Dylan Scott’s “New Truck” has reached No. 10 on Hot Country Songs, and Scott teamed with Stoney Creek/BBR artist Jimmie Allen for the unifying “In Our Blood.”Ĭhairman/CEO, Universal Music Group Nashville In the country space, Lee Brice added to his list of Billboard No. 1 hits this past year with the Country Airplay chart-topper “Memory I Don’t Mess With.” Meanwhile, his song “One of Them Girls” was honored as song of the year during the country music celebrations held by performing rights organizations ASCAP, BMI and SESAC. As label acts like Carly Pearce and Thomas Rhett continue to log significant successes, Borchetta says, “I’m most proud of our more than ever aggressive stance with A&R and new signings.”Ĭhairman, Curb Records Word EntertainmentĬurb has continued having success in both the contemporary Christian and country genres. Vp of digital consumption, Big Machine Label Groupīig Machine Label Group has been on a signing spree, making deals with hot country upstarts Jackson Dean, Conner Smith, Kidd G (jointly signed with Rebel/Geffen), Tiera Kennedy, Mackenzie Carpenter, Abbey Cone and Shane Profitt over the past year. Read Billboard ‘s full profile on executive of the year Marion Kraft here.įounder/president/CEO, Big Machine Label Group chairman of labels, HYBE AmericaĬOO, Big Machine Label Group president of labels, HYBE AmericaĮxecutive vp of A&R, Big Machine Label GroupĮxecutive vp of label operations, Big Machine Label Group Plus, she throws a hell of a dance party.” ![]() She always sees the big picture and thinks strategically. “Marion has incredible natural instincts, and she also is a great listener and problem solver. “ ‘What would Marion do?’ is a question I ask myself pretty often,” says Red Light Management’s Harrington. All the while, she has become a mentor to and supporter of the next generation of female executives in country music, like Kerri Edwards (Luke Bryan, Cole Swindell), Janet Weir (Maren Morris) and Mary Hilliard Harrington (Dierks Bentley, Elle King). The company’s all-female staff now guides a roster that includes Ashley Monroe, Pistol Annies (the trio of Lambert, Monroe and Angaleena Presley), Tenille Townes and Aaron Raitiere. Since opening ShopKeeper 13 years ago, she has built a singular career anchored by her close to 20- year partnership with reigning Academy of Country Music (ACM) entertainer of the year Lambert. Today, “those meetings have changed dramatically,” says Kraft, 57, while sitting in the Nashville office of her company, ShopKeeper Management. But looking around at the group of managers and executives around her, Kraft was struck. “ was the master of making sure everyone felt part of it and we were all true partners with our record label,” Kraft recalls. Joe Galante, who ran the label at the time, wanted to update his artists and their managers on the state of the music business. Marion Kraft vividly recalls one meeting at Sony Nashville in 2007 - early in her days as a manager for then-rising star Miranda Lambert. ![]() Get stuck in below.Marion Kraft photographed on May 24, 2022 at ShopKeeper Management in Nashville. ![]() Well, Complex UK's music staff (and friends) have answered these questions, and more, by each picking five of their favourite music features from 2015. What was our favourite review? Which artist do we think gave the most interesting and enlightening interview? And, most importantly, which writer managed to spin a solid feature out of an uncomfortable semi-confrontation with an artist who just didn't like their face? From Medium and Tumblr to i-D and FACT, there's a lot of stuff out there that we might not cover ourselves, perhaps discussing topics outside of Complex's usual realm, and it is only right that we give it some props. Naturally, we cover stuff like best tracks of the year and pick out a list of artists we think will conquer their year ahead, but we also thought it would be interesting to look back on the year in music journalism.Īs all good writers should, we get our music news and info from a lot of different sources. Well, it's that time of year again when music journalists arm themselves to the teeth with their opinions and spend the best part of a month shouting down their colleagues and thrusting their assessments on to their readers.
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