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As Big Loud Records experiences global successes with its artists, the Nashville-based label is expanding its footprint by opening offices in Australia and the United Kingdom and bolstering its presence in its Toronto office, which opened in 2015.
Big Loud senior vp of global marketing and strategy Brianne Deslippe will oversee the effort. Reporting to her will be newly named label managers Cayleigh Shepherd in London, who joins from U.K.-based imprint Snakefarm Records; and Johnno Keetels in Brisbane, Australia, where he most recently worked in Universal Music Australia’s media and editorial department. Meanwhile, Toronto-based employee Justin Clark rises from international coordinator to manager of national promotion/associate label manager.
“We started in year one with our Canadian office, and it has been a long-term goal of ours to have direct Big Loud representation in both Australia and the U.K.,” Big Loud CEO Seth England tells Billboard. “We waited for the best strategic time, but now makes the most sense with how we’ve grown as a company. We continue to keep an eye on other emerging markets as well.”
Deslippe adds, “With 25-plus artists now across multiple imprints and genres, it was important for us to have strong voices on the front lines, finding opportunities and making connections for them around the world. Having key experts in the field will be a valuable resource for our wider teams, staff and managers as well.”
Over the last few years, Big Loud has ramped up its global presence with artists including Morgan Wallen, HARDY, ERNEST, Hailey Whitters, MacKenzie Porter, Stephen Wilson Jr., Lauren Alaina and Griffen Palmer all playing dates outside the United States.
Cayleigh Shepherd
Courtesy Photo
A number of Big Loud artists are experiencing faster gains globally as they build domestically, including a handful of Canadian artists that label has signed.
“[MacKenzie] had multiple No. 1s in Canada and Australia before breaking through in the U.S.,” notes Deslippe of the Medicine Hat, Canada native. “Ashley Cooke, Hailey Whitters, and MacKenzie have also made inroads in the U.K. over the past 18 months, playing C2C Festival and receiving mainstream radio, press, and DSP support. Stephen Wilson Jr. has done four U.K. visits in the past year. Morgan, HARDY and ERNEST did a sold-out run this spring in Australia/New Zealand, and Morgan celebrated his first #1 ARIA album and single while we were in market. [Canadian artist] Dallas Smith continues to break every country record in Canada and will also spend more time in the U.S. during this next album cycle.”
Big Loud may sign artists specifically for release in Australia and the United Kingdom, but England adds, “It needs to be fantastic, something we love and where we see growth.”
Johnno Keetels
Courtesy Photo
While Big Loud has a global partnership with Republic/UMG for Wallen and Lily Rose, the rest of its releases are distributed internationally by Stem. This move will enhance the label’s strength in Australia and England, where they have also relied on third parties to help promote their artists.
With leaders in place in the three territories, Deslippe says Big Loud will continue to scale up as needed. “There is so much growth potential in these markets, I feel like we’ve just scratched the surface,” she says. “For a long time, I was the only international team member having moved to Nashville from Canada, but I’ve always been made to feel like a valued member of the core team. I’m excited to pay this sentiment forward and invite some more unique and different voices to the table.”
England says he’s taking a page from music executive Clive Calder, who in the ‘80s and ‘90s built Jive Records into an independent powerhouse before selling it to Bertelsmann Music Group in 2002.
Justin Clark
James Ramsay / skytography
“[Calder] expanded internationally and made it to where all their records were being worked globally by them,” England says. “And Jive, to my understanding, was the last great label who did this level of international expansion as an independent. And you know it’s no secret we’ve been a fan of studying those who have come before us.”
He also hints that there’s more to come with more partnerships down the road. “That’s why getting these international pipes, if you will, set up now, has never been more important or timelier for us,” England says. “This is the next logical step; be ready for the ones to come and stay prepared for the ones we have.”
Country music is hot right now, and Drake Milligan looks like a guy who’s making a real fist of it.
On Wednesday night (Sept. 13), the season 17 alum made his return to the America’s Got Talent stage, stared down the barrel of the camera and delivered a performance of “I Got A Problem,” an original song.
Wearing a white denim jacket with a red bandana, and wielding an acoustic guitar, Milligan’s performance was confident, polished. Slick even. He appeared right at home under the bright lights, a year on from his AGT podium finish.
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Hailing from Fort Worth, Texas, Milligan has quite the story to tell. He cut his showbiz teeth as an Elvis impersonator and enjoyed a deep run in the 2022 season, finishing third and placing top among all singers.
He followed his AGT stint the release of a 14-song collection, Dallas/Fort Worth, which features Milligan’s writer’s credit on every track. Billboard described the LP as “a steady mix of laid-back, ‘90s Strait inspired come-ons including ‘Save It For a Sunny Day’ and ‘Hating Everything She Tries On,’ the barroom burner ‘Tippin’ Point’ and ‘Long Haul,’ which finds Milligan incorporating an Elvis-esque vocal swagger.”
Earlier this year, Milligan and several members of his band were injured when his touring van crashed into a concrete median in the Lone Star State.
Based on his latest AGT appearance, Milligan has made a resounding recovery. The audience loved it, so too the did the four judges. At the end of the performance, everyone in the room was on their feet.
“Amazing, amazing, amazing, amazing,” was Simon Cowell’s initial response. Milligan is on the way to becoming a superstar, the Brit reckons. “That was amazing.” Cowell was adamant that AGT addicts haven’t seen the last of the crooner. Milligan, he hinted, might even find a spot in one of the upcoming all-star AGT spin-off series.
For the record, America’s votes were tallied, season 18 contestants Anna DeGuzman and Chibi Unity were saved. They progress through to the semis, alongside previously announced competitors Adrian Stoica & Hurricane, Lavender Darcangelo, Ahren Belisle, Murmuration, Mzansi Youth Choir and Putri Ariani.
Watch Milligan’s performance below.
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“Question the Universe” is a strange title for a song. It’s fairly abstract, doesn’t roll off the tongue and doesn’t sound like it rhymes with anything in a comfortable, singable way.
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But it sure fits independent artist Teddy Robb. He had a near-miss on a relationship, meeting a woman he thought was his soul mate just days before she moved to Los Angeles to live with her boyfriend. He had a near-miss on a songwriting opportunity when Old Dominion guitarist Brad Tursi started — and finished — a song about Robb’s almost-relationship before Robb had arrived for a writing appointment. And Robb had yet another near-miss when the song came along shortly after he lost his recording deal with Monument and had no label that would issue it.
All of that gives real perspective to the “Question the Universe” title. Robb struggled to find any meaning in the series of events, and his performance of the current release is heartbreakingly convincing.
“The emotion of it is so raw that when I’m singing it, it kind of takes me right back to that moment,” he says.
That moment was St. Patrick’s Day 2022. Robb met Leah Lawson, a former Miss South Carolina, at Nashville club Red Door, where the green beer was flowing. They had an instant, undefined connection and ended up talking and partying for much of the night. “It really started off the very first night, very platonic, just like friends,” he remembers. “There was sparks, but [she] was very up front: ‘I have a boyfriend. I’m going to L.A.’ ”
During the evening, they ran into Tursi, and the party expanded. “We hung out that night, and everyone kind of slept over at my house,” recalls Tursi. “We just stayed up late and indulged ourselves in music and all the other things you can indulge yourself with, and then I guess the next day, they’d really fallen for each other.”
Lawson and Robb met up daily during her final days in Nashville, and he admittedly tried to get her to stay. She insisted on sticking with her California boyfriend, and Tursi watched Robb experience torturously teasing circumstances. Robb planned a co-writing session at Tursi’s house, and before it commenced, Tursi sat down at a piano that he had recently purchased.
“I don’t really know how to play it that well,” Tursi says. “Accidents can happen, which makes it more inspiring sometimes.”
Tursi stumbled across some melancholy chords and began recounting Robb’s heartbreaking tale with conversational, out-of-meter lines about meeting over drinks and forming a seemingly doomed connection. It eased into an aching chorus melody that accompanied an accurate summation — “Right person, wrong time” — with the singer adhering more closely to the beat for singalong ease, even as he reveals his anger toward God. Tursi didn’t know where he was going until he reached the chorus’ final line: “It’s shit like this makes me question the universe.”
Musically, that chorus started on a two-minor chord — an unsettled sound that the listener intuitively hopes will resolve. The entire eight-line stanza dodges root-chord finality, though, until the last line, wrapping itself in the situation’s inherent frustration. “It’s hard to accept that, [when] you actually like the person and there’s seemingly some insurmountable obstacles in your way,” says Tursi. “The chorus definitely feels that.”
He kept going with it and finished “Question the Universe,” then texted it to Robb, who was en route for the co-write when it appeared on his phone. Surprisingly, he wasn’t at all bothered that he had missed out on crafting it.
“I was flattered because it was so accurate — Brad paid attention so well to our story,” Robb says. “I mean, I’m still a kid from Akron [Ohio] who moved to Nashville to write songs and play country music, and to find out a guy wrote a song about you … I still have those kinds of moments.”
On March 25, following a send-off dinner for Lawson, Tursi played “Universe” for the ill-fated couple on piano at his house, reflecting their turmoil back to them even as they lived it out. Tursi stealthily whispered to Lawson that he knew she was gone for good.
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Indeed, when she reached California, Robb told her not to call him again unless she moved back. But he decided he needed to record “Question the Universe.” Following the rules hadn’t necessarily paid off, and “Universe,” he felt, broke a bunch. “It starts with the title, ‘Question the Universe,’ ” he says.
It’s definitely outside the norm for country music, as are the melancholy chords, its piano foundation and its ballad tempo. But the differences are what make it stand out, as it did when producer Pete Good (Brandon Ratcliff, Alana Springsteen) reviewed a bundle of songs that Robb presented him. “When he played that, I was just like, ‘Holy crap, what is this?’” recalls Good. “It doesn’t sound like anything else. It’s a one-of-a-kind song.”
They recorded it on July 22, 2022 — four months after it had been written — at Good’s Stone Jag Studio with drummer Evan Hutchings, bassist Craig Young, guitarist Sol Philcox-Littlefield and pianist Alex Wright. The team agreed with Robb that they should break some rules with it.
“We knew that with this song in particular, we could take liberties,” Good explains. “It felt like it needed to be kind of dreamy, atmospheric, surreal — whatever word you want to use — and then we wanted to kind of crescendo toward the end of the song as well, where it just got more intense as it went on.”
Hutchings’ drum part felt sluggish — appropriate support for a depressed protagonist — and Philcox-Littlefield created a swath of razor-like sounds with a spacey vibe — “We’re talking about the universe here,” says Good — and a sitar-ish guitar break. As much as 90% of Robb’s final vocal came from his performance with the band as he relived every ounce of the pain in Lawson’s departure. It was so personal that he delivered even the difficult, out-of-meter sections with conviction.
“It stretched me vocally,” Robb says. “I just tried to do my best to sing what I was feeling, and so that’s probably why it feels like it pushes and pulls, as far as the meter goes. [The feeling’s] important when you’re telling a story like that.”
Good brought Sarah Buxton in to handle background vocals, and the sections where she sings unison octaves are particularly haunting. “It sounds like another person in a song versus a cast of people,” notes Good. “I wanted it to feel a little bit more like there’s an actual, singular female in the song with Teddy. It feels more intimate.”
Robb released it independently on April 20 with Gator Michaels Consulting. After Cumulus expressed some interest in playing it, Robb overdubbed a clean hook line — “Shit like this” became “Things like this” — and released it to radio on July 28 via PlayMPE.
The developments are making Robb more optimistic about his career path. And there’s a postscript regarding Lawson, too: A little more than a week into her time in Los Angeles, she realized it hadn’t been the right move. She returned to Nashville, pursued the relationship with Robb, and the two are now engaged. He has fewer questions for the universe than he did in March 2022.
“I think it takes heartbreak in this town,” he says, “to prepare you for the really good stuff.”
Like so many country artists, Carrie Underwood has an undeniable love for Las Vegas — so much so, that the current CMA entertainer of the year nominee is extending her show, Reflection: The Las Vegas Residency, adding 18 new shows in 2024.
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Underwood will perform at six new residency dates in March, five new dates in May, one new date on June 1, and six new dates in August. Tickets and a limited number of VIP packages and upgrades to this new set of performances at the 5,000-seat capacity theatre will go on sale to the public on Monday, Sept. 18, at 10 a.m. PST. For more information, click here.
“Performing live for an audience is my favorite part of what I do, and I love the idea of giving the audience a show and not just a concert,” Underwood previously told Billboard. “We can do things in this production we aren’t able to do out on the road.”
Underwood launched the 2023 run of her residency in June, after the conclusion of her 43-city headlining Denim & Rhinestones Tour earlier this year.
In comparing touring with residency shows, Underwood told Billboard, “I have always loved touring and coming to the fans where they are, but it’s great to be in one place and get to perform for audiences from all over the world who are all coming to a city like Vegas to have a great time.”
In the meantime, Underwood is gearing up for the release of the deluxe edition of Denim & Rhinestones on Sept. 22. The project features six new songs, including her current country radio single, “Out of That Truck.”
Recently, Underwood also continued her long-held affinity for rock n’ roll, when she opened a trio of concerts for Guns N’ Roses’ tour, including a stop at Nashville’s GEODIS Park.
The Country Music Association has announced the nominees for the 2023 CMA International Awards. The awards, which encompass six categories – two for artists and four for industry players – honor those who have impacted the growth of country music in the international marketplace.
Luke Combs, Kip Moore and Morgan Wallen are vying for the International Artist Achievement Award, which recognizes outstanding achievement by a U.S.-based artist who has demonstrated the most significant creative growth, development and promotion of the country music industry outside of the U.S. during the eligibility period.
“As we continue to see country music grow globally, it is thanks in large part to those who have supported our mission and spearheaded events, initiatives and programming to reach new territories around the world,” Sarah Trahern, CMA CEO said in a statement. “The dedication from each of these nominees has made them a vital part of the success of our genre internationally, and we cannot wait to celebrate them in the coming months.”
This year’s nominees hail from Australia, Canada, Germany, New Zealand, Scotland, South Africa, Sweden, the U.K. and the U.S.
Nominees are voted on by international members of CMA along with a select panel of U.S.-based professionals who have knowledge in the international country music industry. Voting is open now through Thursday, Sept. 28. Winners will be announced later this year.
Here’s a complete list of nominees:
International Artist Achievement Award
This award recognizes outstanding achievement by a U.S.-based artist who has demonstrated the most significant creative growth, development and promotion of the country music industry outside of the U.S. during the eligibility period.
Luke Combs
Kip Moore
Morgan Wallen
Jeff Walker Global Country Artist Award
This award recognizes outstanding achievements by a country music artist signed outside of the U.S. The artist must have furthered the popularity of country music as well as brought attention to the country music format in their foreign-based territory.
Casey Barnes (Australia)
Kaylee Bell (New Zealand)
Tebey (Canada)
Jo Walker Meador International Award
This award recognizes outstanding achievement by an individual in advocating and supporting country music’s marketing development in territories outside the U.S.
Jon Cauwood (U.K. – music consultant)
Sina Hall (Germany – Semmel Concerts)
Natalie Waller (Australia – ABC Music)
Rob Potts International Live Music Advancement Award
This award recognizes outstanding achievements by an individual who has made important contributions to the live music industry by extending performance opportunities and building live audiences for country music outside of the U.S.
Susan Heymann (Australia – Frontier Touring)
Anna-Sophie Mertens (U.K. – Live Nation)
Ron Sakamoto (Canada – Gold and Gold Productions, LTD.)
Neil Warnock, MBE (U.K. – United Talent Agency)
Wesley Rose International Media Achievement Award
This award recognizes outstanding achievements in the media as they relate to country music outside of the U.S.
Jill Johnson (Sweden – ‘Jills Veranda’ SVT)
Ross Jones (U.K. – Holler)
Richard Murdoch (Scotland – BBC Radio)
Dayna Bourgoin (Canada – Pure Country Radio, iHeart Radio)
International Country Broadcaster Award
This award recognizes outstanding achievement by a radio broadcaster or syndicated radio reporter outside the U.S. who has made important contributions for the development of country music in his/her country.
Stefanie Jüneman (Germany – FM Maximum Roc)
Joakim Richardson (Sweden – Go Country)
Ricky Ross (U.K. – BBC Radio Scotland)
Justin Thomson (Australia – KIX Country)
Wimpie van der Sandt (South Africa – Bok Radio)
Triple Tigers, the Nashville-based label home to chart-topping country artists Scotty McCreery and Russell Dickerson, has named Kevin Herring and Annie Ortmeier co-presidents, while former president Norbert Nix has left the company.
Herring had served as the label’s senior vp of radio promotion. Ortmeier joins from Universal Music Group Nashville where she was senior vp of streaming marketing. They will report to George Couri, Triple Tigers co-founder and Triple 8 Management co-founder. The moves align with Triple Tigers’ focus on terrestrial radio and digital media, such as streaming and social platforms.
“Triple Tigers 2.0 is here,” Couri said in a statement. “I look forward to stepping into a more active role, as well as having Kevin and Annie form a dual attack in the worlds of both radio and streaming & digital. Kevin’s radio singles batting average here is unmatched in the industry, and Annie comes from leading streaming and digital strategies at the biggest label in the business. With our company intentionally focused on maintaining a very small group of artists who benefit from dedicated attention, there will be tremendous impact on our roster.”
Launched in 2016 as a joint venture between Thirty Tigers, Sony Music Entertainment-owned distributor The Orchard and Couri’s Triple 8 Management (whose clients include McCreery, Eli Young Band and Corey Kent), the label has had tremendous success right from the start with McCreery’s first five singles and Dickerson’s first four singles going to No. 1 on Billboard’s Country Airplay chart. Dickerson’s current single, “God Gave Me a Girl,” is bulleted at No. 11 on the chart, while McCreery’s new single, “Cab in a Solo,” is bulleted at No. 40. Jordan Fletcher is also on the boutique roster. Couri is now Triple Tigers’ remaining managing partner.
A representative declined to comment on whether Triple Tigers co-founder David Macias had sold his stake in the company.
“I am very proud and honored to be entrusted with a leadership role at Triple Tigers,” said Herring, in a statement. “This is an amazing group of people and artists who are dedicated to making world class country music and lifting up the artists, songwriters, format and community.”
Ortmeier added, “I am excited to be joining George, Kevin and the team at Triple Tigers. I have admired Triple Tigers and the incredible success they have had thus far and am looking forward to being able to build upon that success with Scotty, Russell, Jordan and the team!”
Nix, who was also a partner in the label, is set to launch VISCYRL, a new artist development company in partnership with the Orchard. He leaves with fond memories. “It was us against the world. A David vs. Goliath story,” he says. “The most exciting thing for me was being able to bring in this team of people who were dedicated to the music and understood the vision. We came out of the chute with a string of No. 1 singles. It was an honor to lead that group of people.”
Luke Bryan is set to host and executive-produce an upcoming, six-episode Hulu docuseries titled It’s All Country, which will examine “the iconic songs and artists that changed the face of country music forever,” according to a release. A release date for the docuseries has not yet been revealed. Executive-producing the series alongside Bryan will be […]
Oliver Anthony is standing firm on affordable ticket prices.
The singer had a disagreement with a Knoxville, Tenn., music bar called Cotton Eyed Joe, where he was scheduled to perform later this month, leading to the show getting canceled and the the venue expressing some choice words on social media.
Ticket prices were listed at $99, and a meet and greet costed $199, which upset Anthony, who recorded a video posted to Instagram to deter fans from paying that price. “I had to pull off on the side of the road and make this video. My adrenaline’s pumping, man,” he says in the clip. He continued in the caption, “Don’t buy $90 Cotton Eyed Joe tickets or $200 for a meet and greet. That’s not acceptable. Just saw the Facebook post and lost my s—. Miscommunication with my friend booking shows and I. My shows should never cost more than $40, ideally no more than $25. Hell, out of the 4 shows we have currently done, 2 of them have been completely free. This will get straightened out tonight. Hold off on buying tickets for now.”
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However, Cotton Eyed Joe took to Facebook to explain that Anthony had agreed to play a 60-minute set at the Knoxville bar for $120,000, which would allow the bar to “break even and bring our customers a show we thought would be fun.” The bar then added a bit of shade by referencing Anthony’s Hot 100 chart topper, concluding their message: “To our talent agency and promotor friends that follow us… be careful booking the North Man of Richmond.”
See the post here.
“I am not pointing fingers at Cotton Eyed Joe, I don’t know where the miscommunication took place. I’m just upset seeing those prices,” Anthony responded on Facebook, adding that he’ll be more involved in upcoming bookings.
The 31-year-old’s breakout viral hit “Rich Men North of Richmond” unexpectedly debuted at No. 1 on the Billboard Hot 100 songs chart. Among other chart achievements for the singer-songwriter, he’s the first artist ever to launch atop the list with no prior chart history in any form. His success story began when a now-viral video of Anthony, posted by radiowv, began circulating around the Internet, showing the singer offering an acoustic performance of “Rich Men North of Richmond,” vocalizing the pain and angst of the working class at the hands of greedy rich men. The song takes on high taxes, abuse of welfare and selfish politicians.
Congratulations are in order for Grammy-winning country star Hank Williams Jr. On Monday, via his official Facebook page, the singer-songwriter announced that he tied the knot.
“Please congratulate Mr. And Mrs. Hank Williams Jr!” the post reads. “Hank and Brandi were married on Sept 9, 2023 at Enon Baptist Church in Banks, Alabama in front of a small group of family and friends. A reception followed at Kendall Hall in Troy, Alabama. They had gotten engaged earlier this year on Mothers Day. The bride and groom have known each other and been friends since 2003.”
This is the fourth marriage for Williams. He was married to Gwen Yeargain from 1971-1977 and to Becky White from 1977-1983. In March 2022, Mary Jane Thomas, Williams’ third wife, unexpectedly died. According to People, the autopsy listed Thomas’ cause of death as “pneumothorax due to perforated parietal pleura during liposuction with autologous fat reinjection procedure.”
“38 wonderful years she gave me. Her kind spirit and beautiful and endearing love carries on in the hearts of our son, Sam, grandsons Beau and Tennyson, and granddaughter Audrey Jane,” Williams wrote on Instagram weeks after her death. “Of course, she will be missed and loved by so many forever.”
On Tuesday (Sept. 12), Williams posted a wedding picture of Brandi and himself with the caption “Mr. and Mrs. Hank Williams Jr.” He limited the comments on both his Instagram and Facebook posts.
Last year, Williams Jr. released Rich White Honky Blues, a Dan Auerbach-produced album of blues covers and original tracks.
Hank Williams Jr. has earned three entries on the Billboard Hot 100: 1964’s “Long Gone Lonesome Blues” (No. 67) and “Endless Sleep” (No. 90), as well as 2000’s “A Country Boy Can Survive” (No. 75, with Chad Brock & George Jones). On the Billboard 200, he has notched 39 career entries, reaching as high as No. 12 with 2012’s Old School New Rules. He’s the son of Hank Williams, one of the most celebrated country singer-songwriters in American history.
Click here to see Hank Williams Jr.’s wedding pictures and check out his big announcement here:
A trio of songs from Olivia Rodrigo’s new album Guts top Billboard’s Hot Trending Songs chart, powered by X, for Sept. 16, paced by “The Grudge” at No. 1. Billboard’s Hot Trending charts, powered by X, track global music-related trends and conversations in real-time across X, viewable over either the last 24 hours or past […]