Music City Becoming

An Independent-Driven City
 

by Kelly Ann Monahan

As Bob Dylan once wrote, the times are a changin’.  And that couldn’t be truer than with the Nashville music community, positioning itself as an independent-driven town.

Amidst consolidations of the major labels and lay-offs of industry executives, independent record labels in Nashville are sprouting in full bloom.  Martha Moore, an independent publicity and PR veteran who launched so much MOORE media in 1988, says, “There have always been indie artists and labels. In the last three years, though, the indie labels have been staffed by former major record company people. The bar has really risen.”

So with all these indies popping up, does that make it easier for unsigned artists to get noticed?  And do they have to move to Nashville? 

“No,” Moore says.  “The key is who you’re working with.  Some independents, for instance, have teams in different places around the country.”

Such is the case with Todd Fritsch, one of Moore’s clients.  Fritsch is a rising country artist who is backed by a team of independent experts in all fields, in all different locations.  His self-titled CD is now available in Wal-Mart, which is a major accomplishment for an independent artist.

While Moore – who previously worked in publicity for major labels for twelve and a half years, and has worked with everyone from Johnny Cash to Roy Orbison – admits that operating as an independent publicist has its positives (setting her own agenda, choosing her own clients), the job also has its fair share of challenges.

“You don’t have the power of a major label behind you.  I have to do a more intense job of selling and pitching,” she says.

Penny Dionne, an independent song plugger who represents the Bluewater Music catalogue (Kim Richey, Jim Lauderdale), adds that, “It’s still really hard to compete with the majors, with just the difference in budgets alone.”

But for Dionne – who also manages artists and organizes various shows – it still always comes back to the song.  “Every morning starts with a song.  I’m either pitching a song or looking for a song,” she says.  “Making wise decisions with your money is key for any indie.”

And no independent label has set the precedent better in that regard than the mega-successful Curb Records.  With a client roster that includes Tim McGraw and LeAnn Rimes, Curb Records was named R&R Overall Gold Label of the Year in 2005.  Amidst a billion other music industry awards, owner Mike Curb’s history has also encompassed government; he was elected Lieutenant Governor of California in 1978.  Among a slew of committees that he has served on are: Board of Directors for Vanderbilt Children’s Hospital and the TN Board of Economic Growth.  Curb’s achievements run longer than a trip around the world three times, but what rises to the forefront just as strongly as his musical achievements is that he is a brilliant businessman.

Is that what it comes down to, then?  The money?  Is that how one independent label can surpass the success of another?  The answer is an overwhelming yes, yes…and yes.  And, depending on the label, often times the funding comes from one individual source.

Broken Bow Records – home to artists like Jason Aldean and Craig Morgan – is funded by one businessman.  Consisting of mostly former major label artists, it operates internally as a major label with a full staff that has prior major label experience.  Brad Howell, a twenty-four-year veteran in country music who currently serves as GM of Broken Bow, says, “We have artists that are very talented and hard-working, and a staff that’s experienced.  You have to have all those things for an indie to break through and sustain success.  Everything has to work together in harmony.”

It must be pretty harmonious at Broken Bow right now, with three of the label’s artists currently on the Country R&R chart.  Jason Aldean is currently leading the way.

But what about the artist who has never been signed to a major label deal, who is struggling away at one of the local writers’ nights?  How do they get in the door at a label?

“Someone usually has to know somebody at the record company,” Howell says.  “There are so many ways for unsigned artists to get attention now though,” he adds.  Howell notes some of the most common ways for one to get attention is through managers, booking agents, songwriters and attorneys - not to mention the digital world helping to get an artist exposure, such as with iTunes and internet radio.

“I think we’re back to where the door is open for virtually anyone to have a hit.  Something can come out of anywhere right now,” Howell says.

Penny Dionne adds to that, “What is catching everyone’s attention now are artists at the top of their game, walking away from major label deals.”

Such is the case with country artist Toby Keith, who left Dreamworks Records to form his own label, Show Dog Records.  With industry buzz about Showdog soaring as of late, other major label artists have shown interest about jumping on that idea of forming their own labels as well.

In the meantime, indie labels that have cropped up recently include: Midas Records (recently formed a Nashville division, made up of industry veterans), Category 5 Records (artists include former major label names Travis Tritt and Sammy Kershaw, made up of industry veterans and a full promotion radio staff), and 903 Music (formed by former major label artist Neil McCoy, also the label’s debut artist).

So what’s the advantage of being on an indie record label, as opposed to a major?  Are there advantages?  Mike Borchetta, President of Lofton Creek Records and a forty-five-year music industry veteran, says there are.

“Indies are more creative in general.  They can focus more on the artists; they’re more willing to stick their necks out.  The major labels are generally more cookie-cutter.  They want to be safe,” Borchetta says.

Borchetta started Lofton Creek in 2002, which is yet another label that is funded by one source.  Lofton Creek gets its operating capital from Harold and Vicki Shafer, a husband and wife team who own a trucking company out of Florida.  Borchetta and his wife Martha are also partners in the label, which has two publishing companies: Borchetta Shafer Music (Joe Nichols’ Broken Heartsville was their first big hit) and Lofton Creek Publishing.

With the changes in the industry over the years, Mike Borchetta has certainly seen it all.  He started his career promoting rock-and-roll shows, eventually ending up at Capitol Records and originally giving the label the idea of doing “Surfin’ USA” for the Beach Boys.  After working with RCA, Mercury and then operating as an independent promoter (artists included Glenn Campbell), he helped to start Curb Records with Dick Whitehouse in Nashville.  While at Curb, he signed Tim McGraw on the spot after hearing his demo.  He was also instrumental in launching the career of LeAnn Rimes.  After leaving Curb in 1995, he worked as an indie promoter, maintaining a list of key clients including Tim McGraw.  A relaxation hiatus from the industry followed, and then Borchetta went to Broken Bow Records in 2001, where he was a key player in signing country artist Craig Morgan to the roster.  A year later, a business venture led him to Lofton Creek Records.

So with someone like Borchetta, who has worked at various major labels as well as the “model” for independents (Curb), he’s at the top of the list for perspective on where the music industry stands right now.  Not to mention that he has eleven family members in the music business in Nashville.

“I think the future is going to see a lot of one-artist labels popping up,” he says.  And the state of independent labels and promoters in general?  “They’re going to stay around,” he says.

Borchetta’s vast experience in the business speaks volumes.  So does his office: a candy land of awards and pictures covering the walls showing Borchetta with everyone from Reba McEntire to Frank Sinatra over the years.

But no matter how extensive the experience, a good reputation in the industry holds just as great in weight. And so it goes full circle; someone like Borchetta - who has both - has helped propel the industry to where it is today.

“Success is built on a pile of failures,” Borchetta quips.

Good to remember for the aspiring singers and songwriters hoping for that one big break.  In an independent Nashville, it's more possible now than ever before.