals that we didn’t before, is that there are no barriers for us as a company. It’s about passion, not genre, for myself and all of our agents and staff.”
Back in July, Jason Aldean came under fire for his controversial “Try That in a Small Town” which features scenes shot at Tennessee’s Maury County Courthouse, where a Black man named Henry Choate was lynched in 1927. The Columbia Race Riot also occurred there in 1946.
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In a new interview with CBS, the country singer says that he might have second guessed the filming location if he had known its racist history. “Knowing what I know now, probably not,” he said of whether or not he’d choose to film there now. “But it’s also — I’m not gonna go back 100 years and check on the history of this building because, honestly, if you’re in the South, you could probably go to any small-town courthouse, you’re gonna be hard-pressed to find one that hasn’t had some racial issue over the years at some point. That’s just a fact. For anybody that thinks that we picked that building specifically for that reason, because there was a lynching there, whatever.”
Aldean added that he also get his “car tags” at that court house every year, and it’s in the county he lies in. “There was people of all color doing stuff in the video. That’s what I don’t understand. There was white people in there, there was Black people. This video did not shine the light on specific group and say, ‘That’s the problem.’ And anybody that saw that in the video, then you weren’t looking hard enough at the video,” he explained. “I thought it was actually a song that said something for a change. Not just, ‘Here’s another song for radio.’ I didn’t expect it to get the kind of heat that it got. And I think that was probably more because of the video more so than because of the song.”
He concluded, “The whole idea behind the video was to show the lawlessness and the disrespect for cops and just trashing cities. … I’m just not cool with that. I feel like the narrative got switched over and became more of a racial type thing. If that’s what you got out of the song and the video, that’s almost on you, because that wasn’t our intention.”
The video, released on July 14, features footage of American flag burning, protesters having confrontations with police, looters breaking a display case and thieves robbing a convenience store. CMT has pulled the video from its rotation after running it for three days, Billboard confirmed.
“In the past 24 hours I have been accused of releasing a pro-lynching song (a song that has been out since May) and was subject to a comparison that I (direct quote) was not too pleased with the nationwide BLM protests,” Jason wrote in a statement at the time. “These references are not only meritless, but dangerous. There is not a single lyric in the song that references race or points to it and there isn’t a single video clip that isn’t real news footage- and while I can try and respect others to have their own interpretation of a song with music- this one goes too far.”
The song went on to top the Billboard Hot 100 songs chart dated Aug. 5, 2022.
“You’ll never know unless you try.”
Throughout history, some form of that advice has been given to people who doubted their own entertainment ambitions. Almost no one gets a movie part without auditioning, or has a hit as a recording artist without stepping up to the microphone.
But the competition is stiff and there is no sure-fire metric to guarantee that following the path pays off. So nearly every creator who has chased their dream for any length of time questions periodically whether they should quit.
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That makes HunterGirl’s debut single, “Ain’t About You,” one of those personal songs with universal relevance. In 2021, she had been in Nashville for five years, playing the bars, writing songs and networking with other aspiring artists and musicians. As some of them made important steps forward, she continued grinding it out with no visible opportunities on the horizon, and as her fatigue increased, so did her pessimism about the road she had taken.
“Nothing was really happening, and a lot of my friends were getting record deals and publishing deals,” she recalls. “I was honestly just kind of the friend falling behind and not really knowing if I was on the right path or if I made a mistake.”
One day in autumn 2021, HunterGirl seriously contemplated giving up on her dream. She gritted her way through a lunchtime performance at a bar on Nashville’s Lower Broadway, which she thought might be one of her last shows in Music City. At 6 p.m. that same day, she faked a smile during a Tuesday-night Zoom writing appointment with veterans, whom she regularly helped process their experiences through songwriting in the Freedom Sings program. One particular woman, who had been holding back for months, announced that she was ready to put her story into a song, and HunterGirl helped her find the words and begin to release some of her turmoil. As often happens in those sessions, they ended the exercise in tears, and the veteran offered a heartfelt thanks: “Hunter, I don’t know what I’d do without you.”
After the call, HunterGirl shed more tears, and she instinctively picked up her guitar and began questioning what it would have meant to this veteran if she had given up on music. She began writing about her feelings — essentially processing her inner world the same way she asked the veterans to do it.
“I call this one my 45-minute conversation with Jesus,” she says. “It was supposed to be my thinking-about-leaving-Nashville song, and ended up being my staying-in-Nashville song.”
She crafted an opening line about how she had begun the day, reviewing all the reasons she should quit. But the feedback from the veteran about what a difference HunterGirl had made for her changed the journey in the song.
“That’s where the thought, ‘What if it ain’t about you?’ came from,” recalls HunterGirl. “It’s about how many people that you could be letting down, or the people that you can touch.”
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That line would become a key part of the “Ain’t About You” chorus, which she decided should change each time it occurred. The first chorus was easily written about a little girl who needed encouragement to believe in herself, the second chorus acknowledged a young boy who needed permission to cry — and the final chorus, about providing hope through her music, was written with the veteran in mind.
She devoted the second verse to the trap of comparing one’s life against other people, a problem compounded by social media. She felt that it needed a bridge before she could conclude, and that posed the biggest hurdle — though with “Ain’t About You,” that lasted only a matter of minutes. She ultimately decided to put quitting in a spiritual dimension, cinching her decision to stay in Nashville.
“If you throw it all away, you’re telling God He made a mistake, but He never makes ’em,” she says. “Whatever He was planning was bigger for me than anything that I could imagine and greater than I could come up with, and I just had to be patient.”
HunterGirl had no intention of ever playing it for anyone, but it at least changed her mindset. During the next week, friends encouraged her to audition for American Idol. Days later, she played another bar show, and at the end, a former Idol crew member suggested she tryout. She took it as a sign, and the audition led to participation in Idol’s 2022 season, where she finished runner-up and earned a recording contract with Wheelhouse.
She still had no intention of sharing “Ain’t About You” until a barbecue where fellow Idol alums Noah Thompson and Chayce Beckham asked her to play something she had never played for anyone else. Their overwhelming reaction made her more open with the song, and at a later event, BMG Nashville president Jon Loba walked in as she was about to play it again. He insisted it needed to become a single.
So HunterGirl cut the song at Nashville’s Blackbird Studios with producer Lindsay Rimes (Nate Smith, LOCASH), who helped her make “Ain’t About You” a little more consistent by repeating a prechorus melody that originally appeared only once. The session was her first time to record in a significant studio, so he gave her a mini-tour to make her feel at home and took efforts to get her comfortable with the musicians. Since “Ain’t About You” was so personal, he asked her to perform it for the band so they could fully understand how it fit her.
Guitarist Ilya Toshinskiy fashioned the acoustic foundation similarly to the way she played it, forming an intimate undercurrent.
“I didn’t want to take away from the guitar, and the vocal — that was sort of the DNA of the song,” notes Rimes. “I wanted it to sound like she was sitting there playing the guitar, even though obviously, Ilya was playing the guitar. That’s the foundation of the song.”
Only three musicians played prior to the first chorus, when the entire band joined the proceedings, though they still approached it lightly. Electric guitarist Sol Philcox-Littlefield weaved in faint atmospheric touches, then hinted at an emergency siren in the background of the decisive bridge.HunterGirl recorded the final vocals at Rimes’ studio, where he again took steps to make her feel comfortable. They revisited the difficult emotional circumstances in which she wrote “Ain’t About You,” and she ended up in tears again as she delivered those feelings in her performance.
“The most important thing is whatever is happening in my room here between the mouth and the microphone,” Rimes says. “That’s the magic. I think the environment, my energy — everything contributes to a great vocal.”
Wheelhouse released “Ain’t About You” to country radio via PlayMPE on Oct. 2. HunterGirl is believed to be the first female country singer on a major label to appear as the sole writer of her first single since Mary Chapin Carpenter in 1989. The experience has affected the way that HunterGirl writes songs.
“Sharing the most personal parts of my life -— like all my insecurities, everything that I was dealing with at the time — it made other people feel comfortable to feel that way, too,” she says. “And so this song completely changed the way that I wrote from here on out. Everything after this is going to be full heart, my full honesty, everything in me 100% because there’s no telling who else is going through the same thing.”
CTM Outlander has inked a deal with four-time BMI songwriter of the year winner Ross Copperman, including both the acquisition of Copperman’s catalog (via Iris in the Sky with Diamonds) as well as a publishing deal for his future works.
Copperman has had songs recorded by Keith Urban, Tyler Hubbard, Luke Bryan, Blake Shelton & Gwen Stefani, Gabby Barrett, Kenny Chesney & P!nk, Dierks Bentley, Brett Young, Darius Rucker and more. CTM will create new opportunities for Copperman through a creative partnership with SMACKSongs. Copperman was previously with Sony Music Publishing.
As part of the arrangement, CTM Outlander also acquires Copperman’s writer share for songs previously published by Plain Jane, including “Love Ain’t” by Eli Young Band, “Happy Anywhere” by Blake Shelton feat. Gwen Stefani, “Get Along” by Kenny Chesney and “Living” by Dierks Bentley.
Copperman said in a statement, “I am profoundly grateful for the opportunity to work alongside remarkable individuals like CTM and SMACK in my new team. CTM’s visionary leadership has already brought us exciting opportunities beyond Country, expanding our horizons. I’ve always held immense respect for SMACK, and I eagerly anticipate the promising collaborations and accomplishments that lie ahead.”
André de Raaff, CEO at CTM Outlander, said, “From the first moment we met Ross we felt his energy, passion and drive for music. His goal is set to break new artists and help creative new opportunities with the ones he’s already been working with. We are here to support him in any type of way and see Ross as somebody that is helping to develop the country music genre into a global genre.”
CTM Outlander is a partnership between the innovative and disruptive Dallas, Texas based Outlander Capital led by Les Ware and Mike McKool and the Dutch-based leading independent music entertainment company CTM, led by industry veteran André de Raaff. CTM Outlander previously acquired Shane McAnally‘s catalog earlier this year, in addition to other SMACKSongs works. In 2022, the CTM Outlander acquired catalogs of Natalie Hemby, Michael Tyler and Ben Burgess.
Mike McKool, director of CTM Outlander, said, “When we created CTM Outlander, we had no specific agenda as far as genre was concerned. It was only after meeting and developing relationships with the songwriting community in Nashville, that we decided to place an emphasis on country music. As we continue to invest and grow our portfolio, Ross is another example of the kind of artist we want to be in business with. We couldn’t be more excited to work with him moving forward, while also furthering our relationship with SMACKSongs.”
Robert Carlton, president of SMACKSongs, added, “SMACK is proud to further our partnership with CTM through this deal. Ross has been one of the premier writers and producers in Nashville over the last decade. We’ve been fortunate to share quite a bit of success with him through co-writes, but feel truly honored that he chose to entrust SMACK with this next chapter of his career.”
A second round of performers has been added to the 57th annual CMA Awards, led by Morgan Wallen, Kenny Chesney, Luke Combs, Kelsea Ballerini and Alan Jackson. Also performing are Dan+Shay, Jordan Davis, HARDY, Cody Johnson, Post Malone, Mac McAnally, The War and Treaty and Zac Brown Band. Luke Bryan and Peyton Manning will again […]
Nashville music publishing company Boom Music Group has severed ties with SESAC Nashville Music Awards’ 2020 songwriter of the year Matthew McGinn, after felony and misdemeanor charges were filed against him on Oct. 28 in Davidson County, Tenn. “Boom Music Group is extremely saddened about the reprehensible events that transpired this weekend with Matt McGinn,” […]
Jason Aldean and Brittany Aldean took the political route for their Halloween costumes this year, taking to Instagram on Tuesday (Oct. 31) to share a skit in which they acted as Donald Trump and Joe Biden during a presidential debate. Explore Explore See latest videos, charts and news See latest videos, charts and news In […]
NBC’s The Voice is getting another fiery-locked, country superstar to join its ranks.
On Tuesday (Oct. 31), NBC announced that Country Music Hall of Fame member Wynonna Judd is set to serve as a mega mentor on season 24 of the hit show. Judd will join coaches Niall Horan, John Legend, Gwen Stefani, and fellow Country Music Hall of Fame member Reba McEntire, helping to mentor the remaining contestants heading into the show’s competitive Knockout rounds on Nov. 6.
In a video posted to Instagram, Wynonna appeared alongside McEntire to celebrate joining the latest season of the hit singing comeptition. “[You are] one of the reasons I decided to do this show, because you’re here and I wanted to work with you,” Wynonna told her in the new clip. McEntire returned the compliment in the caption, writing “Wy is the perfect person for this and I can’t wait for you to see all the great advice she gives to these talented artists.”
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Wynonna is currently headlining shows on her Back to Wy tour, where the singer-songwriter performs her first two solo albums — her 1992 self-titled album and its followup, 1993’s Tell Me Why — track-by-track.
Prior to launching her solo career in the 1990s, Judd was part of the mother-daughter duo The Judds, alongside her mother Naomi. The Judds’ enduring legacy was recently feted with the release of the multi-artist project A Tribute to The Judds, which featured McEntire, Jelly Roll, Trisha Yearwood, O.N.E. The Duo, Wendy Moten, Megan Moroney and more.
Of course, Wynonna is no stranger to television; in 2016, she appeared on Dancing With the Stars and in 2011, The Judds debuted their own six-part reality television series on OWN: The Oprah Winfrey Network. Over the years, Judd has also appeared on television shows including Touched By An Angel, Army Wives and Kath & Kim.
Wynonna Judd will appear as a mega mentor on The Voice starting Monday, Nov. 6 at 8 pm E.T. Check out Wynonna and McEntire’s Instagram announcement below:
The “Biggest Party in the South” is back for 2024.
Pepsi Rock the South 2024 will return to Cullman, Alabama for a three-day festival July 18-20 withheadliners Eric Church, HARDY and Jelly Roll along with Oliver Anthony, Parker McCollum, Flatland Cavalry, Warren Zeiders, Priscilla Block, Wyatt Flores, Nelly, Gavin Adcock, Nate Smith and more throughout the three-day event.
As Rock the South continues to grow, organizers have increased the festival site by over 45 percent, invested in infrastructure improvements for campers, and added ways to beat the heat with the Honky Tonk Hideaway, a large-scale air-conditioned Nashville Broadway Experience outfitted with an acoustic stage, line-dancing lessons and more.
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Tickets will go on sale Friday (Nov. 3). Pre-sale registration is now open and ends Wednesday (Nov. 1) at 10 a.m.
“After being named the Alabama Tourism Department’s Event of the Year, we’re excited to announce this year’s event, building on the success of our record-breaking 2023 and are prepared for 2024 to be the most incredible year yet,” said Nathan Baugh, Pepsi Rock the South partner. “Our biggest focus is always producing an incredible event with music’s biggest names. We love hearing the level of impact Rock the South has in our County and regionally.”
“Crafting the lineup for Pepsi® Rock the South 2024 has been an incredible journey. We’ve listened to our fans and aimed for the stars,” said Shane Quick, partner of Pepsi Rock the South. “This year, we’ve brought together an amazing lineup of artists that truly reflects what our fans want to ensure they have an unforgettable three days. We have so many great things in store for Rock the South 2024.”
Learn more at rockthesouth.com.
When the Coastal Country Jam relaunched Sept. 16 at Marina Green Park in Long Beach, Calif., after a four-year absence, headliner Blake Shelton looked up before he took the stage and saw his name sparkling like a floating marquee in the sky.
Gwen Stefani and her kids cheered the moment, says Activated Events founder and event producer Steve Thacher, but they weren’t just seeing Shelton’s name in lights. They may have seen the future of country festivals. The Coastal Country Jam is one of at least four country gatherings that employed drone shows for the first time in 2023.
“We’re always looking for new, fun, wow factors to incorporate into our event,” Thacher says. “We thought this would be one of them.”
The drone show is a still-developing technology that had its biggest audience during the global broadcast of the Beijing Olympics opening ceremony in 2022, when 1,800 drones were used to create a complex series of images suspended over the stadium. The technology has been utilized in a number of different events since then, including a coronation concert for the United Kingdom’s King Charles III in May and a New Year’s Eve celebration that Keith Urban witnessed in Australia.
Courtesy Southern Entertainment
“It’s surreal what they can do and how many of them can be synchronized or coordinated to do insane things,” says Urban. “It’s really amazing, like a modern version of skywriting.”
Activated Events debuted the drone show at the Coastal Jam after the company worked with several municipalities that were replacing fireworks displays with the new technology. Drones appeared before the headliner both nights during Coastal, presenting a series of images (an American flag, a whale, a surfer and the Queen Mary tourist attraction) before employing a “Next Up” announcement, leading into Shelton’s name on the first night and Tim McGraw’s on the second. The company presented a different version of the show during its Boots in the Park festival in Tempe, Ariz., Sept. 22-23, with Shelton, Sam Hunt and Brooks & Dunn.
Similarly, Southern Entertainment held a drone show one night each at two different East Coast festivals: the Carolina Country Music Fest in Myrtle Beach, S.C., on June 9 and the Barefoot Country Music Festival in Wildwood, N.J., on June 18. They employed their own images — including a patriotic red, white and blue eagle — ahead of the direct-support act, with several visuals that hinted at income-generating possibilities.
At the Carolina event, organizers used the drones to announce one of the 2024 headliners, Morgan Wallen. They also created an in-air QR code for sponsor Selfie.Live, a Lee Brice-affiliated company that enables consumers to get celebrity autographs on their own digital photos. Six thousand of the 35,000 ticket holders downloaded the QR code, a number that impressed Southern Entertainment co-founder Bob Durkin. The QR code holds other possibilities, including guiding fans to the festival website to buy tickets for the next year’s show.
Additionally, the Carolina drone show included two giant beer bottles with Coors emblazoned on their virtual labels. The display was not monetized in 2023, though it’s easy to see how it could evolve into a source of advertising revenue.
“It was sort of an added value for our sponsor,” Durkin says. “They got to see their brand portrayed in a different way, and the greatest part was [Molson Coors chairman] Pete Coors was at the Carolina Country Music Fest. He said, ‘I’ve seen it all, but I haven’t seen that.’”
Drone shows, which Durkin says can range from $25,000 to $100,000, require significant advance work. Both Activated Events and Southern Entertainment booked outside drone production companies roughly nine months ahead of their festivals, allowing time to design the presentation and program each drone. Promoters also have to navigate local regulations, which can vary widely. Drones pose security risks, as well as potential safety problems — imagine a flying object losing its charge and falling out of the sky on top of an unsuspecting patron. That complication is one reason that some promoters are reticent to get involved in the drone business. But three of the four country festivals were held in beach communities, allowing the light display to take place over the water and away from pedestrians.
There’s also a fair amount of give-and-take between the promoter and the drone companies. The concert promoters suggested messages and images they would like to see during the show, and once the production company came back with an initial presentation, the two sides tweaked the lineup and sequence and were able to time out the event. At Activated Events, DJ Luwiss Luxx built a playlist to go with the light show once the display was scheduled out.
The overall mix of sights and sounds won over a captive audience as it marked time between acts, and led to a positive social-media response.
“In every email or text message that I got, it was ‘Oh, my god, that drone show was epic,’ ” Thacher says. “I had random people reach out on LinkedIn, literally saying, ‘Hey, I never do this, but I just have to tell you, not only was the experience great, but that drone show was absolutely amazing.’”
Both Thacher and Durkin plan to do it again next year, and they may get more bang for their programming buck since continued advancements will likely make it possible to incorporate more material in the same time frame.
“I know there’s a few country festivals in 2024 you will definitely see use it,” Durkin predicts. “It’s not a great big industry, so we all kind of know each other. And they’re all like, ‘Holy cow.’ You know, everybody’s trying to one-up one another.”
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