The Fall 2023 Print Special by Country Aircheck

THE INTERVIEW

Who's That Man?

Toby Hits

Heartland Hollywood

JOHNNY CHIANG OCTOBER 2023

The R&R dynamic ... no, not the old Radio & Records (R.I.P.) – the trade publication from whence Country Aircheck was birthed – but rather the unique, longstanding relationship between record labels and radio stations ... is shifting. Personal interaction between artists, promotion reps and broadcasters seems to be on the decline. Bottom line results are paramount, but is there risk in allowing the tangible and intangible benefits of country’s community to recede? Recent realignment at major labels – Warner Music Nashville’s shift to a Radio and Radio Accounts department structure, and Sony Music Nashville’s shuttering of Arista/Nashville – belie the notion of diminished investment in promotion. Neither move resulted in significant changes in head count, and analysis of industrywide promotion staffs (see page 4) also confirms relative stability. That said, buoyed by streaming and other revenue sources, labels are growing and investing in areas other than radio. “The music industry is extremely healthy,” says Consultant Joel Raab Joel Raab. “You don’t see them laying off people. If anything, they’re adding because they’re making so much money from streaming. Certainly way more than the artists are, so they’re doing fine.” Big Machine GM Clay Hunnicutt says changes in label focus have been additive. “I don’t think we’ve Clay Hunnicutt subtracted anything,” he argues. “We continue to do the things we’ve always done, but it’s also important for DSPs to see artists as well.” “The landscape has changed and to expect otherwise is to be behind the curve,” says Broken Bow VP/Promotion Lee Adams. Still, doomsday has been coming for a long time. “When I joined the record side from radio in 1995, I was told record promotion had about 10 years left as radio consolidation would render us Lee Adams unnecessary. Fast forward to 2005, we

launched Jason Aldean at CRS with Country radio. Fast forward again to 2019, we launched Lainey Wilson with a radio tour. Ask any new artist what their top dream is and it’s to hear their song on the radio.” “In the 1950s, airplay was decided by individual DJs,” says Townsquare SVP/Content & Programming Kurt Johnson. “That changed as the business grew into a huge industry – decisions were made by music directors, program directors, OMs and corporate programmers. The labels and artist camps that are investing in building relationships at radio deﬁnitely have the competitive advantage for getting their artist up the ranks. That was true in Joe Kurt Johnson Galante’s RCA days and it’s true now.” Even deeply connected programmers in top markets see a diﬀerence, however. “Everybody feels it because we’re all doing more with less,” says Audacy Regional Brand Mgr. Marci Braun. “I still think we are far superior to any other radio format because we’re so hands-on Marci Braun with artists and fans. I don’t think that has changed at all. We have the nicest, best and most tangible artists – they’re not untouchable.” Most of the time.

awesome, but that’s bananas.” Valory President George Briner points to strategic changes. “Before Covid with a brand new artist, you’d hit 100 stations before the single came out,” he says. “Now, it’s not about how many stations, but which people you George Briner reach. It’s quality over quantity. There are still opportunities to visit radio, but also for artists to tailgate with fans before a show, use social media to meet them at Starbucks on an oﬀ day or play a local bar after the show.” Albright & O’Malley & Brenner Consultant Kenny Jay calls the radio Kenny Jay tour evolution “long overdue” and points to ways stations are changing those visits into events. “Labels should capitalize on the opportunities where radio has given artists a stage and an audience of engaged P1 listeners for discovery,” he says. “If you’re in radio and aren’t doing that, there’s a new goal for 2024.” Events have leveled up in the eyes of Sony Music Nashville EVP/Promotion & Artist Development Steve Hodges. “We’re not doing full-blown radio Steve Hodges tours,” he says. “Nor are we doing as many radio shows, but those have gotten better. Radio is doing a much better job realizing the old ways have changed. Most of them have skin in the game, trying to impress clients, so they’re much more thoughtful in how they execute those shows.” And the post-Covid touring rebound is also a chance for radio and records to deepen their connection. “There’s even more of a fever pitch at radio around tours and taking advantage of those opportunities in each market,” Hunnicutt says. “That’s not just about building relationships with the radio station, but building relationships with fans. That’s a two-for-one.”

High Tech Rednecks

Chart of The Matter

Walled oﬀ by screens during the pandemic, the interaction between radio and labels adapted. “We don’t have to sit for mindless hours in meetings, which is good, but it did stick a knife in the radio tour, which sucks,” Braun says. “I remember Taylor Swift being in our conference room – Miranda Lambert, Sugarland, Sam Hunt. I would always tell the salespeople, ‘You never know who they’re going to turn into.’ I miss the stories, breaking bread, having a couple drinks and getting to know each other. For example, outside of shaking his hand in the pit of a Kenny Chesney show, I never met Bailey Zimmerman and he has a No. 1 song. He’s

Words like “community” and “relationship” may feel good, but the old adage still applies: It ain’t “show friends,” it’s “show business.” Ultimately, the reason for connecting artists with radio is about the needles artists want moved. “This problem is somewhat selfinduced by having too few people being inﬂuential in what does or doesn’t become a chart hit,” Raab says. “It’s always smart business to develop and maintain great relationships,” Jay adds, “but if I were running a label today, I’d be focused on major markets and any size market with control of their playlist. That’s smart business.”

PAGE 3 • OCTOBER 2023

Changes to awards remotes might be as much about KSOP/Salt Lake City PD Deb Turpin is sympathetic efficiency as cost. “It’s really helpful that groups can to labels. “I’m not a promo person, but it has to feel gather content and distribute internally so artists don’t frustrating sometimes to culture a have to do 20 interviews with 20 stations,” Hunnicutt relationship with a programmer that says. “They can do five and cover a lot more ground has no say in what they add,” she across iHeart, Cumulus and Audacy. “There are still says, adding the effort is not wasted. individual stations you have to cover, but radio and DSPs “If the playlist is coming from out have a done a great job with content days for artists. of state and the PD has no power That’s one area where technology and the business have to do anything with the music, that Deb Turpin changed for the better.” might feel pointless, but it’s probably not. Organically introducing your artist to a group of broadcasters can’t be bad.” Even in large companies, decision making can be Which Men North diffuse. “I send a recommended list each week, but it of Which What? is not, ‘You must play these 24 songs,’” says Cumulus To whatever extent the label-radio connection may VP/Country Charlie Cook. “If the be challenged, answering it may start with broadcasters situation in your market dictates playing to their strengths. “Radio is the connection playing a different song or artist, you between artists and their listeners,” Cook says. “If have every right to do that. So when a Thomas Rhett, Cole Swindell and Nate Smith are playing label says to me, ‘Someone in one of Bridgestone, you hear about it on [the radio], not your markets wants to play a song not Spotify. Unless I’m missing something.” on the list,’ my answer is, ‘Well then And those listeners aren’t necessarily being reached call them and convince them to play Charlie Cook elsewhere. “We know from the research, even this Oliver it. I’m not doing your job, too.’” Anthony song, which wasn’t played on radio that much, Centralized programming exists, but efforts to was pretty unfamiliar to that audience in spite of all the connect with radio have transcended record companies. publicity,” Raab says. “So Country radio’s impact is still “There are big radio companies where you can talk pretty [singular] relative to other media. To what degree about multiple stations with one person,” admits iHeart/ it remains that way is kind of up to us.” Minneapolis SVPP Gregg Swedberg. “In a world with 100+ artists looking for radio play, “And management companies are radio needs to understand that our shelf space means smarter and have their own radio something,” Swedberg says. “We need to use it to make teams who cover shows, make calls and sure our audience knows what we do and stand for. I’d extend relationships. This trend seems like us to be able to express that to the labels, and find like a good idea to me.” what assets they can apply to help us so that we can Radio’s newfound ability to move help them. But the pendulum is swinging away from radio. It’s important for us to be the local connection Gregg Swedberg quickly outside of the longstanding airplay slotting system may be a positive for country music.” indication of its influence. “It’s good that songs like ‘Fast Broadcasters have also prioritized relationships with Car’ and ‘Last Night’ that weren’t originally intended to Nashville. “Radio companies and DSPs have done a great be singles are breaking through,” Raab points out. “Radio job bringing their people together so labels can reach a heard the value and basically forced lot of them at one time,” Hunnicutt them to be singles. I’d love to see says, pointing to regular summits more of that.” Smiling and Dialing by iHeart, Audacy and Beasley. Meanwhile, traditional Number of promotion staffers “And we’re more strategic on the regional-meets-station-staff working charted records, by year. road, as well. When Carly Pearce relationships still work at exposing played Boston, we had radio people new music. “My reps are still from Portland and Hartford there. really good at making sure this The tech doesn’t replace that onehappens,” Turpin says. “They to-one personal relationship.” help us create fan moments with Explaining that reality has to be on-air contesting, meet-and-greets, a priority, Jay notes, “New artists phoners and more. If nobody was know that radio can be a big key doing that, we would lose a lot.” to their success, but as their media “The relationships make things usage evolves, it’s on radio to more happen,” Braun agrees. “If we put effectively control their narrative on a concert series and sell a bunch and demonstrate their (still of sponsorships, that makes money. powerful) place in the ecosystem.” But I can’t get those acts without And, crucially, radio must being able to get on the phone with actually hold that place. “We want labels and now even managers. to be a one-stop for the country Those touch points are important.” music fan to hear the best curated music and have access to artists via shows, social media, meet-andCR ... Maybe? greets and other experiences,” Arguably the core of Raab says. “This is something we relationship building in the excel at. Hopefully that remains format is Country Radio Seminar. meaningful, whether it can be oneMeanwhile, awards show radio to-one proven on the bottom line remotes – once as much schmoozeor not.” fest as content grab – continue to contract. “This time of year, a lot of PDs are asking me about budgets The The Parent Parent Trap Trap and if CRS is a valuable way to And therein lies the rub. As spend money,” Cook says. “It’s a much as people from outside the $2,500 to $3,000 expense, which is format marvel at the relationships tough to sell to a market manager in Country, convincing corporate in today’s financial environment. overseers of the value proposition Radio remotes can be passed behind expensive and time off to a sponsor to some degree, consuming “relationship building” is the trick. but there’s no way you can get somebody to sponsor “If you’re looking for a direct payoff on something somebody drinking too much for three days.” you invest time and money on, you’re probably in “CRS is more than four days of fun, though it is fun,” the wrong business,” Hodges says. “We are building Braun argues. “You learn so much and meet so many this for artists so they can have long careers. Measure people. My Pop counterpart down the hall can’t pick up twice, cut once. Every time you earmark funds, do the phone and have those conversations as easily. And it for the right reason. It may not lead to immediate that goes both ways – from the label side when they ROI, but if you do it for the right reasons then you’re need airplay, and from radio’s. The [ROI] might not be building something. The payoff may not be tomorrow immediate, but it’s there.” or next week, but if we do right by the artists and “I don’t know if you can quantify it,” Raab says. music the payoff will come.” “There is some danger of that special relationship Even on an individual level, embracing the being diminished. Many of the labels are run by large intangible can be worth it. “You want to feel you got a corporations, so they’re going to acquiesce to the good return on your investment, whether it’s a company bottom line.” paying or an individual,” Hunnicutt says. “I’ve invested Briner says the arrow is pointing the right direction. in my career many times where the company didn’t pay. “CRS attendance has come back up since the pandemic. You do it to learn, network, increase your resources or It’s the premier event and all-encompassing now with gather content if that’s applicable. You get out of it what DSPs and radio, and labels presenting their top wares. you put into it.” Hopefully they change the title some day because it’s That goes for people, as well. “You never know who will not just for radio. If you’re going to spend money on end up in the ‘captain’s chair,’ or have more freedom to add anything, that’s the one to attend.” new music in the future,” Turpin says. “So it is still a good “What other genre has an annual seminar with idea to network with as many [broadcasters] as possible.” 1,500 artists, radio, managers, labels for three days?” And don’t forget the big picture. “Because we Johnson asks. “What other genre has two vigorous trade are a songwriter, publisher, entertainment-driven organizations in CMA and ACM? The mayor of Nashville community largely in one town, we still have something once proudly told me that there is no other city in the compelling no other format has,” Hodges says. “Artists world that has a neighborhood community dedicated still have special relationships with the people who to a commercial music genre. We remain the envy of program their music and, as long as we can continue other formats in many ways. As long as we as a Country to introduce and foster those relationships, it is to the community continue to support and invest our time and betterment of the format.” CAC resources in these organizations and events, we’re golden.”

2023: 184 2022: 199 2021: 194 2020: 193 2019: 203 2018: 191 2017: 182 2016: 169 2015: 186 2014: 166

PAGE 4 • OCTOBER 2023

Let’s

Stay in

Contacts Here are some radio promotion all-stars who have appeared in each of Country Aircheck’s annual Label Contacts guide, ﬁrst published in 2007.

Mercury SVP/Promotion Damon Moberly, who is celebrating his 25th anniversary with the label this month, was Northeast regional in 2007. RCA Dir./Promotion & Artist Development Dan Nelson has been with the label since 1998. SVP/Radio Kristen Williams celebrated 20 years with Warner Music Nashville in September. She was Midwest regional in 2007. Broken Bow VP/ Promotion Lee Adams joined that company in 2001, while Layna Bunt has been handling West Coast promotion there since 2002. Big Machine VP/Promotion & Marketing Erik Powell has been with the label since 2006, holding the position of Northeast regional in the ﬁrst edition of Label Contacts. Sony Music Nashville Dir./Promotion & Artist Development Bo Martinovich has been with the company since 1998, serving as Columbia Midwest regional in ‘07. Larry Santiago was Columbia’s West Coast rep at that time, before later moving to sister label RCA. MCA Nashville’s Dir./ Midwest Regional Promotion Donna Passuntino has been with that label since 2006. Mercury Dir./ Regional Promotion-Midwest Sally Angeli (née Green) has held various roles for the company since 2004. And Mercury Southwest regional Jill Brunett has been with the company since 2007, including time at pre-merger Capitol/Nashville.

TOBY KEITH CONGRATULATIONS ON 30 YEARS! 52 Top 10 Hits 32 #1s 40+ Million Albums Sold 100 Million Airplay Performances More than 10 Billion Streams

Heartland Hollywood Challenged daily by the dynamics of a business built around creativity, the reader-voted leaders featured in Country Aircheck’s annual Power 31 lists were given a similarly daunting assignment for this issue: RECAST A FAVORITE MOVIE WITH COUNTRY ARTISTS AND/OR INDUSTRY COLLEAGUES.

ARTISTS & MUSIC

AIRPLAY & EXPOSURE

Scott Borchetta Big Machine Label Group Chairman/CEO Ford vs. Ferrari with Carroll Shelby played by Kris Lamb, Ken Miles played by Tim McGraw, Mollie Miles played by Ashley Sidoti, Leo Beebe played by Brian Philips and Dan Gurney played by Rod Phillips (no relation). George Briner as Henry Ford, Enzo DiVincenzo as Enzo Ferrari, Jimmy Harnen as Lee Iococca, Clay Hunnicutt as Phil Remington and a pit crew made up of Chris Palmer, Erik Powell, Ryan Dokke, Tim Roberts, Jackie Tigue-Caldwell, Lois Lewis, Meg Ryan, Meg Stevens, Justin Chase, Justin Case, Justin Moore and Justin Ford. Soundtrack by The Cadillac Three and featuring Velvet Revolver’s “Big Machine,” Jan & Dean’s “Dead Man’s Curve” and the Beach Boys’ “409.”

Rod Phillips iHeartMedia EVP/Country Programming Strategy Game of Thrones. Gator Harrison revives the role of Jon Snow – he’s so pretty. Royce Risser as Ned: sorry ’bout the whole head chopping thing. Steve Hodges is Jamie Lanister. Sorry ’bout the whole sister thing. Gregg Swedberg as Tormund Giantband – Gregg with a beard. Jackie TigueCaldwell as Cersei Lanister; she will be the Queen of Music Row one day anyway. And Kristen Williams as Daenerys Targaryen, because she is far more vicious than she appears.

Stacy Blythe Big Loud SVP/Promotion I can’t get past the following casting of my favorite movie, Stepbrothers: Dale played by Morgan Wallen, Brennan played by Ernest, Brennan’s brother Derek played by Hardy, and Mom and Dad played by Brent Michaels and Meg Stevens. It should all be self-explanatory.

Seth England Big Loud Partner/CEO

Cris Lacy Warner Music Nashville Co-Chair/Co-President “Back To The Future” with Marty McFly: Bailey Zimmerman. Nobody moves faster! “Doc” Emmett Brown: Charlie Cook, the mad scientist of radio. Lorraine Baines-McFly: Madeline Edwards. She’s confident and knows what she wants. George McFly: Cole Swindell. Steady and a thinker. Biff Tannen: Blake Shelton. Have you seen the way he picks on Adam?! I also just want to hear him say “McFly!” Jennifer Parker: Ingrid Andress. She’s smart and takes it all in stride.

Charlie Cook Cumulus VP/Country The Godfather with Joe Galante as Vito Corleone (Marlon Brando) and Scott Borchetta as Michael Corleone (Al Pacino). Since he was named for the character, my dog Santino as Sonny Corleone (James Caan). Marci Braun as Kay Adams (Diane Keaton), Bill Catino as Clemenza (Richard S. Casatellano), Lon Helton as Tom Hayden (Robert Duvall) and Stacy Blythe as Connie Corleone Rizzi (Talia Shire).

PAGE 9 • OCTOBER 2023

ARTISTS & MUSIC

AIRPLAY & EXPOSURE

Jon Loba BMG/Nashville President We Are Marshall, because I love assembling teams of underdogs to fight for underdogs and/or those who might not be given a chance elsewhere. While the normal success metrics are of course important, just getting on the field and relentlessly pursuing a perceptually unattainable goal together is a worthy and meaningful endeavor. The cast would be Jack Lengyel (me), Nate Ruffin (JoJamie Hahr), Red Dawson (Lee Adams), Annie Cantrell (Katie Kerkover), President Dedmon (Ken Tucker), Paul Griffen (Scott Borchetta), Carol Dawson (Shelley Hargis) and Young Keith Morehouse (Adrian Michaels).

5 6 7

Cindy Mabe UMG/Nashville President

Randy Goodman Sony/Nashville Chairman/CEO

Ben Kline Warner Music Nashville Co-President “Toy Story” with, as Woody: Kenny Chesney. He’s the leader of his pack, and he loves his hat! Buzz: Shay Mooney – a voice that goes to inﬁnity and beyond. Jessie: Ashley McBryde – just a total badass. Slinky Dog: Ian Munsick, with that looong hair and distinct voice. Bo Peep: Gabby Barrett – levelheaded and kind-hearted. And as Mr. Potato Head: Kurt Johnson, for obvious reasons.

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Ken Robold Sony/Nashville EVP/COO

Michelle Tigard Kammerer Amazon Music Head/Country Since I’m a Kansas girl, I’m going with The Wizard of Oz! Kacey Musgraves as Dorothy, but instead of “Somewhere Over The Rainbow” she sings her incredible song “Rainbow,” which would ﬁt perfectly both lyrically and musically. Jelly Roll as the Lion with “Save Me” as his song, because it not only took courage to write and release, but connects with a deeper message of ﬁnding internal courage [while] not being afraid to ask for help. Breland as the Scarecrow – using the thoughtful lyrics and message in his song “Cross Country” would expand the character into a seeker of knowledge and acceptance for all. Tim McGraw as the Tin Man singing his full-of-heart “Humble And Kind,” truly transforming the character into what he wanted most … a human. And Dolly Parton as Glinda the Good Witch singing “I Will Always Love You.” Is there a better song for Glinda to sing to Dorothy?!

George Briner Valory President One of my favorite movies would have to be Planes, Trains & Automobiles. Del Griﬃth (John Candy) would be played by Jelly Roll. Neal Page (Steve Martin) would be played by Justin Moore, who really hates to ﬂy. Jon Pardi would be the State Trooper, and Ashley McBryde would be the car rental agent.

Ben Vaughn Warner/Chappell President/CEO Chris Stapleton’s voice as The Terminator. You can’t stop it, and he’ll “be back” with a jaw-dropping record this fall.

Craig Wiseman Big Loud Owner/Managing Partner

PAGE 10 • OCTOBER 2023

Tim Roberts Audacy VP/Country I’ll cast a Guardians of the Galaxy sequel, titled Guardians of the Opry with Morgan Wallen as Star-Lord, Luke Combs, of course, is Groot (“I am Luke”). Lainey Wilson is the perfect Gamora and Jelly Roll is Drax the Destroyer. I’ve got Carrie Underwood as Nebula, and … drum roll … as Rocket Raccoon I’m casting Joe “the Tweez” Carroll from Black River Entertainment.

Kristen Williams Warner Music Nashville SVP/Radio Every day I come to work, I’m entering the Animal House.

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Carson James BBRMG SVP/Promotion

Steve Hodges Sony Music EVP/Promotion & Artist Development The Wizard of Oz with Lauren “LT” Thomas as the redhead Dorothy, who solves everyone’s problems in the end. Mike Dungan as The Lion; come on, everyone can picture that big smile in your head, no problem. John Ettinger as The Scarecrow, always movin’ and shakin’ trying to ﬁgure it all out in his head. Miranda Lambert, the “Tin Man” – okay, that was too easy. And Bill Simmons as The Wizard; loveable Bill, always heading somewhere, not speciﬁcally in a hot air balloon, solving his clients’ issues.

Kurt Johnson Townsquare SVP/Content & Programming The Music Row production of the cinema classic Animal House has Alex Valentine as Flounder – “Oh boy! Is this great!!” Jimmy Harnen as Bluto – “Was it over when the Germans bombed Pearl Harbor?” Lon Helton as Dean Wormer – “Who dropped a whole truckload of fizzies into the varsity swim meet? Who delivered the medical school cadavers to the alumni dinner?” David Friedman as Otter – “I’ll be brief. The issue here is not whether we broke a few rules or took certain liberties, we did.” Michael Chase as Hoover – “They confiscated everything. Even the stuff we didn’t steal!” And Steve Hodges as Niedermeyer – “A p-pledge p-pin?!”

Bobby Bones The Bobby Bones Show Host

Marci Braun Audacy Regional Brand Mgr./Central Steel Magnolias with Katie Dean as Ouiser because, duh. Katie Neal as Clarice because she’s always cheerful and everyone loves her. Kristen Williams as M’Lynn; she’s always keeping everything and everyone in line. Elaina Smith as Shelby – Incredibly sweet, everyone also loves her but, sorry, you die *spoiler alert*! Dolly Parton as Truvy, because only Dolly can play Dolly’s roles. And Paisley Dunn as Annelle – she’s the new girl in town!

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Johnny Chiang Pandora/SiriusXM Sr. Dir./Country Programming

Gator Harrison iHeartMedia/Nashville SVP/Programming One of the greatest movies of all time for the greatest family I’ve ever been a part of: The Rodfather. iHeartCountry’s Rod Phillips being his best Brando as Vito, The Rodfather, directing this family of killers. Jackie Caldwell as Mama Corleone holding the family together with heart. A full cast of iHeartCountry PDs all playing Pacino’s part in mastering the maﬁa mission. The full Corleone Country Family is made up of the full Country music artist family, all with assassin talents and gifts given for the greater good of the Family. I’d likely be the horse’s head or more likely, its other end.

CLASS OF

ASHLEY COOKE

JACKSON DEAN

ERNEST

CHAPEL HART

COREY KENT

KAMERON MARLOWE

MEGAN MORONEY

IAN MUNSICK

EXPERIENCE COUNTRY’S RISING SOUND

ARTISTS & MUSIC

AIRPLAY & EXPOSURE

Rusty Gaston Sony Music Publishing Nashville CEO

JoJamie Hahr BMG/ Nashville EVP A League of Their Own. This ﬁlm portrays girl power and the bond that develops when you build a great team. Here’s my Rockford Peaches roster: Dottie (me), Kit (Jen Morgan), Evelyn (Katie Kerkhover), Doris (Elise Stawarz), Alice (Shelley Hargis), Marla (Lee Adams) and Ellen Sue (Lainey Wilson).

Mike Curb Curb Word Entertainment Owner/Chairman My favorite movie is Kelly’s Heroes starring Clint Eastwood. I co-wrote the title song, “Burning Bridges,” which went No. 1 internationally and hit Billboard’s Top 40. I also co-wrote “All For The Love Of Sunshine,” which was in the movie and was recorded by Hank Williams Jr. and The Mike Curb Congregation, and went to No. 1 on the Billboard Country chart. I would put Lee Brice in Clint Eastwood’s role, Dylan Scott in Telly Savalas’ role, Mark Miller of Sawyer Brown in Donald Sutherland’s role, Ray Stevens in Don Rickles’ role, Rodney Atkins in Carroll O’Connor’s role and Tim Dugger in George Savalas’ role.

Kerri Edwards President/ KP Entertainment

Dann Huff Producer Dumb and Dumber: Randy Goodman as Jim Carrey and me as Jeﬀ Daniels.

Chris Kappy Make Wake Artists

Founder/Chief Navigation Oﬃcer

19 20

Brian O’Connell Live Nation President/Country Shane McAnally SmackSongs CEO, Monument Records Co-President My dream movie would be 9 To 5 with Lainey Wilson as Lily Tomlin, Hailey Whitters as Dolly Parton and Carly Pearce as Jane Fonda. Kacey Musgraves would play Margaret, the woman who would just say “atta girl” every time they went to the bar.

George Couri Triple 8 Management Founder, Triple Tigers Managing Partner Toy Story with UMPG’s Troy Tomlinson as Woody, the trusted sheriﬀ. Yeah, that tracks. Chuck Aly as Buzz – the optimist. Potato Head is me because, you know, look at my head. Johnny Chiang is Rex because Godzilla. Kevin Herring is a ham and, thus, is Hamm. And Annie Ortmeier is Bo Peep because everyone loves her.

Candice Watkins Big Loud SVP/Marketing

PAGE 14 • OCTOBER 2023

Tom Martens Warner Music Nashville VP/Radio Accounts Star Wars. Luke Skywalker: Marci Braun – isn’t she everyone’s hero? Princess Leia: Jackie Caldwell, iHeartMedia – duh! Darth Vader: Rod Phillips, iHeartMedia – leads the evil empire. Yoda: Monta Vaden, The Big 615 – Yoda is actually a bit taller. Chewbacca: Adam Burnes, Valory – have you seen his beard? Han Solo: John Reynolds – piloting Beasley programming is easier than the Millennium Falcon.

Kris Lamb Big Machine SVP/Promotions & Digital My version of Get Him To The Greek reﬂects back on the years I represented Steven Tyler for Dot Records. I’m casting Steven as main character Aldous Snow and I’m splitting the role of baby Pinnacle Records rep Aaron Green between Michelle Tigard Kammerer and myself (we’re keeping this true to life). MTK and I traveled the United States with Steven, his girlfriend, and his two Yorkies – all while exclusively ﬂying private – dropping in and out of major markets to introduce Steven’s country project to Country radio. Obstacles along the way are rabid fans, the Yorkies relieving themselves on carpeted radio hallways during visits, random excessive shopping excursions at stores you would never expect, and losing your artist in New York City only to glance at a TV and notice a live broadcast with him randomly in Central Park throwing snowballs. We couldn’t make it up if we tried, so we didn’t.

Gregg Swedberg HeartMedia/Minneapolis SVP/Programming iHeartCountry people work best in a team, so let’s recast Ocean’s Eleven. Rod Phillips in for George Clooney (that’ll be the only time those two get mentioned together!), Gator Harrison for Brad Pitt (I lost a bet to Gator) and Meg Stevens for Julia Roberts. Because I’m the veteran, I get Carl Reiner’s part, and Steve Geoffries for Matt Damon. The rest of the eleven: Jeff Kapugi, Michael Jordan, MoJoe Roberts, Hoss Michaels, Dave Taft, Alek Halverson and Dan E. Zuko. Instead of breaking into a Vegas casino, we’re all in Vegas for the iHeart Music Festival trying to break into Bobby Bones’ hotel room (in Andy Garcia’s role). I wanted to include iHeart’s great Women PDs (the Ashleys, Carletta and Shanna) but there are hardly any women in that cast. I blame Clooney.

Michael Levine KKGO/Los Angeles Station Manager/PD I would do an update of Mrs. Doubtﬁre with Blake Shelton as Robin Williams, Carrie Underwood as Sally Field, Luke Bryan as Pierce Brosnan and Jon Pardi as Matthew Lawrence, who played the older son, Chris. And Cole Swindell singing the Aerosmith song, “Dude Looks Like A Lady.” It’s a favorite movie of mine, and would be fun with them.

Lauren “LT” Thomas Fowler Columbia VP/Promotion & Artist Development I’d cast A League Of Their Own with our core, all-female Columbia promotion team, including Lauren Bartlett, Paige Elliott, Anna Widmer, Lisa Owen and Christy Garbinski. Lots of personality, camaraderie, and a desire to win. There’s a bit of Dottie, Kit, Mae, Doris and Ellen Sue in each of us. Steve Hodges as Coach Jimmy Dugan. Not only does he lead the team, he very likely agrees there should be no crying in baseball … or promotion. We have an incredible national team in Bo Martinovich, Houston Gaither, Nicole Walden and Emilie Gilbert, and without a doubt Paul Grosser is Stillwell Angel … taunting the people around him in an endearing fashion. On-brand.

Rachel Whitney Spotify Editorial Head/ Nashville

ARTISTS & MUSIC

Scott Hendricks Warner Music Nashville EVP/A&R When Harry Met Sally, with Blake Shelton in Billy Crystal’s role and Gwen Stefani in Meg Ryan’s.

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Ashley Gorley Tape Room Music Founder Clint Higham Morris Higham President Coran

Capshaw Red Light Management Founder/CEO

Ebie McFarland Essential Broadcast Media Owner I’d do a remake of Legally Blonde. Since it’s a film about proving yourself over and over, I’d cast Miranda Lambert as Elle Woods (complete with a MuttNation rescue pup cast as Bruiser) and Ashley McBryde as Vivian Kensington (since they become such great friends by film’s end, yet start out as perceived competition for one another). I’d have Ian Munsick teaching his western hip circles move instead of the bend-and-snap. I’d still have “Get Down On It” as one of the songs on the soundtrack, only performed by Darius Rucker, because his version is incredible!

Clarence Spalding Maverick President The Wizard of Oz with Jelly Roll as Dorothy. It starts with Jelly singing, “Somewhere over that fucking rainbow, when I get high.” He’s trying to find his way home and runs into a Cowardly Lion, Tin Man without a heart and a Scarecrow without a brain – all played by Jon Loba. They have to see the Wizard, also played by Loba, and encounter the Good Witch and the Bad Witch, both played by JoJamie Hahr. That’s what happens when you are the No. 2. There are a bunch of Munchkins played by all those Idol winners Loba has stacked up. At the end, the Wizard convinces Jelly that he is at home because the Lion, Tin Man and Scarecrow had the courage, heart and brains to sign him.

AIRPLAY & EXPOSURE

Ali Matkosky Big Loud VP/National Promotion I would do a Big Loud remake of A League Of Their Own starring our midwestern queens, Nicolle Galyon as Dottie and Hailey Whitters as her hard working, eager little sister Kit. Dave Kirth, the man we already affectionately call coach, as Jimmy Dugan, and the dynamic duo we didn’t know we needed – Ashley Cooke and Lily Rose – as Mae and Doris. And because no baseball movie would be complete without him, Ernest as Marla Hooch.

Damon Moberly UMG/Nashville SVP/Promotion The Shawshank Redemption. Josh Ross as Andy Dufresne. Suave dude, married to a pretty lady, wrongfully convicted of murder. Josh would figure out who to befriend on the inside and how. Chris Stapleton would play Red – so calm, smooth and cool. The kind of guy who could “get you things.” He’d serenade the whole prison to sleep at night with his silky voice and killer lyrics. Priscilla Block would be Warden Norton. She would turn this role upside down and have the whole cast in stitches every day. Plus, “Warden Block” sounds cool as hell. She’d make Andy/Josh cook her books and shine her platform boots, and force him to drink shots with her before he could retire to his cell. For Captain Hadley, Jordan Davis. He’d be tough and he’d look mean with that awesome beard, but buy the inmates beer after they re-tar the roof, and he’d end up being a solid human in the end (like Jordan). WGNA/Albany’s Matty Jeff would be the young inmate Tommy, who knew too much about the real killer of Andy Dufresne’s wife, since he’s the kind of guy who always knows too much! And I’m putting KNCI/Sacramento’s Chad Rufer in the role of Brooks Hatlen, except my rewrite has him slipping off from his job bagging expensive wine to join Andy and Red running their hotel by the sea in Zihuatanejo, Mexico.

Ashley Sidoti Valory VP/Promotion & Digital Smokey and the Bandit with Morgan Wallen as Bandit (Burt Reynolds), Blake Shelton as Cledus (Jerry Reed), Lainey Wilson as Carrie (Sally Field), Luke Combs as Buford T. Justice (Jackie Gleason), Justin Moore as Little Enos (Paul Williams), Luke Bryan as Junior Justice (Mike Henry) and Trace Adkins as Big Enos (Pat McCormick).

Mike Preston Cumulus KPLX & KSCS/Dallas PD My favorite movie is All The President’s Men. Cody Johnson as Bob Woodward (the serious one), Jason Aldean as Carl Bernstein (the one who speaks his mind), Eric Church as Deep Throat (mysterious behind those sunglasses), plus – as a gender bender – Reba McEntire in the role of Washington Post editor Ben(ni) Bradlee. She’s in charge.

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Anna Cage Warner Music Nashville VP/Radio

David Friedman MCA Nashville VP/Promotion The Dude still abides in The Big Lebowski, Nashville-style. John Osborne of Brothers Osborne would be perfect as The Dude (Jeff Bridges), with Jelly Roll as Walter (John Goodman) and Jon Loba as Donnie (Steve Buscemi) rounding out the trio. I can see Alek Halverson as Jesus (John Turturro), complete with hairnet and purple jumpsuit. Kassi Ashton would provide grit and grace to Maude (Julianne Moore), and fiction would mirror real life as Gregg Swedberg and Pat Knight would be cast as Mr. Lebowski (David Huddleston) and Brandt (Phillip Seymour Hoffman), respectively. And there’s only one possible option for The Stranger (Sam Elliott): Chris Stapleton. This motley crew is as crazy as the original, but, “That’s just, like, my opinion, man!”

PAGE 16 • OCTOBER 2023

For more information about any and all of these services, please contact Robin Rhodes R O B IN@MEDIAB ASE.CO M M E D I A B AS E .CO M

ARTISTS & MUSIC

Sandi Spika Borchetta Big Machine Label Group EVP/ Creative The 2019 comedy drama The Art Of Racing In The Rain, based on the best-selling novel by Garth Stein, is narrated by a witty and philosophical dog named Enzo (voice of Kevin Costner), who helps his owners to an elevated perspective on life and unconditional love. Casting: Enzo is played by my Dutch Shepherd, “Billy The Kid,” and voiced by Tim McGraw. The husband is played by Scott Borchetta (using a stunt driver, of course). I’ll play the wife/medic/race car mechanic. Original music written by Big Machine Music’s Jessie Jo Dillon and Laura Veltz. The soundtrack on Big Machine Records features McGraw, Daughtry, Carly Pearce, Thomas Rhett, Lady A, Jackson Dean, Brantley Gilbert, Danielle Bradbery and Chase McDaniel. Trailer music by McGraw. Singles and videos by McGraw and Daughtry. Lyric videos and visualizers for all on the soundtrack. The movie premiere will be a charity event benefiting the Music Has Value Fund’s music therapy and education.

AIRPLAY & EXPOSURE

Kevin Herring Triple Tigers Co-President 12 Angry Men: They get to decide the fate of my innocent records! It would be fun to have these guys all argue in a room for a few days: Tim Roberts, Grover Collins, Charlie Cook, Brian Michel, Kurt Johnson, Rod Phillips, Joel Raab, Johnny Chiang, John Reynolds, Drew Bland, Gregg Swedberg and Scott Roddy.

Annie Ortmeier Triple Tigers Co-President The movie is Barbie, and I’m filling out the roles with DSP providers and partners. Brittany Schaffer is Professor Barbie. Rachel Whitney is Half-Marathon Barbie. Margaret Hart is Working Mom Barbie. Michelle Kammerer is Bulldog Rescue Barbie. Allison Laughter is Stand-Up Comedian Barbie. Emily Cohen Belote is Baking Barbie. Sarah D’Hilly is Rock ‘n’ Roll T-shirt Barbie. Jay Liepis and Copeland Isaacson are both “Kens,” and used to often being the only guys around a lot of women.

Emily Cohen Belote Amazon Music Principal Music Curator I’d remake The Fast and the Furious with Jelly Roll as Dominic Toretto (Vin Diesel) and Hardy as Brian O’Conner (Paul Walker), Lainey Wilson in Michelle Rodriguez’s role (Letty), and Madeline Edwards as Mia Toretto (Jordana Brewster). There is a famous quote in the Fast & Furious franchise where Dom says, “I don’t have friends. I’ve got family.” This cements the idea that the crew is more than just a team to Dom — they’re a chosen family that sticks together. The Country music community does the same thing. It rides for each other, the fans and the genre overall.

Adrian Michaels Stoney Creek VP/Innovation, Radio & Streaming Cheech & Chong’s Up In Smoke. The roles of both Cheech and Chong would be played by Jelly Roll, since he would have out-smoked the two of them. It would be filmed in Parmalee’s van from the cover of their new album, and Frank Ray would play Sgt. Stedenko. Plus, Frank and his band could remake the song “Low Rider” from the movie for Hispanic Heritage Month. Sounds like a hit!

29 30 31

Joey Moi Producer

Shane Tarleton Warner Music Nashville EVP/Artist Development The Wizard of Oz. Dorothy: Avery Anna. She was born to sing “Somewhere Over the Rainbow” in ruby red slippers! Scarecrow: Dan Smyers. One heck of a brain! Tin Man: Charlie Worsham. He has a heart of gold. Lion: Tyler Braden. Voice like a mighty roar. Wizard of Oz: Blake Shelton, our very own Beverly Hillbilly. And Glinda the Good Witch: Ashley McBryde. She’s pure magic!

RJ Meacham Curb SVP/Promotion Titanic recast with Jelly Roll as Jack and Carrie Underwood as Rose. Playing Rose’s betrothed would be Dustin Lynch, because of that million-dollar smile of his. Jon Loba steps in as Jack’s sidekick, Fabrizio. The Unsinkable Molly Brown could be played perfectly by either Lainey Wilson or Ashley McBryde. And I’m really wanting this just because I want Midland to be the band playing straight-up Country music in place of the string quartet at the end. “People say I’ve got a sinking problem …”

Mark Razz WXTU/Philadelphia PD Okay, follow me: Elle King and Miranda Lambert as Thelma & Louise. Keith Urban as J.D. (Brad Pitt’s character), Hardy as Darryl, and Morgan Wallen covers Glenn Frey’s “Part of Me, Part of You.”

Brent Michaels KUZZ/ Bakersfield PD The Avengers with Cody Johnson as Captain America, Jordan Davis as Iron Man, Lainey Wilson as Black Widow, Kane Brown as Thor, and Jelly Roll as The Hulk. Basically, these are five of the superheroes in our multiverse. Cody is the all-American, traditional hero. Jordan is the likable, witty one. Kane Brown is just ripped, and I kinda feel like Lainey and Jelly Roll are self-explanatory. CAC

PAGE 20 • OCTOBER 2023

Simplistic narratives about Toby Keith and his career are easy to find. To some extent, that’s how the music business operates. “Former oil-rig worker and regional bar band star finds Nashville success with debut No. 1 ‘Should’ve Been A Cowboy.’” That was 1993 – 30 years ago. A few years and four albums later, the worst possible narrative: none at all. Sure, there were hits and record sales, but his label rejected album No. 5. Who is this guy? Well, give it a minute ... and a new label. “How do you like me now,” he sang in

Who's That Man? 1999, “now that I’m on my way?”

Toby Keith Hits 30 And on his way he was, piling

Like Jackson – also an accomplished songwriter – Keith had a visceral reaction to the terrorist attacks of 9/11.

on the weeks at No. 1. To date,

the midst of a creative explosion – hits ranging from “You Shouldn’t Kiss Me

“Country singer paints himself in an ‘angry American’ corner,” the media seemed to say. Meanwhile, he was in

56 weeks at the top – tied for fifth of

Like This” and “I Wanna Talk About Me” to “Who’s Your Daddy?” and “Beer For My Horses.” Simultaneously, he

all-time with Alan Jackson.

reactions to their country being attacked ... and put their lives on the line for it.

was commencing 11 years of USO Tours, visiting and lifting up the young men and women who also had angry

PAGE 23 • OCTOBER 2023

At the height of his career, Keith had Forbes calling him the half-billion-dollar man, Ford building its truck marketing around him, his own label and a cavalcade of business interests and industry honors. If forced to reductionism, however, even Keith himself leans on one moniker above all: songwriter. His inductions into the Songwriter’s Hall of Fame and the Nashville Songwriters Hall of Fame certainly support that. Still, the depth and complexity of a music maker in rare company can’t be so simply distilled. The next several pages will attempt to encompass much of Toby Keith’s 30-year career, but will be – inevitably – incomplete. The story is still being written.

How did music get ahold of you?

My grandmother owned a supper club and my mother was a singer who basically gave up her career when she had me. Every time we went to Fort Smith, AR, I would visit my grandmother at the bar and see that band playing – how much attention they got and how much respect they commanded. That’s what I wanted to do. My grandfather worked at OTASCO, which stood for Oklahoma Tire And Supply Company. They had a little bit of everything – washers and dryers, tires and oil, but also they had a guitar. She saw me looking at it and bought it for my birthday when I was seven or eight. I learned a few chords, then put it down and started playing football. Somewhere around 14 I picked it back up, and tried to learn more chords and get better. Sitting in my room, singing along with my heroes.

How did that transition into thinking you could make a career of it?

Somebody would say, “Hey, they’re writing songs over at this guy’s house.” You don’t have to have a very good song to make people who aren’t songwriters enamored. I’d see the girls sitting cross-legged on the floor clapping for the songs these guys were writing, and I was thinking, “My songs are that good.” First, you have to get over the stage fright. You have to be willing to perform. At some point people started saying, “Wow, those songs are really good.” Then a guy said, “We’ve got a band and need a singer.” They were a little more rock and roll than what I was, but I got them playing some Alabama. They saw it was closer to the Eagles and Bob Seger than they first thought. I was working in the oilfield and had all these songs written. We won some local contests, then the oilfield went bust. The boys said the only thing we’ve got going is playing weekends in bars. If we could get somebody to book us, we could play all week and go regional. So we did.

Everybody was worried the song was going to be

offensive to A female audience . What blew up in their face was

that the girls came back telling their own how-do-you-like-me-now stories.

It became an anthem.

PAGE 24 • OCTOBER 2023

LIKE SUNDAY MORNING: An early Easy Money Band performance. After about a year, we became one of the big rotating bands. We kept climbing that ladder until we were high enough up to see out over everybody. “Let’s give this a shot.” But you had to have somebody open the door. The best and worst part of the internet is everybody gets to be heard, but it’s just a big wash of music with no ﬁltering system. Even though it wasn’t fair, the ﬁltering system back then meant if you were a good songwriter, you were going to get a shot. Somebody’s going to listen and try to do something with you. There are a lot of talented people who didn’t make it, but still they got the shot.

When did you first realize you had a hit song?

At that point I’d never had one, so I didn’t know. I thought my songs were good enough that I might get a chance to record them. When [then-Mercury exec.] Harold Shedd heard “Should’ve Been A Cowboy,” he told me I had a smash. But I didn’t really know. After I got 10 years into it and was running my own show, I could tell if a song would work before I released it. Back then? No. “Does That Blue Moon Ever Shine On You” was written way before my record deal, even recorded for an independent label out of Texas. Everywhere we went, it charted. People would come up and request it at shows. But when I got to Nashville and wanted to record it for my ﬁrst album, I got the old speech, “You can’t just take three chords and write moon, June and spoon and expect it to be a hit.” So we recorded other things. After the second album was out, I was touring with Reba. I’d had a few hits, but no ballads and she does a lot of them. So me and my piano player started doing it live, just so Reba’s big audience could hear us do a ballad. All of a sudden the label calls going, “Hey, what’s this song you’re singing on tour with just a piano?” I said, “That’s the one you didn’t like from the ﬁrst album that rhymes with moon, June and spoon.” It ended up being the title cut on the third album and a No. 1 song.

I Wanna Talk About He Former Mercury/Nashville head Harold Shedd: “On a flight from L.A. to Nashville, a flight attendant told me about a singer named Toby Keith, and I told her to have him send me a tape. She replied that she’d tell him, but she had a tape with her and asked me to listen when I got home. Driving away from the airport, I put the cassette in and the first song was COWBOY & STEELER: Celebrating the 25th ‘Should’ve Been A Cowboy.’ ‘He anniversary of “Should’ve Been A Cowboy” are Ain’t Worth Missing’ and ‘Wish I (l-r) Terry Bradshaw, Harold Shedd and Keith. Didn’t Know Now’ were also on that tape – two No. 1s and three top fives out of four songs. I called the flight attendant and she arranged a meeting. “Toby was playing at an Oklahoma City club called Chastains. I flew out, saw him live, was really impressed and had breakfast with him the next morning. I didn’t know at the time that some labels had heard and didn’t care for those songs, but I told him I was going back to Nashville to structure a deal and that I wanted him to do his songs. That turned out to be a good thing for him and certainly for Mercury. When his album went gold, we rented a stagecoach and rode it from the river on Broadway to 19th Avenue where the party was. We gave him a gold album and a few dollars he could use to catch up on back rent on his trailer home. He’s come a long way since then, all because of his ability to write some really great songs.” Former WAMZ/Louisville PD Coyote Calhoun: “We had dinner during his first radio tour in 1993 and, after I told him I was also from Oklahoma and a huge Sooners fan, we didn’t talk about music the rest of the night. At the time I was one of three partners in Coyote’s Music & Dance Hall, which is one of the places that hosted Mercury’s Triple Play, which Toby headlined. Later that year, he played our free concert series at Louisville Motor Speedway. He played it again a few times and, in 1999, brought me on the bus afterward and, even though he’d had a lot of chart success, he told he just needed that one song to get him to the top level. He said he was working on something. ‘Maybe I’ve got this thing,’ he said. ‘If SOONERS THAN LATER: I do, nothing’s going to stop me.’ Keith and Coyote Calhoun. “A few months later, I was in Chicago with DreamWorks’ George Briner, who said, ‘Let me play you this new song from Toby. You’re going to be blown away.’ Rarely have I ever been blown away on a first listen, but he played ‘How Do You Like Me Now?!’ and I was. My God. We called Toby right then and I told him it could be Single or Song of the Year. That started a roll he never looked back from. “He invited me to his suite for Sooners games, brought me on the sideline and into the locker room to see the coach do pregame and halftime pep talks. He called me to tell me I was going into the Country Radio Hall of Fame. And when I retired, [iHeart’s] Michael Jordan booked a concert retirement party at the KFC Yum! Center. His first call was Toby, who didn’t even ask when it was. He just said, ‘I’ll be there.’ Toby headlined and the event sold more than 18,000 tickets in less than two hours. After the show, I got to hang on the bus with him, Lon Helton, the Cubs’ Jimmy Bank and Bob Moody until about 5am. I had to do an interview at 10am and I’m pretty sure I was still drunk.” Songwriter Scotty Emerick: “When we finished writing ‘Beer For My Horses,’ Toby told me, ‘I hear Willie Nelson singing on this.’ Neither of us had ever met Willie, and I thought that was a bit of wishful thinking on Toby’s part. But that’s the thing about Toby – he’s got great vision. And of course, I watched all of it come to fruition – meeting Willie, having him sing on the song and all the rest that went along with that.” Shock Ink Founder Elaine Schock: “If you’ve seen Billy Joel live, you know his performances are almost beyond compare. I was his publicist for a long time and always loved his shows. TK Kimbrell invited me to see Toby perform, even though I had only dipped my toe into country. ICON O’ CAST: At the 2022 BMI Country When I saw his show, I Awards where Keith was honored as BMI Icon – thought Toby’s abilities Scotty Emerick, Dean Dillon and Keith (l-r). as an entertainer were comparable to Billy’s. “I didn’t care about the controversy around ‘Courtesy Of The Red, White & Blue (The Angry American).’ I’m a progressive, and I totally understood the song. His voice was wonderful, the writing was great and, in a generation, you don’t get that many who are that good. I wanted to work with him so bad, I told TK I would do his publicity for free for the first month. If you don’t like it, don’t pay me and go somewhere else. That was 20 years ago.” Producer/musician Kenny Greenberg: “I’ve played on Toby’s records for a long time and what I don’t think people realize is what a song and songwriting historian he is. We’d be on a session and I’m ready to do a guitar part and say something like, ‘This will be kind of like the part on Waylon’s “Rambling Man.”’ Toby would then list off the writers, who played the session and all the lyrics. We played a couple gigs in a band he did called The Incognito Banditos – cover tunes – and any old Hoyt Axton or Roger Miller tune someone brought up, he could recite the lyrics and tell you all about it. Seeing that up close like I have is fascinating. He’s a very deep well.” BMLG Chairman/CEO Scott Borchetta: “I’m in the middle of my afternoon when [thenDreamWorks head] James Stroud comes bounding into my office. ‘What do you think about Toby Keith?’ Without a second thought I said, ‘He’s not done.’ James says, ‘Great,’ and disappears. Next thing I know, we have this album that had been recorded at Mercury and turned down by Luke Lewis.

Colleagues share thoughts and stories about Toby Keith.

One thing a lot of us are guilty of is, if you’re not working a record, it’s competition. You don’t go out of your way to grasp who somebody’s audience is and how it’s working. I’d seen Toby perform at Fan Fair and awards shows, but I hadn’t seen a full blown concert until after we signed him. I went to Phoenix where the crowd was more redneck and rowdy than I expected. But a lot of the singles he’d put out weren’t that hard-hitting. There were a lot of lighter-weight, poppier things. He told me Mercury wouldn’t let him do two ‘attitude’ records in a row. But that’s who he is! He’s the other stuff, too, but that’s not central. I remember clear as day riding in a golf cart with Toby after that show and saying, ‘Now I get it.’” Toby Keith Foundation Exec. Dir. Juliet Bright: “When I started working with the team to build the OK Kids Korral – a cost-free home for families of children battling cancer – Toby was very involved, but then he went on tour and was very busy. We all kept going with the construction, of course, until the grand opening. Toby hadn’t seen it in a while, so that day I walked him around to show him the facility and he was very quiet the whole time. Very stoic. But I was stressed because he wasn’t saying anything. We stepped outside where everyone was gathered for the grand opening. Toby stepped up to the mic and said, ‘I’m actually really blown away. This place is the Ritz Carlton meets Disneyland.’ I just started crying. What I saw as being reserved was actually him being intensely observant and preparing to come out with that perfect comment. He set the tone for what everyone who showed up that day was about to see.”

OK WITH ME: With Juliet Bright.

Live Nation President/Country Touring Brian O’Connell: “Toby did 12 USO Tours in Iraq and Afghanistan, annually and consecutively. Curt Motley, Mitch DeNeui, Scotty Emerick and I were members of the ‘A Party.’ Curt was the ringleader, working with the USO on the scheduling; he also served on the USO board. The Easy Money Band was also there for the majority of the trips to perform at the larger bases. We would make our way to Frankfort, Germany, switch to military aircraft, and ‘in country’ we went. “The schedule had us sleeping in military quarters – tents basically. The A Party was up at 6am to eat, pack and be on a Black Hawk helicopter by 9am. We would fly to the smallest place we could get to, a COB (Contingency Operating Base). Meaning, in my slang, ‘Way the f--- out there.’ As few as 10 or 20 people would be on the base, and half of them might be out on patrol – actually fighting. Time after time, these service members were stunned when Toby walked in, sat, played for them, signed everything and took time to visit. Then we would load back on the Black Hawk and head to a FOB (Forward Operating Base) and he would do it again for maybe 100 service members. Two-man show with Scotty. Around 3pm, it’s back on the helicopter and to the host base for the larger show on a makeshift PA for several hundred service members. “Very little to no sleep, very few breaks, hot, dusty and at times taking mortar and rocket fire. Schedule changes because where we were going wasn’t there any more. We got pulled off stage in Kandahar and sheltered in a concrete bunker. Absolutely zero times did Toby complain, miss a show, not shake a hand, not take a photo. He never took a break. Those two weeks a year, for 12 years, in a world of total and complete chaos, the man never broke. That is Toby Keith.” UTA agent Curt Motley: “We were in a pop-up tent in Afghanistan and getting ready to head out to the bird. There were maybe 75 guys at this base, and a bunch of them are coming up for autographs. I’m taking pictures for them. One guy comes up to me with some paper folded over. Inside were eight rubies and a note. He was like, ‘Please deliver these to my mother. The only person I trust to hand this to is Toby Keith.’ I don’t know why, but we took them. “We had to go back through Europe and customs with these undocumented rubies in my backpack, but we got home. That was in April. In June, A BRIDGE TO FAR: Playing cards in a C-17 are (l-r) Mitch DeNeui, Keith, Curt Motley and Brian O’Connell. Scotty I was at Toby’s Emerick is the odd man out. house after his charity event and it was getting late. He came over and said, ‘Hey, you still got those rubies?’ We didn’t tell anybody, we just went to his garage, got on bikes and rode out to Purcell, OK as a giant storm was coming up. Lightning everywhere. I called before we left and they thought I was a crank, but I said, ‘I’m telling you, I’m Toby Keith’s agent. We met your son in Afghanistan and he gave us something to deliver to his stepmom.’ They still didn’t believe me, but gave me their address. “When we got there, we parked our bikes right out on the street, went up to the door and they were losing their minds. They’re taking pictures and it turns out the stepmom and Toby have the same birthday – July 8. Randomly, the soldier, Sgt. McKenna, called home right in the middle of our visit. He gets on the phone with Toby and he’s like, ‘I knew you’d do this!’ About that time, a big, bright light comes through the storm door. Cops have stopped because our bikes are in the street and there’s like $3,000 in cash and a gun in the wide open trunks. Looked like drug dealers or something. The stepmom goes to the door and tells the police it’s Toby Keith, which they don’t believe until he goes over to the door. They’re like, ‘Damn. It is Toby Keith.’ “The entire thing is one of the most mind-blowing experiences I’ve ever had. The sad part is, a couple years later, Sgt. McKenna was killed in action in Afghanistan. Really glad WEARIN’ MY SIXSHOOTER: Celebrating a multiToby and I got to make week No. 1 at DreamWorks with promotion staffers (l-r) Scott Borchetta, Bruce Shindler and George Briner. that happen for him and his family.”

PAGE 25 • OCTOBER 2023

When did you start to feel the rocket taking off?

Harold wanted to put me out, but the people in power really weren’t as high on me as they were some other acts they had. The Triple Play Tour [Ed. Note: With Shania Twain and John Brannen] was created because they had two budgets and three artists. Everybody got 30 minutes and when they sent us out, they had me opening. I was a little pissed because that told me they thought the least of me. Within a few weeks, “Should’ve Been A Cowboy” got so big that they flipped and put me in the headliner slot. After that tour I had every booking agent in Nashville coming after me and I started to feel it. We were about to fix all our problems. I’d been working five or six nights bringing home $300 for the week. Any extra money went to fixing the van, trailer, whatever. Now they’re telling me, with a hit, I can get $5,000 to $7,500 a night and every once in a while on weekends they can throw me a $10,000 or $12,000 bone. That’s for 75 minutes, which is my album, anything new I’ve written and a few covers. They ask, “How many of these you want?” And I’m like, “All of ‘em.” “You want to work every single day?” “I’ll work every single day.” So the next three months, I tried to make enough money to take care of my family, pay some bills and get ourselves in a better situation.

Do you remember any milestone media appearances or meeting any heroes?

The ﬁrst awards shows you go to, you’re walking through the back hall and seeing all these people you’ve only seen on TV or heard on the radio. George Jones had his own show on TNN, and I remember being on there, Ralph Emery and Jay Leno. I remember doing a song with Alabama when they were on the big stage out at Opryland. The guy who took me under his wing was Merle Haggard. I remember going to California the ﬁrst time and getting a note from him. And then I remember sending my mom and sister to his show in Oklahoma. He sat them down backstage, played them some songs and just made their night. The next time he went through, he called me and asked if my mom was okay. I said, “Yeah, is there something I don’t know about?” He said, “No, I’m just back in Oklahoma and she’s not here.” I was like, “She can’t make every show. Heck, every time you come to Oklahoma, she’s not going to show up!”

ALL GOING TO POT: With Willie Nelson both sold records. Once I started dressing out of my closet and putting out the songs I wanted, it became apparent we were doing the right thing.

Were you nervous about leaving a major for DreamWorks?

No, because they didn’t have a superstar roster and were still getting things done. Plus, [label head] James Stroud was my producer and Scott Borchetta is an incredible promotion guy. We didn’t always see eye-to-eye, but I knew he could promote records. When I left Mercury we went to eight or nine labels. I don’t think many people took me seriously. I had that last album I’d made, but no one wanted to pay for it. It felt like courtesy meetings. James said, “Bring it over here, I’ll get you some money and we’ll get this thing going.” He’d produced the album, thought it had hits and he was running the show so he could make the call. That being said, he let the promotion staff do their safety trick again. We didn’t come with “How Do You Like Me Now?!” first. We came with something else that didn’t work. In that era, conglomerates were buying up all the radio stations and there was a push to drive all the men to Sports and Rock, and the women to Country. Everybody was worried the song was going to be offensive to a female audience. What blew up in their face was that the girls came back telling their own howdo-you-like-me-now stories about a guy, or a boss who fired them. Everybody has something that can relate and it became an anthem. We shoved out more than three million albums on that song. Single, Song and Album of the Year at the ACMs.

Did that make things easier? OKIES: With Merle Haggard My great-grandparents came to Oklahoma around the run of 1889, when the land was opened up to the citizens. Six of my grandpa’s siblings were born back east in Alabama or Georgia. He was the last one born. During the Dust Bowl, a bunch of them packed up and went to California, just like in The Grapes Of Wrath. I’d always hear these names and stories about the cousins, aunts and uncles my dad had. My ﬁrst time in California – I had a couple songs out – my road manager tells me I’ve got a bunch of cousins at the gate. I’m like, “I don’t have cousins here.” He goes, “Well, they’ve got pictures of your dad and your grandpa.” There was a big group that landed out there in the San Joaquin Valley. They had pictures and knew the names, but also you can just tell when you see some of them. They look like you. They look like family. And I don’t think my dad met even half of them. A moment like that shows you you’re having a little success.

At last year's BMI dinner you talked about your early days and said you were "ungroomable." Do you remember being asked to do things you didn't want to do?

The first thing they do is take you in this room and start walking around you. “We gotta do something about the hair. The jeans. The t-shirt. This and that.” I tried to tell them I wear jeans and a pearl snap, but everything was suits and ties. It wasn’t me. Once I convinced them to let me do my songs, I also had to argue over which to release. The promotion staff always wants to be safe. One time we put out the song they wanted and it was a five-week No. 1 but had the lowest sales of my career. Friendly to the ear, but a turntable hit. “Red Solo Cup” only went to No. 5 or 6. “You Ain’t Much Fun” never went to No. 1. But they

As we went on with DreamWorks it got to be more of a battle about what direction my music should go. I’m like, “Until I’m wrong, why do you care? Don’t fix it.” I had an extended video – a mini-movie with Willie Nelson on it – and videos were expensive back then. We had a new album planned and they wanted to get “I Love This Bar” out in time to run it up the charts for Christmas, but it was April and we were sitting at No. 12 with a ballad we shouldn’t have released. They wanted to push for No. 1 and I had a $300,000 video for “Beer For My Horses” in the can. I said, “You’re going to have to pull this one, release ‘Beer For My Horses,’ run it through the summer and then go with your single off the new album.” Man, that created a shit show; just a fight to the death. Guess what? “Beer For My Horses” was a six-week No. 1.

Even with all the success, DreamWorks was still a struggle?

DreamWorks had seven genres of music and they were losing money everywhere. If I sold five million albums and they get $8 a pop, that’s $40 million to the bottom line. But instead of that flowing to DreamWorks/ Nashville to sign and promote acts, they were using it to pay off their losses at these other labels. We had a new album coming and went to L.A. to meet with the bigwig over there, Mo Ostin. My manager, TK Kimbrell, told him we’d like a couple million to promote the album – billboards in Times Square. Big stuff. He said, “Yeah, I’m not doing that.” We told him we knew he was using all the money to pay off his other debts, and I said, “You’ve got to protect your cash cow.” I can’t remember the name of the pop or hip hop group, but they’d been the top seller the prior year, and Ostin says, “They did four million albums. Do you think you’re going to do that?” TK says, “I’ll bet you $10,000.” Mo goes, “I learned a long time ago on Frank Sinatra not to bet against the artist, but I’ll bet you a $2 bill.” When we crossed the four-million mark, TK called up and said, “We’re coming after our $2 bill one way or the other.” I got tired of those fights. When I got down to my

last album, they came to me for a re-up. All that meant was giving me some money that’s recoupable. It’s just a loan, not a signing bonus. I still owed them an album, so I went to the people at Universal who distributed DreamWorks and said I was going to open a label. They’d get ﬁrst rights to distribution and I’d split the last album with them.

Did launching Show Dog end those battles?

Yeah. If I go make that kind of money, or even sell just a million, I don’t have to split it with anybody or pay for any other labels or debts. For one stretch, I was partners with Universal South and [producer/label exec.] Mark Wright. Every time I saw him I’d sing that big Earl Thomas Conley song he wrote, “Nobody Falls Like A Fool.” When I was recording “Red Solo Cup,” he walked in the studio and couldn’t believe I was cutting that song. I saw him the next day, eyes all red and set back in his head. I said, “What’s wrong with you?” He goes, “I stared at the ceiling all night. I can’t get that earworm out of my head! You’re right. It’s a smash.”

What did learn from the controversy around "Courtesy Of The Red, White and Blue (The Angry American)"? I don’t know if I understand any of it, really. When I

look back, I see Johnny Cash and John Wayne talking about the ﬂag and the people going to war. They were well-respected for it. For me, it exposed the media for what they do. For years I just turned the news on and took it as the news. No one explained to me, “You understand what you’re watching here?” Now, everyone gets that if you’re watching Fox, you know what you’re getting. And if it’s CNN, you know what that is. It was a real kick in the throat when they came out of the woodwork on me. All I was doing was writing a battle cry for our guys to get over, get the job done, get back and ﬁnd justice for the ones who killed all those people on 9/11. Others have been respected for that. Then here comes the conservative media and they’re propping me up like a king. So these are my friends over here? But after a while, you come to understand they’re exactly the same. Two sides of the mirror. Then you learn it does no good to apologize. If you feel like you need to, do it once. Every time you apologize, they just rake you back over the coals. Just own it. At least half of the people will respect your position.

Some say you wrote the best song of your career after you were inducted into the Songwriter's Hall. Is writing the same for you these days?

Over the last seven or eight years, I didn’t have the hunger to put an album out every year and write as much as that takes, but when I hear something intriguing I will get obsessed. I was driving with my wife, who was trying to talk to me, but I was circling the boat on one phrase for “Don’t Let The Old Man In.” She punches me. “Hey, you haven’t heard a word I’ve said.” I was like, “I’m trying to ﬁnish that song.” She just throws her hands up. She knows how that goes.

What have the Toby Keith Foundation and OK Kids Korral meant to you?

A lot of people have foundations, and they’re getting asked for things all the time. OK Kids Korral was a way for me to have a central focus. This is what I do. Anybody who invests in me, my foundation and this wonderful place gets to see with their own eyes what we’re doing. Building that was not free. Feeding those kids isn’t free. Those shuttle vans aren’t free. People see exactly where their help goes.

PAGE 27 • OCTOBER 2023

Of all your side ventures _ the golf course, the restaurants, mezcal, movies, the Ford deal _ which was your favorite?

The Ford thing was nice because it was so long and so lucrative. Obviously, the golf course is a blast. Everybody wanted me in whiskey, but at the time they didn’t have enough barrels. I didn’t really want to go into tequila because Sammy Hagar is my buddy and he’s got one. They convinced me to go with mezcal and we became No. 1 with it, but we were still losing money. So I shut that down. The bars and grills are fun. I’ve got a roadhouse near my house and did a couple shows the other night. It’s 97 years old with lights out in the trees, an outdoor bar and bandstand. Lots of fun. Probably the most expensive but most enjoyable one is running horses. I love to race thoroughbreds.

This American Ride TK Kimbrell was managing Sawyer Brown, among others, when he first crossed paths with Toby Keith. After getting to know each other on tour, they formalized a working relationship that is now approaching its 30th year.

Luck E Strike fell in my lap. Jimmy Houston, the famous fisherman, built one of the first spinnerbaits for Walmart right out of college, then won two Bassmaster classics. Jimmy was hand-making and delivering them to the first 13 stores until Walmart got so big he couldn’t keep up. They’d gotten in trouble and some guy cleaned all the inventory out of it, so I bought it. I’ve gone down to the ICAST fishing show in Florida and talked to the people at Walmart. They’re excited to have Luck E Strike back up and running. I’ve got a full factory in Arkansas. We’ve changed the colors to red, white and blue. We’ve got the coolest looking stuff you’ve ever seen.

“Nelson Larkin came to my office and played ‘Who’s That Man,’” Kimbrell says. “When I found out he wrote it by himself, I was like, alright, this cat’s the real deal. He already had ‘Should’ve Been A Cowboy’ and ‘He Ain’t Worth Missing.’ I didn’t even call Mark Miller. I knew we couldn’t go wrong putting him on the tour. I said, ‘This is a done deal.’ I met Toby the first day of that tour in Sydney, Nova Scotia.” The tour ran for more than 80 shows. “We played golf and COWBOY UP: At BMI celebrating the 25-year basketball every day I was out on the tour,” Kimbrell says. “About anniversary of his debut single. Pictured (l-r) are a month in Toby asked if I would manage him. I said, ‘Well, you’re BMI’s David Preston, TKO Artist Management’s my kind of guy because you write your songs.’ I had Sawyer TK Kimbrell, Keith and BMI’s Jody Williams. Brown at the time, and Mark Miller wrote a lot of theirs. Chris LeDoux had written most of the stuff that got him started. And I had Mac McAnally, who’s one of the greatest songwriters. In the ‘80s I’d been Steve Wariner’s day-to-day. So Toby fit me and I knew he had had the goods to go all the way. I even told him early on, ‘You’re a hall of famer.’ He’s in a half-a-dozen of them now.” Accepting the BMI Icon Award in 2022, Keith joked that as the record industry tried to groom him, it found out he was “ungroomable.” “He’d worked in the oil fields and the bars of Texas, Oklahoma, New Mexico and Arkansas,” Kimbrell says. “People might have considered him ungroomable, but he’s also a brilliant guy with a photographic memory who knows how to act when he needs to. “Because he was such a commercial songwriter, the industry pushed him toward the middle. He played the game ... went along with it to some extent. He took his chew out when he needed to. (laughs) But he got tired of being pushed. He knew he was a lot more than what they wanted to see out of him. He had to fight for ‘How Do You Like Me Now?!’ We were told it couldn’t be a hit. Too much attitude. Females wouldn’t want to hear that. But everybody on earth has had their ‘how do you like me now’ moment, so it resonated.”

What do you remember most from the USO Tours?

BOOMTOWN One of several defining moments in Keith’s career, “How Do You Like Me Now?!” was a deeply rooted sentiment. “That song came out in November of 1999, but he had that phrase on his backstage pass when I started managing him in ‘94,” Kimbrell says. Mercury’s resistance to the song led to his departure from the label and signing with DreamWorks. But the move was risky. “Rarely had that worked, Kimbrell says. “The labels that have an artist’s catalog have a lot more to gain than a label that just has one record on you. But he was like, ‘No, it’s time for me to dress out of my own closet instead of being who they want me to be. I’d rather succeed or fail doing what I know I’m supposed to be doing.’ I can recall that conversation as clearly as I recall this morning. He never wavered.” DreamWorks hadn’t had an unqualified success prior to Keith’s arrival. “The owners had a kill-button ready to push on DreamWorks/Nashville, and they were close to pushing it,” Kimbrell says. “When ‘How Do You Like Me Now?!’ came out and was a huge hit, that bought the label the next four years of its life. And over those years, Toby spent 51 weeks at No. 1 on the various charts. Basically, a quarter of the time he was on the label, he held the top spot. In 2003, Universal agreed to acquire DreamWorks, putting Keith back in the fold of his former label. “That didn’t sit well with us,” Kimbrell says. “[Then UMG/Nashville Chair] Luke Lewis had let Toby go from Mercury to Polydor after his first album. When his third album came out, he was on A&M, but then wound up back at Mercury with Luke. We did another album that had ‘How Do You Like Me Now?!’ but they didn’t believe in it. So Luke dropped Toby a second time. Four years later, he’s the biggest artist in country music – arguably all of music – and they put us back with Universal and Luke. We were like, ‘Damn. Why would you do that to us?’ We had to get out of that deal.”

And now you own a bait and tackle company...

We landed late in Baghdad and they rush us from the C-130 to some helicopters. Scotty Emerick and I like to do funny stuff – drinking songs and things to make them laugh. But we walk in and the whole camp is really somber. The commander pulls me aside. “We’ll let you talk to them, play a couple songs – maybe ‘American Soldier’ – we’ll cut this big cake the chef made and get you on your way. We’ve just lost four guys.” So we did. Then they flew us to Fallujah, which they’d just taken. No infrastructure, no lights. We played for a bunch of guys laying on their [helmets]. They put us in a Marine helicopter to go back to Baghdad at 2am and suddenly start descending in the middle of a field. It’s dark, no moon. The guy goes, “We’ve got to get this chopper to a firefight. We’re going to leave you here and the Army will come get you.” There’s eight or nine of us in an old hay barn, including a couple women with the USO. I’m like, “Guys, let’s not end up in orange jumpsuits here. Somebody shows up, we’re fighting.” But 20 minutes later, we hear choppers and two Army Black Hawks show up. We got back, checked into our rooms at 3am and I’m thinking, that’s just the first day. We’ve seen Abraham’s oasis, Alexander the Great’s castle and the Garden of Eden. We set foot in Pakistan – all kinds of stuff not many people get to do. But it’s the relationships that still show up. The other day we were out of minnows and got some from a guy who told us to leave the bucket on his dock when we were done. When we went back, another guy was there waiting for us who says, “I saw you in Iraq and Afghanistan.” He tears up and starts telling me how important our visit was to him. We don’t drive five minutes up the cove and my phone beats. A buddy from Homeland Security is sitting in a bar in Midland, TX. He’s seen a dude with a veteran’s hat on and hears him telling the bartender what his highs and lows were in Iraq. My name was mentioned. My friend goes, “Let’s video with him.” It’s amazing how much so many of them deeply appreciate that we went over there because, to us, it felt like we were getting to give back. We had the easy part. We knew we’d get to come home.

AMERICAN SOLDIERS: Meeting and greeting in Afghanistan, 2008.

What's the five-year plan?

If I can beat cancer, I’ll get back out on the road. We need to start figuring out what we’re doing, but it’s hard to ramp up when you’ve been off the road this long. Singing the other night showed me I can do it. It’s now just about fending off that devil.

PAGE 28 • OCTOBER 2023

HE AIN’T WORTH MISSING Maybe it was personality conflict between Lewis and Keith, or maybe Lewis just didn’t hear the music. “It might’ve been a little bit of both,” Kimbrell says. “When DreamWorks merged into UMGN, Toby had ‘As Good As I Once Was.’ And I remember being told, ‘Nobody wants to hear Toby sing about a man being with two women.’ They wouldn’t even put it out. They put out ‘Honkytonk U,’ which Toby never wanted as a single. Finally, we put our foot down and said, ‘You guys can screw around all you want, but we’re going after ‘As Good As I Once Was.’ It spent six weeks at No. 1 and was BMI’s Song of the Year.” Keith launched his own Show Dog Nashville in 2005, though artist-owned labels at that level were rare. “Herb Alpert had done it successfully with Jerry Ross and A&M Records, but it had only happened once at that point,” Kimbrell says. “We told the powers that be at Universal, we’re either going to start our own thing or Toby’s never making another record. They were like, ‘No one ever means that.’ I said, ‘Well, you don’t know Toby.’ A lot of people act like they don’t give a shit, but Toby actually doesn’t.” Unlike the uncertainty in moving to DreamWorks, the Show Dog launch was done with confidence. “We hadn’t had a failure,” Kimbrell says. “Toby was writing songs, finding songs and racking up while the business was falling. But we had a Ford Truck deal and this whole world going on we had to keep going – way too many income streams to let a label dictate to us. So it was an easy decision.” AMERICAN SOLDIER Twelve years running, Keith performed for and visited with service men and women in some of the toughest environments in the world via USO Tours. “These are really not safe places, even though you’re being watched after by the best people in the world,” Kimbrell says. “Flying into Baghdad, you’re basically in freefall. The approach is steep since they can’t protect all the airspace. Then they rush you to a helicopter, give you talkback mics and tell you to alert them if you see tracer fire. I’m like, ‘You’re joking, right?’ They were not. “It’s 124 degrees, we’re sitting shoulder to shoulder and I’m like, ‘Shut the door.’ They won’t, though, because it’s too hot and the door isn’t going to stop a bullet anyway. You’re flying 100 feet off the ground, which makes the helicopter harder to hit. And the schedules they give you get thrown out immediately because they’re not going to follow something that might give the enemy an idea of where you are. I was scared to death. We had the biggest star in the world flying all over the place in Black Hawk helicopters and getting shot at. Bombs going off close to you. It was every emotion you could imagine. From being on top of the world to going, ‘Oh shit. I’ve got a daughter. I shouldn’t be here. I’m too old for this.’ But Toby never flinched.” Perhaps his most popular song on those tours was originally titled “The Angry American.” “The first time I heard it, he said he didn’t think he’d record it,” Kimbrell says. “He said it was just a statement about how his dad would feel – something to play on the USO Tours. But he played it a few places and it was getting the biggest reaction. People urged him to record it, and when the commandant of the Marine Corps heard it, he told Toby it would be a morale builder for service members. The second DreamWorks heard it, they asked him to add 'Courtesy of the Red, White and Blue' to the title. Toby told the label, ‘If we put this out, don’t expect me to back down from it. Ever. I’m never apologizing. I’m full steam ahead.’” NOT SO ANGRY AMERICAN For some, the song painted Keith as something less than a multi-dimensional recording artist and performer. “In the press, he went from being an unbelievable songwriter with all these great songs and hits to being just the ‘boot in your ass’ guy,” Kimbrell says. “A lot of the media never got past that. The controversy kept growing, but he really captured a moment. Alan Jackson also captured a moment, but in a different way. Toby knew what he was in for, but true to his word, he never backed down.” Despite unfounded characterizations, Keith is actually not an angry American. “He is the most even-keeled person you could ever meet,” Kimbrell says. “I’ve been with him going on 30 years and I’ve only seen him upset maybe twice. One was when a record company tried to screw him out of some royalties. The other was a security breach at a show. That’s it. And it’s one of his biggest attributes.” Remaining steadfast and calm likely benefited Keith as he fought through his recent cancer diagnosis, though Kimbrell admits it’s been a trying time. “This is John Wayne,” he says. “He’s supposed to be invincible. He’s never really been sick – doesn’t even take an aspirin, and now he’s got cancer? It doesn’t run in his family, but he went to so many burn sites – Ground Zero. Really tough watching him go through that. But we’re looking at getting back to work very soon.”

We proudly congratulate our friend and client

TOBY KEITH

on 30 incredible years of music and inspiration

IThisLove Part

On songwriting: “I don’t think I could rewrite ‘Should’ve Been A Cowboy’ and make it better. That’s not really the direction you grow. Where you grow is learning to weed out the dead ends. And the fewer dead ends you have, the more open road you’ve got. I had

Toby Talks

to write 500 songs before I wrote a great one. It didn’t take me 500 songs

Music How Do You Like Me Now?!"Written with Chuck Cannon: “I had rhymed "‘perfect one’ and ‘valedictorian’ – had a little flow going there, and some of the chorus. About a third of it was written when I met Chuck for the first time. This was the first song we started on, but didn’t quite finish. We wrote some other things, had some other hits, then went back and finished it. There was a lot of big-time resistance to this song [but I] absolutely loved it. This album and this song got me dropped from Mercury. Of course it was exactly where I wanted to go [and] proved to be a great defining moment in my career.”

"I Wanna Talk About Me "Written by Bobby Braddock: “I don’t cut many outside songs, but Bobby brought this to my producer James Stroud, and told him he’d heard me do a song that was a really unique attempt at being different but still being good and staying within the parameters of the industry. ‘Getcha Some.’ Inspired by that song, he sat down and wrote this. Blake Shelton sang the demo, which could have been a hit on its own, but Bobby thought nobody in Nashville but me could propel this song up the charts and, basically, get away with it. They were hoping I’d love it, and I did. Against all odds and a lot of resistance, it became a three-week No. 1. The biggest kick I got out of it was the hardcore country critics bashing me. I’d let them bash all they wanted, then when they asked if I wrote the song I’d say, ‘No, Bobby Braddock did.’ You should’ve seen them have to eat their pipes.”

Courtesy Of The Red, White And Blue (The Angry American)" "“Right after 9/11 it seemed like talking heads on the news kept saying sarcastically, ‘I guess we could go bomb them if they don’t turn Osama Bin Laden over. That would be so the American way.’ First of all, if you don’t want to defend our country, you don’t have to join the military. But to stand back and belittle ... Sometime that morning a father got up and kissed his kids goodbye and a couple hours later he’s standing on top of the World Trade Center burning to death and jumping 120 stories. It’s not ‘so the American way’ to go bomb people. That is so the terrorist way. We went to the U.N. and told everybody exactly what we were doing. We wanted Osama and the people responsible for this or we were going to go in and get them. They had lots of warning. When 3,000 people die, the Pentagon is struck and two World Trade Centers are brought to a pile of ashes, and people say bombing them in response is ‘so the American way,’ I got angry enough to put it in a song. We’ll put a boot in your ass. It is the American way. If that’s the way you want it, so be it. I lashed out.”

Beer For My Horses"Written with Scotty Emerick: “When I was a kid I "worked for a rodeo company. The old timers who worked in the back would carry a pint of whiskey in their pocket. They were just old cowboys. They would pull it out and say some little toast. One was to hold up the bottle for a drink and say, ‘Whiskey for my men, beer for my horses.’ I kept that in my head a long time thinking I’d write it some day. We did finally, trying to say that maybe it’s time that justice gets back into the judicial system. The big posse goes out and catches the bad guys and everybody comes back to lick their wounds, remember the ones they lost and celebrate with the ones that made it back. Soon as we got done writing it I thought, man, it’d be cool if we could talk Willie Nelson into singing the Texas verse on that. Obviously he went for it and I think it’s the biggest multi-week No. 1 either of us ever had.”

LET THE OLD MAN IN: With Clint Eastwood. Quotes on this page pulled from prior interviews; edited for length.

PAGE 30 • OCTOBER 2023

to write the next one. So you start closing that window down. Then I’m hanging out with two or three other great songwriters and you start to feel like you’re only a great idea away from a great song.”

Get Out Of My Car"Written with Scotty Emerick: “I’ve had people "review albums who you could tell didn’t even listen all the way through. They just looked at the titles and hated on me in print. You can tell because they don’t get that twist at the end. In this song, he gets out of his clothes and she gets out of his car. You’ve got to make that turn where it isn’t just a landslide. You have to be able to laugh at yourself as much as anybody else.”

Don't Let The Old Man In"“Clint Eastwood had me at his golf "tournament in Carmel (CA), and he was telling me about this movie he was doing, The Mule. I asked him how he is still doing it after all this time and he gave me the line, ‘I just don’t let the old man in.’ I knew I was going to write it, but to have him call me back within 30 minutes of sending it to him? I didn’t ask him to put it in the movie, but they did. At that point, it’s jumping jacks. It’s an homage to someone I idolized and might be the best song I’ve written.”

"Weed With Willie"

“I had the night off in Vegas and Charles Barkley, who’s a friend of mine, was having a birthday party at the Rum Jungle at midnight. I promised him I’d be there. About 4pm, someone told us Willie was playing the Hacienda. We went to the show and Willie brought me up to do a couple songs. As I was walking off he said don’t go anywhere, he wanted to holler at me on the bus. He played me a song or two and asked to hear one I’d written with Scotty ... then he broke out a joint. “Now, I’ll smoke it, but it’s never been my high. I’m never in smoking shape and really can’t handle my high very good. And when you’re dealing with Willie’s stuff, you’ve got probably the best available to anybody. So I didn’t smoke very much, but boy, I got shut in. I got off that bus and had everything wrong with me you can get. I just told my folks, ‘Take me straight to my room.’ So on Saturday night in Vegas I laid down on my bed, alone in my room and missed everything. Got up the next morning and I had about 30 message on my phone. ‘Charles wanted to know where you were. What happened? What’s going on?’ Scotty called and I told him the story. ‘Well, I got on Willie’s bus and I’ll tell you what, I’ll never smoke weed with Willie again.’ ‘By the way,’ I said. ‘We ought to write that.’”

"Should've Been A Cowboy"

“Me and some friends wandered into a bar in Dodge City, KS, where the old TV show Gunsmoke was set, and watched a buddy get shot down by the pretty girl he asked to dance. Young guy in a hat walked up and she went right off to the floor with him. Someone turned to our friend and said, ‘You should have been a cowboy.’ We got back to the hotel and I wrote it in the bathroom once everyone fell asleep. Turned it in with my whole life’s work to that point once I got a record deal. “Hearing my songs played by real session guys instead of whoever I’d made the demo with was like putting on magic dust. When we did ‘Cowboy’ I could tell by the look on their faces we really had something. On the outside I was all business, but on the inside, I was jumping up and down. Having people believe in me not just as an artist but as a songwriter – I’d never had that. Twenty-five years later, it’s still the best part.” CAC

BREAD BREAKING: Dining with soldiers at the USO’s Wounded Warrior Center in Landsthul, Germany in 2010.

PILLOW TALK: At the 2015 Songwriters Hall Of Fame ceremony, where Stephen Colbert (r) handled the induction, and told of the compliment Keith once gave him – commemorated in hand-stitching.

THE INTERVIEW

JOHNNY CHIANG Radio Gaga In January of 2022, Cox Country Format Leader and KKBQ/Houston OM/PD Johnny Chiang joined Red Street in a promotion VP role. Six months later, he left for SiriusXM’s Pandora, clocking in as Sr. Dir./Country Programming for the streaming service. Less than a year later, he added oversight of the company’s satellite Country radio stations, among others. If a more dramatic series of career pivots has been accomplished, it’s not in recent memory. CA: How’s your whiplash? JC: That’s hat’s after 29 years of radio in one company, Cox. I didn’t experience much change for

decades, then I decided to do it all in 18 months. To this day, I miss my Cox/Houston team and I’m still in touch with those friends, but it was time for a change and a new voice in that building. Having a lot of friends in the label business, I always thought I’d like to give that a shot. I did, and found very early on that it wasn’t for me. I wasn’t passionate about it. I looked at my boss and friend [Red Street GM] Alex Valentine one day and said, “I look at you guys waking up every day with a spring in your step and a big smile. Can’t wait to tackle the day, right? I remember what that feels like, but I don’t have it here.”

Is it being a content creator at heart, rather than someone who shares the content creator’s work?

Yeah. I felt I had more to offer in the content distribution world, particularly on the digital side. Having 30plus years of experience in traditional, linear, terrestrial programming, the Pandora offer was it. An opportunity to learn where the goals are the same, but done completely differently. I wanted that, not just for my resume but in my mental repertoire.

Was there a ceiling in general at radio, or a ceiling specific to your need to learn something new?

Probably a little bit of both. KKBQ was nirvana, especially under Cox family leadership. The 93Q team, as well as the other stations, did so much and had so much fun. What could top that? Where could I go next? The one thing I would’ve loved to tackle is Country in New York. People say it won’t work there, but I don’t know that I agree with that.

You told us shortly after you took the Pandora gig that you learned a lot about record promotion and the financial model behind how labels interact with radio. Now that you’re back in a radio role, has that changed the way you view the relationship?

I like to think I have always been empathetic to what my friends on that side of the business do. It is tough, and I experienced it a little bit for myself, right? Traveling, staying out late, and trying to get phone calls returned – that’s really hard. Hearing “no” every day of your life, that’s tough. The difference here is I’m at a place where one of our missions is to break new music and artists. Such a refreshing change. We’re more collaborative with the music production side, and even more so with management and publishers. We’re not waiting for the label to feed us a single. In fact, we don’t want that. We want to help you pick one.

In your seven months on the Pandora side, were you able get in a groove within that world?

I don’t think anybody will ever be in the groove in the DSP world because things change so quickly. But yes, things absolutely slowed down a bit. And I’m still responsible for Pandora Country – fingertips to keyboard programming. Whether I’m in Nashville or the Houston office, the day is lots of meetings dominated by SiriusXM. At night, I fire up our backend system to listen to new music and actually program Pandora Country.

PAGE 33 • OCTOBER 2023

THE INTERVIEW

JOHNNY CHIANG

How does the Pandora side inform the SiriusXM side? As of right now, I am the only program director in the company doing one format on both platforms. I don’t think I’ll be the last, which speaks to [SVP/GM Music Programming] Steve Blatter’s vision. It makes sense because no one else has the combination of what SiriusXM and a DSP can offer the business and listeners. Apple has radio and devices, Amazon has the device – we can’t compete with that. But we have these complementary platforms. One of my major responsibilities is to make sure they work together, talk to each other and break new music.

I assume Pandora has much more data. Can that be utilized on the SiriusXM side? Can data from the digital side of SiriusXM also be tapped?

Absolutely. It would be moronic not to. I don’t think I can comment beyond that.

When the SiriusXM job came open, you famously said weren’t putting yourself in the running even though you were already at Pandora. What changed?

Two days after you wrote about me accepting the Pandora position, you wrote about a change at SiriusXM Country. The entire town called me asking if the Pandora thing was a head-fake. It absolutely was not. I wanted to learn the DSP world and still couldn’t move to Nashville. Steve and I agreed that we needed a leader on the SiriusXM side because we have a pretty big team. They need someone

Tepper for Outlaw Country and I SAW SQUAD TODAY: Chiang with SiriusXM staffers Willie’s Roadhouse, and Joey Black (l-r) Jonathan Burner, Nick Coulson, Trapper John Morris, Lauren Barocas, Buzz Brainard and Cody Alan. with Bluegrass and Prime Country. I’m also responsible for Christian station The Message, which Al Skop the things I would do – not as a mandate – but if I were programs. Emily Fenton has Enlightened and Outsiders overseeing 10 or 20 stations, I would have whoever’s Radio. If I didn’t have these folks, there’s no chance I could programming each station pitch one unsigned artist song do this job. My role is to rally the team, keep distractions every two weeks or once a month to the group. Maybe away so they can focus on being creative and keeping the we could break something. When Steve moved me into train running. this position, I wanted everyone to be responsible for championing a song or an artist every so often. Then I And you get to work with personalities realized I didn’t have to; they already do it. All I had to do is again, including your new addition: listen to them. But if I were back in terrestrial radio, I’d tell Cody Alan. them all, “You have to champion one. Let’s see if we can Obviously, Storme Warren took his job of a lifetime, and break it.” good for him. That bastard! I come into the job and a month later he leaves. I had to tell the whole town, “No, I didn’t How’s your work-travel-life balance? fire him.” I love everything about what I do at Pandora and It’s going well. This is starting to feel like a commute versus will be the flag bearer for it till the day I die. I had to learn a trip. I’m here every two weeks and have my travel booked non-linear programming. I had to listen to every single song for the rest of the year. I typically book a quarter at a time, to know where to place them on Pandora stations – love flying to Nashville on the first flight out of Houston Tuesday songs, breakup songs, house party, stuff like that. The one morning. Then I take the next-to-last flight out on Thursday thing I was missing was the team. Steve gave all that back night. That way, I make it home by 11pm CT to program to me. Certainly, no one wanted Storme to leave, but I all the new releases and change out the tiles on Pandora at understand. He had been here a long time doing the same midnight ET. I’m so used to it now, and most of the town, things, and he had a great opportunity. the labels, kind of know my travel. We jam in as many Cody was on a very, very, very short list, and I’m so glad meetings and listening sessions as we can. And I invite the he was interested. First and foremost, we wanted the best air entire team to those – whoever can make it, great, because talent. We also wanted someone who was well-known with, I want the town to know the team. So I’m pretty good with essentially, star power. And I can’t find a single person in the schedule. But if you ask my wife, I don’t know what this town with anything bad to say about Cody, so he fits my she’d say. no-assholes-allowed rule. We also have a young, budding superstar in Macie Banks, and they’re a great fit together. What have we not touched on that is She can really benefit from his wealth of experience.

top of mind for you?

What’s your view of country’s relative strength as a format and genre?

Just the music, the art. Two names: Morgan Wallen – everything he does – and Zach Bryan, whose new release is fantastic. That is ﬁltering its way to terrestrial radio. With so many different ways for the audience to speak up, they’re telling us. The music leads, the audience follows. Not just us, but look at the acts we’ve helped break over the last few years, like Bailey Zimmerman. Absolutely huge. And we’re seeing a trend with alt-country artists who years ago would never have been considered for “The is the impact we mainstream: Warren Zeiders, Tyler Childers and others. The appetite for country is back. make in The last time country had a spike in the mid-2010s it was bro-country and people and artists. I’d really like to find hated that term. The mistake we made is it got hot and then we killed it. Burned it a way to .” out. We turned every single and every act into a version of that. Now, because there are so many ways to get your audio – with SiriusXM and Pandora alone, there are so many stations to be in Nashville with them. On the Pandora side, even – the risk of us killing it is diminished. though I traveled to Nashville quite a bit, it was really just

biggest thing

breaking new music

quantify that

me and Beville Dunkerley at the time. There was still so much to learn. Seven months later when Steve brought the subject up again, I was getting my footing with Pandora. And I’d been traveling here quite a bit, had gotten to know the team and they’d gotten to know me. We were building a good rapport. Those human results were getting back to Steve. He asked about taking on the extra responsibility, and I didn’t want to give up Pandora and couldn’t move, but he said, “Can you travel to Nashville a little more?” I said sure, and that was it. Literally a 10-minute conversation and it was done.

When we interviewed you early in your Pandora tenure, you were mainly focused on the top 10 Country stations. How does your SiriusXM purview compare to that? On the SiriusXM side, I’m so blessed that there are so many full-blown radio stations. Each of them has a great programmer. Thank goodness I’m not knee-deep in MusicMaster every day. Trapper John is the engine, heart and soul of The Highway. Kathleen Shea is a superstar in the making. She built and launched Carrie’s Country and Y’allternative. She’s a musical savant. We have Jeremy

PAGE 34 • OCTOBER 2023

As country has widened, the ocean of music has, too. How do you manage that for yourself and the listeners?

The ﬁrst thing is admitting you can’t listen to everything. You can’t consider everything. It’s overwhelming. But I rely on my team. We have diverse personalities, and not just among the programmers, who have such diverse tastes. I open music up to all the talent people on the ﬂoor, and they help in music selection. It can’t just be one person. We were pretty progressive at KKBQ, but at the end of the day, 90% of our music decision was sort of aided by the labels feeding us singles. When I got to Pandora and met Kathleen Shea, she taught me alt-country, Americana and bluegrass. I hadn’t heard of Warren Zeiders or Koe Wetzel before.

Finish the statement: “If I were still a format leader for a terrestrial brand, I would ...”

Eliminate all companywide initiatives. I would empower each market to make their own music decisions. Even if you don’t have a programmer there, have someone local involved. Having company initiatives sounds great, looks great, but are you really serving your community? One of

Even though we don’t impact the terrestrial radio chart, the biggest thing is the impact we make in breaking new music and artists. I’d really like to ﬁnd a way to quantify that, and the team would like that as well, rather than us just talking about it.

When you think about how you got to this point in your career, is there a moment you look at as being pivotal?

I’ve been the luckiest son of a bitch. As a teenager, I was one of the lucky ones: I knew what I wanted to pursue – college, media and particularly journalism. So I did that and got a journalism degree. The ﬁrst gigantic break was hearing about an Asian American journalist association conference in San Francisco while I was still in school. On my own dime, I drove up to attend, bought a ticket, went to the ﬁrst dinner and I realized, yeah, this is not for me. I’m a student. This is for professionals. Then they announced a job fair was happening the next day, but they also said don’t go unless you’re serious. I went anyway. I saw a booth for CBS Radio. The brass ring in radio news in L.A. was KNX-AM, 24-7 News radio. I walked in and was very honest with the gentleman sitting behind the desk. “I’m a student at Cal State Northridge looking for an internship, a part-time job, but I can’t quit school. If I’m wasting your time, tell me and I’ll leave quietly.” But he wasn’t busy and asked me to sit down. I gave him my resume, which had nothing on it, and he saw that I went to Fairfax High School in L.A. He said, “Who did you have for English?” I told him I had Mrs. Inouye. He said, “Was her maiden name Evans?” I said I thought so and he asked what grade I got in the class. An A. Well, turns out they were high school or college sweethearts. “If you can get an A in her class, you’ve got something,” he said. The next week, I got a call at home from the KNX News Director Bob Sims. “Someone told me about you,” he said. “Can you come in for a writing test?” I did, and they had typewriters. That’s how old I am. So I ripped an item from the AP wire and turned into a broadcast story. Next thing I knew, I was a paid intern at K-N-X. Talk about a break.

And the turn into Country?

I went to Houston to launch and run an ‘80s Rock station and didn’t know anything about Country. The cluster ﬂagship was supposed to be KKBQ, but it was not doing well. KILT was head-and-shoulders dominant and you still had KIKK in there. We were third in a three-horse race. Cox CEO Bob Neil made a change and asked me to run it. I told him I didn’t know the format, and he said that’s why they wanted me to do it. And here I am. CAC

REIGNING ACM ENTERTAINER OF THE YEAR

INTRODUCING PLATINUM-SELLING AND GRAMMY-NOMINATED ARTIST…

WITH HER DEBUT COUNTRY SINGLE

“UNMISTAKABLE STRENGTH AND UNIQUE COUNTRY FLAIR” – AMERICAN SONGWRITER