How the Coastal Record Labels Crashed Nashville: “Artists Don’t Have to Follow Those Old Rules”

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Nashville is currently undergoing a surge from coastal regions. With country music booming in appeal – led by stars such as Morgan Wallen, Luke Combs, Zach Bryan, and crossover sensations like Post Malone and Jelly Roll – the industry once isolated in Music City is now seeing influence from wealthier record labels based in New York and Los Angeles. This transformation, visible on both executive and artist roster fronts, has necessitated a change in priorities and perspectives.

Without a doubt, statistics paint a vivid picture. After experiencing a dip in commercial success, Post Malone rebounded strongly with “Austin” in 2023, achieving one of the biggest hits of 2024 alongside Wallen. Shaboozey, who is signed to Empire, a label predominantly known for hip-hop, matched Lil Nas X’s record by having “A Bar Song (Tipsy)” as the longest-running No.1 song last year. More recently, Chappell Roan has made an entrance into country charts with “The Giver,” which debuted at the top of the genre’s song chart. To add to this, Beyoncé finally claimed the coveted album of the year Grammy in February for her country-inspired album, Cowboy Carter.

In the era of streaming, the coastline brings forth a wave of change as the nation experiences its digital transformation. This shift has paved a new route beyond the conventional country radio system for artists, offering them opportunities that were previously limited. Streaming platforms have catapulted the biggest country stars to global stardom and provided a platform for artists who might not have fit the traditional Nashville mold in the past. As a result, coastal record labels are now a highly sought-after destination for country talent due to their ability to help these artists expand internationally.

Joe Gallo, general manager of Sony’s Columbia Records in New York, remarks that the growing popularity of streaming services has been simmering for quite some time,” says Joe Gallo. “Thanks to the maturity and wide reach of these platforms, anyone can now easily access diverse content, which has significantly expanded the audience for country music.

Columbia’s lineup is made up of artists such as Beyoncé, the country-rock performer Koe Wetzl, and the ACM’s new artist nominees Ella Langley and Jessie Murph, who is a rising star in the genre that blends country, pop, and hip hop.

Gallo notes that accessibility to various types of music has sparked interest in diverse genres among people. Jesse is an excellent illustration of this versatility, as while her accent suggests country music due to her Alabama roots, she raps like a pro and her vocal range places her in pop. Yet, she’s achieved success across all these genres.

In the 2010s, local celebrities from Nashville garnered widespread acclaim for their contributions to the genre, with acts such as Lady A (previously known as Lady Antebellum) achieving a significant breakthrough in mainstream music with “I Need You Now.” Greg Thompson, who held a prominent position at their label, Capitol Records, during this period and later collaborated with Wallen, describes it as a song about a romantic encounter. He explains that the song’s themes resonate with a broad audience, not just those associated with rural or country music.

In the 2020s, a nation saw its prosperity expand significantly due to artists such as Wallen and Combs. However, it’s the emergence of Zach Bryan in 2022 with his album American Heartbreak that sparked the recent surge in coastal influx. Unlike traditional artists who follow the Nashville path, Bryan has bypassed this system, being signed to Warner Records based in Los Angeles and not residing in Nashville. He’s never courted country radio either. His tour earnings soared, with his Quittin’ Time Tour of last year grossing a staggering $199 million from over 1 million tickets sold.

In the market for country music, there was a system that thrived for a long time with its intended audience, according to Tom Corson, co-chairman and COO of Warner’s Bryan division. However, during the COVID period, more people from diverse backgrounds started using streaming services, revealing that the traditional method of promoting country music wasn’t catering to this expanded audience. Zach isn’t strictly a country artist; his music style can be likened to that of Dylan or Springsteen songwriters. His compositions incorporate influences from country, heartland, Americana, and rock genres. Ultimately, the quality of his songs is exceptional, his artistic ability is impressive, and Zach remains a global sensation.

Speaking as Katie Fagan, who became president of Mom + Pop’s new Nashville office in February, she expressed: “He was undoubtedly a pivotal moment. I believe he demonstrated that it’s not necessary to adhere to the traditional country music blueprint, which involves going through radio. Artists aren’t bound by these old regulations anymore. Once this began happening, that’s when I noticed the initial surge of labels trying to acquire the next Zach Bryan-type artists.

Barry Weiss, who is an experienced record executive and co-founded RECORDS in 2015, achieved success in Nashville in 2018 with Matt Stell’s “Prayed For You.” In 2020, RECORDS established an office in Nashville. Last year, they signed a teenage country act, Ty Myers, in a deal with Columbia. As Weiss stated via email: “People in New York and Los Angeles are currently intrigued and engaged. It’s also the new rock for the younger generation, leading to a natural growth spurt.

Coastal regions are striving to establish their own musical stars, and this competition is leading to a rise in contract prices for artists, who are receiving more favorable terms compared to the traditional Nashville model. For instance, these deals often feature shorter contract lengths and greater control over their music’s ownership. As per Seth England, CEO of Big Loud (with Wallen among its roster), the number of companies engaged in bidding wars for talent has grown significantly over the past five years, from just five to six companies to as many as 20 to 25 today.

England stated to The Hollywood Reporter that it’s not just the big, established labels that are in contention, but also R&B companies based in Atlanta and hedge funds from Miami as well. When you look at the list of potential buyers, you might find yourself questioning what resources they have or how much knowledge they actually possess about country music.

According to Jon Loba, president of frontline records at BMG, genres can become popular, and when they do, there’s an opportunity for financial gain. For instance, he has transformed the company into a dominant force in country music with artists like Lainey Wilson and Jelly Roll. Previously, we have witnessed similar cycles in country music. Remarkably, even after the initial surge subsides, the numbers at the subsequent dip are still greater than before the rise.

Coastal labels could make valuable allies for Nashville, opening up additional resources, particularly in the areas of streaming and global marketing. As for Republic Records, home to artists like Taylor Swift and Ariana Grande, and its co-founders Monte and Avery Lipman, England remarks, “Perhaps a partner who stands out from the crowd would be ideal for Big Loud.

Artists find a blend of coastal and Nashville influences appealing, particularly those who transcend traditional country music boundaries or were previously overlooked by the conventional Nashville scene. One such artist is Ink, a Black queer songwriter from Georgia who now works with Big Loud and Electric Feel, the multi-faceted music company that represents Post Malone.

Ink is responsible for penning tracks like “16 Carriages,” “Texas Hold ‘Em,” and “American Requiem” under Cowboy Carter, but it’s her collaboration on Kendrick Lamar and SZA’s “Luther” that has become one of the biggest rap hits globally. As a country artist in her own right, Ink aims to step into the limelight this year with her own music releases. She emphasizes that the sound of country encompasses much more than the traditional Nashville image people might associate with it.

Ink asserts that country music isn’t limited to a white man driving a pickup truck, which is a stereotype often associated with Nashville and its scene. Instead, he emphasizes, in his community, country culture encompasses people like himself, gathered around shared experiences such as drinking moonshine, playing cards, and walking barefoot on the grass while sharing family stories. This, he suggests, is the true essence of the ‘country’ they know.

Ink has been diligent in assembling a team capable of showcasing her country representation without limiting her to a specific genre. She explains, “Big Loud is prominent with a Nashville foundation, and Electric Feel is West Coast-based, embodying the California ambiance and functioning as an international powerhouse.” Both parties recognized that there’s no fixed genre for me, no constraints. They recognized that we transcend genre boundaries.

England expressed that the individual in question is incredibly versatile, stating, “I’ve seldom encountered anyone as adaptable as her.” When Austin Rosen, CEO of Electric Feel, reached out about Ink, England listened to the music and immediately called back, intrigued and exclaiming, “What is this?” Ink stands out uniquely, requiring a team that mirrors that individuality. To cater to her diverse talents, we connected several partners with various areas of expertise. Given her multifaceted abilities, it seems she’ll initially gain recognition by directly engaging with fans.

Simultaneously, coastal figures have moved in, while Nashville has undergone a major leadership shakeup over the past year, with each of the big three institutions appointing new heads. Notably, Cindy Mabe, CEO of UMG Nashville, left her position in February. Rumors point to her departure being caused by poor communication with her West Coast superiors.

Matt Graham of Range Media Partners notes that there’s been a significant shift in the music industry, with many individuals being replaced from labels that might have once served as barriers. “I believe there was an intense struggle initially,” he says, “and top executives at these corporate labels had to intervene. Now, it’s essential to be adaptable because those in charge at the three major companies have decided on this new direction.

For some long-time representatives of various countries, this isn’t their initial encounter with coastal affairs; it might imply a hint of resentment – either imagined or actual – towards the coast’s intrusion, especially when they seem to reap benefits during favorable times.

As a dedicated enthusiast myself, I can’t help but notice the genuine passion and dedication that radiates from many within our music community. However, with the surge of popularity comes a few unsavory characters trying to capitalize on it.

Fagan agrees, stating, “I’ve had discussions where people suggest ‘This country is trending, let’s hire a consultant,’ but it’s clear that this would irritate those who have been cultivating this business for years. Being physically present in this location is absolutely crucial. Nashville isn’t a place you can casually visit every few months and claim to be a local.

Nashville, often referred to as a “10-year town,” is typically where artists grow and mature gradually – quite the opposite of the fast-paced, results-driven pop music industries that prioritize immediate success over research.

Graham explains that the coastal labels have shifted their approach, making it more focused on hit songs and extensive research. We’ll see if this trend catches on in Nashville too. There’s value in having ample time to practice and gain expertise before performing for a wider audience.

According to BMG’s Loba, only the passage of time will reveal whether the coastals remain in the long run. Personally, I don’t think so, as another genre might rise to prominence and there are financial opportunities elsewhere. However, we can’t be certain until the situation settles down a bit and we see who remains involved.

Nevertheless, with an increasing number of artists seeking independent trajectories instead of adhering to traditional structures, it’s hard to conceive that they would revert to the old ways.

Originally hailing from the southern regions and identifying as a Black woman indigenous to this land, I’m unsure of the space that was initially available for me,” Ink explains. “I’m not seeking to blend in, but rather, to pioneer something fresh. We, as part of a new generation, aren’t striving to conform; instead, we aim to reshape the mold. I believe it’s high time that the mold adapts to accommodate us musicians.

This tale was initially published in the April 2nd edition of The Hollywood Reporter’s magazine. If you’d like to get the magazine delivered to you, follow this link to subscribe.

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2025-04-04 17:55