I am very proud of this artist and to be working for him....
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Thursday, January 19, 2012
Social Media Success For Musicians - A 2012 Roadmap
(See for instance this story about how Warner Music Group tries to track the results of its social media campaigns.)
Now I’m not going to pretend to have all the answers yet. But having run a social marketing platform for the last two years, I have gained some insight that might help frame the question as it evolves in the months ahead.
It’s About Awareness
The biggest problem artists face today is generating awareness. This is particularly true for emerging acts and even more so for DIY artists. Just see thedebate raging over how little sales artists using TuneCore or CDBaby are generating. But just creating a Facebook or Twitter account isn’t enough. The average artist on Facebook has less than 500 fans. Very few have more than 1,000. And the average conversion rate conversion rate on Facebook is around 2%, 4% for Twitter is 4%. These are estimates based on my experience, but I’m not alone. The best way to deal with these kinds of rates is to apply them to larger numbers (ie: 2% of 400,000 is a lot more than 4% of 500). And that requires generating more awareness not necessarily more likes, follows and friends. Artists need to feed the machine at one end so that the conversions on the other end have more impact.
Consider The Costs
But this does not mean grow at any cost. And let’s be clear… cost can be a major factor when considering your social awareness options. There are basically two ways to increase your virtual fanbase. One is to pay Facebook or Twitter to place ads into the profiles or streams of users they feel are most likely to respond positively to your message. But while that’s fast, it’s awfully expensive. The average social marketing cost via these platforms is about $1 for each new fan gained (see this WSJ article for more).Now consider that against the conversion rates mentioned above. Why pay $50,000 to gain 50,000 new fans when only 1,000 are likely to convert to a sale. To get the return on your investment, each of those converted would have to buy $50 worth of goods to make it even break even (more when you consider the revenue shares involved in the music business).
The second way is to engage your fan base to make recommendations for you, such as conducting campaigns that reward fans for sending all their friends a link to your website, that sort of thing. This is a perfectly valid and even useful practice, but now let’s look at engagement rates. Liking an artist on Facebook is a pretty low-impact action. It requires very little time, effort or even thought. Getting those followers to do anything is hard. Look at the engagement rates of the top brands on Facebook. It’s all 1% or less. So while this method is much cheaper than buying ads, it’s far slower.
Social Media Is A Place For Conversation, Not For Commerce
The other day I had to buy a mattress. But I never went to Facebook or Twitter to conduct research or get recommendations or to make a sale. I went to Google. People go to Google because they’re searching for products that they likely want to purchase. They go there for information about products once they’ve decided they want to buy something. Some 70% of people searching for information about products on Google are in a buying mindset. People on Facebook are not. This is why sales figures are not the best metric to base the success of social media campaign. Consider Coke. Its Facebook strategy is to gain eyeballs, not sales. Their marketing executives get their bonuses not on sales data, but on purchaser intent metrics. It’s about brand recall, and that’s what artists, managers and labels should keep in mind as they consider their social strategy.
We live in an attention economy now. I can sign up for any one of several music subscription services and for a monthly fee stream any song I want. And as that model grows, the question is going to be “what do I want to listen to when I can listen to anything?” Artists will be paid for how many times their songs are streamed, not for one-off album sales. When that time comes, even superstar artists will need smart social marketing strategies to survive.
Mike More is co-founder and CEO of Headliner.fm, a collaborative marketing platform that allows artists and other content owners to promote each other to their respective fanbase with the intent of gaining new fans.
January 19, 2012
Let Radiohead Be Your Guide
By George Howard
(follow George on Twitter)
(follow George on Twitter)
Artists are an iconoclastic bunch. They tend to see the world in a unique manner, and often feel that their idiosyncratic world-view is sacred. This can lead to great art. We need artists to help us see things we otherwise wouldn’t. The downside of this point of view is that as artists adhere to a rigid perspective of self-reliance, they often exclude any other voices. In short, it’s the artist’s way or the highway.
While artists will (to a degree) look to other musicians whom they admire for musical inspiration, they too infrequently look to others when it comes to plotting their career trajectory.
This is a mistake. We all need Sherpas, guides. It doesn’t mean that we can, or should, try to follow exactly the path of those who came before us, but it does mean that when a learning curve that’s been flattened by the boots of those who came before you presents itself, you should avail yourself of it.
The problem, of course, is that there’s so much noise. The group think/conventional wisdom can be overwhelming when you’re trying to discern fact from fiction and anecdotes from something more empirical. Trying to determine to whom you should look to/listen to for guidance is challenging when everyone appears to be an expert.
To help filter some of the noise, I suggest the following:
As I discussed in my most recent article, you must work diligently to understand, establish, and make visible your core values. This includes everything from understanding what you feel your musical (if not life) purpose is, how you will articulate this, and how you will use this understanding to sustain yourself during the inevitable tough times. Significantly, understanding your core values allows you to target potential fans/evangelists (or, a new term that I like a lot, “igniters”) whose values align with yours. These igniters are the ones who will immediately respond to what you do, and, importantly, share your work with their friends. This is really the very best form of marketing: it works, it doesn’t cost money, and it can lead to building a sustained career that is far less affected by trends and market vagaries than careers built on things other than value alignment.
Understanding your core values creates a filtering process that will not only eliminate noise with respect to the potential fans you should be targeting, but also help in terms of where to look for guidance from artists who are a step or so beyond your current situation.
A few important details. First, while it’s likely that those artists you look to as examples for a career trajectory will align with your musical sensibility, it’s not crucial that they do. For instance, while I’ve never been a big jam band fan musically, I have for ages admired their values, and the way they go about developing sustainable careers. I feel that many artists — irrespective of whether or not they like “jam band” music — could learn a ton from the way these artists operate (their commitment to performing live; the ways in which they collaborate with other artists in the genre; the ways in which they nurture “community” with their fans). Similarly, many non-hip-hop artists could take a lesson from some of the marketing innovations that occur in this genre; I think, specifically, of the mix tape efforts, and the way in which more established hip-hop artists often introduce emerging artists via guest spots on their records.
Equally important to making certain that the artists you look to share your core values (even if they don’t share your musical tastes), is that you must look to artists who are in close relative proximity to you with respect to your career arc. While it may be somewhat helpful for an artist who is just starting out to look at a superstar in order to study a career trajectory, it is far more instructive to look to artists who are a step or two ahead of where you are. If, for instance, you are an artist who has developed a decent fan base in your home town, but hasn’t yet performed outside of this home town, don’t look to the band who tours 300 dates a year for guidance, but rather look to the band that is getting out of town two or three times a month. How are they doing it? What strategies are working for them that you can adopt to suit your needs?
Of course, this doesn’t only apply to playing live, but also to all efforts of brand building. What, for instance, are artists who share your values and who are a step or two ahead of you doing in terms of social media?
I would add that while you can do this from afar, voyeuristically studying an artist, I would strongly encourage you to reach out and talk to other artists. As I said in my intro, artists sometimes are reluctant to share their “secret sauce,” but not always, and maybe not even as much as we think — maybe we just haven’t been asking enough.
We desperately need more knowledge-share amongst those who are in the trenches doing this thing we love every day (hence, the TuneCore blog), and any opportunity to engage in conversations with people with shared values should be embraced. Doing so will not only help you with your career strategy, but also with maintaining the necessary empathy required to succeed today.
So, go find that Sherpa!
__________________________________________________________________________________________________
George Howard is the former president of Rykodisc. He currently advises numerous entertainment and non-entertainment firms and individuals. Additionally, he is the Executive Editor of Artists House Music and is an Associate Professor of Music Business/Management at Berklee. He is most easily found on Twitter at: twitter.com/gah650
Friday, January 6, 2012
Monday, November 28, 2011
Wednesday, November 9, 2011
Taylor Atkinson Band - from Andrew Griffin
RED DIRT REPORT: "Taylor Atkinson Band offers Wormy Dog audience 'Too Much Whiskey'"
http://www.reddirtreport.com/Story.aspx/20316
http://www.reddirtreport.com/Story.aspx/20316
Sunday, November 6, 2011
Phillip Shane Moffat.....................
Happy Birthday Son... I am proud you are mine! love you. have a blessed day!
Friday, October 28, 2011
Happy Halloween from No Justice
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Wednesday, October 26, 2011
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Friday, October 14, 2011
Cain's Ballroom Featured as One of Ten Great Places to See a Concert
Cain's Ballroom Featured as One of Ten Great Places to See a Concert
Tulsa's historic Cain's Ballroom was featured in a Yahoo! News slideshow of "Ten Great Places to See a Concert." The slideshow honoring the establishment features ten notable venues across the country that are "guaranteed to deliver a stellar concert experience."
Built in 1924, Cain's Ballroom has gone from a garage, a dime-a-dance joint to a dancing academy until it became known by artists and patrons alike as one of the top performance venues in the world today. The highlight of the ballroom is a historic maple, spring-loaded dance floor.
Western swing icon Bob Wills made his debut at Cain's in 1935 and the venue soon became known as "The Home of Bob Wills." With Bob Wills and The Texas Playboys calling Cain's home from 1935 to 1942, the ballroom was especially significant for popularizing the western swing genre.
After being refurbished in 1976, Cain's has continued to boast a long history of performances from talented musicians of all genres. The ballroom plays host to nationally touring acts, as well as Oklahoma-based musicians.
Other venues featured in the slideshow included The Gorge in George, Washington; the Hollywood Bowl in Hollywood; Red Rocks in Morrison, Colorado; the Fillmore in San Francisco; The Greek Theatre in Los Angeles; Hampton Coliseum in Hampton, Virginia; the Bowery Ballroom in New York City; The Grand Ole Opry in Nashville, Tennessee; and the Stone Pony in Asbury Park, New Jersey.
For more information about the legendary Cain's Ballroom or to purchase tickets for an upcoming concert at the venue, please visit http://www.cainsballroom.com/.
Tuesday, October 11, 2011
MontyNews: Halloween Songs
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"Arkansas musician Matt Stell talks to the Current / RedDirtReport.com
Arkansas musician Matt Stell talks to The Current / RedDirtReport.com
http://www.reddirtreport.com/Story.aspx/19653
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Andrew W. Griffin
West Marie Media
P.O. Box 1881
Oklahoma City, OK 73101
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"Stage collapse incidents, more, spook concert industry" / The Current (via RedDirtReport.com)
THE CURRENT: "Stage collapse incidents, more, spook concert industry"
http://www.reddirtreport.com/Story.aspx/19647
Tuesday, September 13, 2011
Monty Harper Update
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Wednesday, September 7, 2011
Music Piracy: A music industry insider talks illegal downloads, new laws, and 10 billion iTunes downloads
Excerpted from an interview originally posted on MusicCoaching.com.
Whichever side of the fence you’re on in regard to the issues of music piracy, as artists creating music for public consumption, it’s a topic of special concern. Here, Alex Jacob of the International Federation of the Phonographic Industry (IFPI) talks about the music industry, illegal downloads, and some of the causes the IFPI champions. The IFPI is Europe’s equivalent to the Recording Industry Association of America (RIAA), the group that represents the interests of the major (and other) labels, distributors, and producers in the music industry in the U.S.Tell me about IFPI.
IFPI is the international trade body for the record labels, both the four internationals and also many hundreds of independent labels throughout the world. We exist to try and persuade governments and policy makers of the importance of strengthening intellectual property laws in the Digital Age so that our members can continue to invest in artists and produce great new music. We also work to extend the rights of our members in areas of Public Performance Rights. For example, you might know that the U.S. is one of the few countries that doesn’t have broadcast rights for producers or artists. So that means unlike in the UK or in France, every time a radio station in the U.S. plays a track, it pays the songwriter, but it doesn’t pay the producer or artist. When you have a $20 billion corporate radio industry, that’s potentially a lot of money that the music industry is losing out on in comparison to other countries. It also means that when American artists are played on radio stations overseas, that money doesn’t float back to them because there is no reciprocal arrangement for when overseas artists are played in the U.S. Those are the kinds of campaigns we work on.
IFPI is the international trade body for the record labels, both the four internationals and also many hundreds of independent labels throughout the world. We exist to try and persuade governments and policy makers of the importance of strengthening intellectual property laws in the Digital Age so that our members can continue to invest in artists and produce great new music. We also work to extend the rights of our members in areas of Public Performance Rights. For example, you might know that the U.S. is one of the few countries that doesn’t have broadcast rights for producers or artists. So that means unlike in the UK or in France, every time a radio station in the U.S. plays a track, it pays the songwriter, but it doesn’t pay the producer or artist. When you have a $20 billion corporate radio industry, that’s potentially a lot of money that the music industry is losing out on in comparison to other countries. It also means that when American artists are played on radio stations overseas, that money doesn’t float back to them because there is no reciprocal arrangement for when overseas artists are played in the U.S. Those are the kinds of campaigns we work on.
That sounds like SoundExchange if it covered the non-digital broadcasts.
That’s absolutely right. And then you have sister organizations of SoundExchange such as Phonographic Performance, Ltd. (PPL) in the UK that collects income from radio stations and TV stations that use recorded music. These music licensing companies work very closely with IFPI and our performance rights committees to try and ensure that the best practice is copied around the world and that the rights of producers and artists are extended around the world so that everyone enjoys a level playing field.
That’s absolutely right. And then you have sister organizations of SoundExchange such as Phonographic Performance, Ltd. (PPL) in the UK that collects income from radio stations and TV stations that use recorded music. These music licensing companies work very closely with IFPI and our performance rights committees to try and ensure that the best practice is copied around the world and that the rights of producers and artists are extended around the world so that everyone enjoys a level playing field.
Would you say the primary function of the IFPI, at this point, is to protect digital copyright? Is that where a lot of your efforts are focused?
Yes. IFPI has been around for a long time. It was founded back in 1933, and has always fulfilled a range of functions. But piracy has always been right up there on IFPI’s agenda. And piracy has a physical world too – the CD world. At one point, roughly one in three CDs sold worldwide was a counterfeit and had no money going back to the artists and record producers, so it was obviously a major issue. In the digital world, we estimate that 95% of music downloads online are unlicensed and illegal, with no money going back to the producers and artists. There’s a quantum leap in the level of piracy from the physical/CD world into the digital world. When you’re laboring under that burden of an industry, it has to be one of your major priorities.
Yes. IFPI has been around for a long time. It was founded back in 1933, and has always fulfilled a range of functions. But piracy has always been right up there on IFPI’s agenda. And piracy has a physical world too – the CD world. At one point, roughly one in three CDs sold worldwide was a counterfeit and had no money going back to the artists and record producers, so it was obviously a major issue. In the digital world, we estimate that 95% of music downloads online are unlicensed and illegal, with no money going back to the producers and artists. There’s a quantum leap in the level of piracy from the physical/CD world into the digital world. When you’re laboring under that burden of an industry, it has to be one of your major priorities.
Do you think there is any going back at this point? Do you ever foresee a time where Pandora’s Box will close?
I think we’re very keen to embrace the legitimate use of technology. Our members have licensed more than 30 million tracks through over 470 legal services worldwide. So, there’s no objection to making music available to consumers and music fans online. The problem is obviously the illegal downloading and streaming – the piracy problem. And as I said, 95% of music downloads are unlicensed and illegal. That’s one hell of a figure. We do think that we can improve on that. We’re starting to see countries worldwide introduce legislation to tackle the problem – in France, South Korea, New Zealand, the UK. Governments are starting to put laws on the books that actually require some cooperation from internet service providers (ISPs), who are effectively the gatekeepers of the internet. In tackling online piracy – not just of music, but also of books, films, software, games – President Sarkozy has convened this huge conference in Paris in which he’s brought together the content industries and the tech industries to talk about how we can create what he calls a “civilized internet” – an internet where privacy laws are respected, that can’t be abused for criminal use and one where intellectual copyright is respected and creators can actually get some remuneration for their work. And that doesn’t just mean in the music industry or with iTunes or other services. There are many different business models out there. There are streaming services that are free for people to use and enjoy, such as Spotify, and YouTube is of course extremely popular as a free-to-use video streaming service. Alongside that there are subscription services and download stores.
I think we’re very keen to embrace the legitimate use of technology. Our members have licensed more than 30 million tracks through over 470 legal services worldwide. So, there’s no objection to making music available to consumers and music fans online. The problem is obviously the illegal downloading and streaming – the piracy problem. And as I said, 95% of music downloads are unlicensed and illegal. That’s one hell of a figure. We do think that we can improve on that. We’re starting to see countries worldwide introduce legislation to tackle the problem – in France, South Korea, New Zealand, the UK. Governments are starting to put laws on the books that actually require some cooperation from internet service providers (ISPs), who are effectively the gatekeepers of the internet. In tackling online piracy – not just of music, but also of books, films, software, games – President Sarkozy has convened this huge conference in Paris in which he’s brought together the content industries and the tech industries to talk about how we can create what he calls a “civilized internet” – an internet where privacy laws are respected, that can’t be abused for criminal use and one where intellectual copyright is respected and creators can actually get some remuneration for their work. And that doesn’t just mean in the music industry or with iTunes or other services. There are many different business models out there. There are streaming services that are free for people to use and enjoy, such as Spotify, and YouTube is of course extremely popular as a free-to-use video streaming service. Alongside that there are subscription services and download stores.
But it’s that help from government that we feel can help us move the needle in terms of piracy. We’re doing our bit in terms of licensing all these range of services. And now governments and ISPs need to do their bit to establish the rule of law online and stop it from being, as Prime Minister John Key of New Zealand said, a “wild west.”
Where do the negotiations in the U.S. and the UK – which are two of the biggest music markets on the planet – stand?
In the UK, the Digital Economy Act was passed last year. It still has to be fully implemented. There was a judicial review of the Act brought by two ISPs that was rejected, although they are now considering whether or not to appeal that. But under the terms of the new Digital Economy Act, ISPs have to send notices to individual users that are uploading copyright-infringing files and say, “We know what you’re doing, please stop and start using the legal services that are out there.” And if a system of notifications alone doesn’t work in the UK, then ISPs will be mandated to bring in sanctions.
In the UK, the Digital Economy Act was passed last year. It still has to be fully implemented. There was a judicial review of the Act brought by two ISPs that was rejected, although they are now considering whether or not to appeal that. But under the terms of the new Digital Economy Act, ISPs have to send notices to individual users that are uploading copyright-infringing files and say, “We know what you’re doing, please stop and start using the legal services that are out there.” And if a system of notifications alone doesn’t work in the UK, then ISPs will be mandated to bring in sanctions.
What about in the U.S.? Have you made any headway with government stepping in and protecting these rights?
We certainly have a lot of political support from people like New York Governor Cuomo, Vice President Biden and from other politicians. I know the film industry as well as the music industry has been trying to reach out to ISPs. There is no response at the moment, but we’re hoping the U.S. will look and see what’s happening in other countries like France and the UK and see the success story from those countries that may move things forward.
We certainly have a lot of political support from people like New York Governor Cuomo, Vice President Biden and from other politicians. I know the film industry as well as the music industry has been trying to reach out to ISPs. There is no response at the moment, but we’re hoping the U.S. will look and see what’s happening in other countries like France and the UK and see the success story from those countries that may move things forward.
What about the ratio of purchase to piracy? Has piracy planed at this 95-percent rate?
The ratio of pirated music to legally-purchased music has been pretty constant. But what we’re seeing is that as broadband networks roll out across the world, both the legal and illegal consumption of music increases in tandem with that rollout. So, the 95-percent rate has remained constant, but that percentage reflects both rising piracy and also rising legal sales. iTunes for example, earlier this year marked its 10-billionth music file sold. Legal services are popular, but at the moment they are still dwarfed by piracy. We very much hope that all the work we’re doing to try to get a modernized set of copyright laws along the lines you see in countries like France and South Korea will help shift the needle on the 95 percent. The first graduated response systems have only started running in the last few months, so it’s still very early days. But we have to be optimistic that both the new services that are coming on stream and these kinds of actions that are backed by government will have an effect.
The ratio of pirated music to legally-purchased music has been pretty constant. But what we’re seeing is that as broadband networks roll out across the world, both the legal and illegal consumption of music increases in tandem with that rollout. So, the 95-percent rate has remained constant, but that percentage reflects both rising piracy and also rising legal sales. iTunes for example, earlier this year marked its 10-billionth music file sold. Legal services are popular, but at the moment they are still dwarfed by piracy. We very much hope that all the work we’re doing to try to get a modernized set of copyright laws along the lines you see in countries like France and South Korea will help shift the needle on the 95 percent. The first graduated response systems have only started running in the last few months, so it’s still very early days. But we have to be optimistic that both the new services that are coming on stream and these kinds of actions that are backed by government will have an effect.
Is there anything copyright /content holders can do that lessens the amount of piracy?
Absolutely there is. We run an internet anti-piracy team here, and our international groups do as well. If record labels register their content with us, then we can put out content protection guys to work to try to curb the amount of illegal distribution of their work online. Last year for example, the internet anti-piracy group here in London secured the take-down of seven million infringing links worldwide. They can also help record labels talk through their whole protection procedure, ensuring that they have the best systems in place to minimize the damage from leaks. It’s very difficult to avoid all leaks, particularly once the CD has been shipped out from the factory to the stores ahead of sale. But they can help you reduce the leaks during the period before the official release. And the average leak a couple years ago used to be several weeks before an album was released; now it tends to be just several days. That is at least mitigating some of the impact. And of course subsequent to the leak are take-down notices put out against the blogs and forums that are posting links to the illegal content. That kind of action can really make a difference and can make all the difference to an artist’s initial chart position that, as you know is so important when they’re trying to market the album further and get on. The difference between getting into the Top 20 and not getting there is huge.
Absolutely there is. We run an internet anti-piracy team here, and our international groups do as well. If record labels register their content with us, then we can put out content protection guys to work to try to curb the amount of illegal distribution of their work online. Last year for example, the internet anti-piracy group here in London secured the take-down of seven million infringing links worldwide. They can also help record labels talk through their whole protection procedure, ensuring that they have the best systems in place to minimize the damage from leaks. It’s very difficult to avoid all leaks, particularly once the CD has been shipped out from the factory to the stores ahead of sale. But they can help you reduce the leaks during the period before the official release. And the average leak a couple years ago used to be several weeks before an album was released; now it tends to be just several days. That is at least mitigating some of the impact. And of course subsequent to the leak are take-down notices put out against the blogs and forums that are posting links to the illegal content. That kind of action can really make a difference and can make all the difference to an artist’s initial chart position that, as you know is so important when they’re trying to market the album further and get on. The difference between getting into the Top 20 and not getting there is huge.
So, it certainly is worth any record label, small though they may be, talking to their IFPI-affiliated national group and registering their content so we can help them.
So, quite literally, someone would go to the IFPI directly – or the RIAA in this country – and just register. Does the size of the label matter? Do you have to have a certain number of copyrights?
No. The actual official IFPI statute talks about making sound recordings available in “reasonable numbers.” We have many small independent members that have a fairly limited repertoire. But our internet anti-piracy guys are out there working on the big Taylor Swift releases and also classical indie labels like Hyperion on their piano concerto series. There’s a full range of work they undertake. Definitely the advice I’d give to any record label is to go speak to your local industry association and register your repertoire.
No. The actual official IFPI statute talks about making sound recordings available in “reasonable numbers.” We have many small independent members that have a fairly limited repertoire. But our internet anti-piracy guys are out there working on the big Taylor Swift releases and also classical indie labels like Hyperion on their piano concerto series. There’s a full range of work they undertake. Definitely the advice I’d give to any record label is to go speak to your local industry association and register your repertoire.
Most of our readers are DIY musicians. So, if you’re a single artist that started a record label to release your own album, and then you went to any of the direct distributors – ReverbNation, TuneCore, CD Baby – would you be eligible for the types of services IFPI and its affiliate organizations offer?
Off the top of my head, I think you would be. If you’re making sound recordings available, even through a partner, and at a reasonable level trying to commercially sell them, you’re certainly someone we’d be interested in talking to. The systems are here and set up and working. We recently had a conference organized by the Association of Independent Music (AIM) – which is the indie body in the UK – to try to set up small indies. And they are often artists that are self-releasing and forming their own label.
Off the top of my head, I think you would be. If you’re making sound recordings available, even through a partner, and at a reasonable level trying to commercially sell them, you’re certainly someone we’d be interested in talking to. The systems are here and set up and working. We recently had a conference organized by the Association of Independent Music (AIM) – which is the indie body in the UK – to try to set up small indies. And they are often artists that are self-releasing and forming their own label.
Alex Jacob is the Senior Communications Executive at the International Federation of the Phonographic Industry (IFPI) in London, UK. He has worked at the IFPI for over five years as a member of the communications team. He is responsible for reaching out to stakeholders and working with the media to explain developments in the music industry and the steps required to develop a sustainable digital music sector in the future. IFPI is headquartered in London, but has offices worldwide in cities including Miami, Hong Kong, and Brussels. The organization also works with 45 affiliated groups, such as the British Recorded Music Industry (BPI) in the UK, the Australian Recording Industry Association (ARIA) and the Recording Industry Association of America (RIAA) in the U.S.Get great industry news and advice at MusicCoaching.com.
Read more: Music Piracy: A music industry insider talks illegal downloads, new laws, and 10 billion iTunes downloads | Echoes – Insight for Independent Artists http://blog.discmakers.com/2011/08/music-piracy/#ixzz1XIeKrxoU
Tuesday, September 6, 2011
2011 CMA Music Award nominees – full list
Jake Owen and The Band Perry announced this morning the nominees in five categories for the Country Music Association’s 45th Annual CMA Awards live from New York City on “Good Morning America,” while duo Thompson Square, which includes Miami, OK, native Keifer Thompson, and Jerrod Niemann revealed the rest of the list from the historic Ryman Auditorium in Nashville, Tenn.
The CMA Awards will air live Wednesday, Nov. 9 on ABC, with Checotah native Carrie Underwood and Brad Paisley co-hosting for the fourth straight year.
Nominees with Oklahoma ties include Blake Shelton, Miranda Lambert, Thompson Square, Underwood and Rascal Flatts.
Here is the full nominations list, with Oklahoma nominees marked with an *:
Entertainer of the Year
Jason Aldean
Brad Paisley
*Blake Shelton
Taylor Swift
Keith Urban
Single of the Year
(Award goes to Artist and Producer(s))
“A Little Bit Stronger”
Sara Evans
Produced by Tony Brown
RCA Nashville
“Colder Weather”
Zac Brown Band
Produced by Keith Stegall and Zac Brown
Southern Ground Artists/Atlantic Records
“Don’t You Wanna Stay”
Jason Aldean with Kelly Clarkson
Produced by Michael Knox
Broken Bow Records
*”Honey Bee”
Blake Shelton
Produced by Scott Hendricks
Warner Bros. Nashville
“If I Die Young”
The Band Perry
Produced by Paul Worley
Republic Nashville
Album of the Year
(Award goes to Artist and Producer(s))
*All About Tonight
Blake Shelton
Produced by Scott Hendricks
Warner Bros. Nashville
My Kinda Party
Jason Aldean
Produced by Michael Knox
Broken Bow Records
Speak Now
Taylor Swift
Produced by Nathan Chapman and Taylor Swift
Big Machine Records
This Is Country Music
Brad Paisley
Produced by Frank Rogers
Arista Nashville
You Get What You Give
Zac Brown Band
Produced by Keith Stegall and Zac Brown
Southern Ground Artists/Atlantic Records
Song of the Year
(Award goes to Songwriter(s))
“Colder Weather”
Zac Brown, Wyatt Durrette, Levi Lowrey, and Coy Bowles
“Dirt Road Anthem”
Brantley Gilbert and Colt Ford
“If I Die Young”
Kimberly Perry
“Mean”
Taylor Swift
“You and Tequila”
Matraca Berg and Deana Carter
Female Vocalist of the Year
Sara Evans
*Miranda Lambert
Martina McBride
Taylor Swift
*Carrie Underwood
Male Vocalist of the Year
Jason Aldean
Kenny Chesney
Brad Paisley
*Blake Shelton
Keith Urban
Vocal Group of the Year
The Band Perry
Lady Antebellum
Little Big Town
*Rascal Flatts
Zac Brown Band
Vocal Duo of the Year
The Civil Wars
Montgomery Gentry
Steel Magnolia
Sugarland
*Thompson Square
Musical Event of the Year
(Award goes to each Artist)
“As She’s Walking Away”
Zac Brown Band featuring Alan Jackson
Southern Ground Artists/Atlantic Records
*”Coal Miner’s Daughter”
Loretta Lynn, Sheryl Crow, and Miranda Lambert
Columbia Records Nashville
“Don’t You Wanna Stay”
Jason Aldean with Kelly Clarkson
Broken Bow Records
“Old Alabama”
Brad Paisley featuring Alabama
Arista Nashville
“You and Tequila”
Kenny Chesney featuring Grace Potter
BNA Records
Musician of the Year
Sam Bush – Mandolin
Jerry Douglas – Dobro
Paul Franklin – Steel Guitar
Dann Huff – Guitar
Mac McAnally – Guitar
Music Video of the Year
(Award goes to Artist and Director)
*”Honey Bee”
Blake Shelton
Directed by Trey Fanjoy
“If I Die Young”
The Band Perry
Directed by David McClister
“Mean”
Taylor Swift
Directed by Declan Whitebloom
“Old Alabama”
Brad Paisley featuring Alabama
Directed by Jim Shea
“You and Tequila”
Kenny Chesney featuring Grace Potter
Directed by Shaun Silva
New Artist of the Year
The Band Perry
Luke Bryan
Eric Church
*Thompson Square
Chris Young
-BAM
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