The California Restaurant Foundation’s fund Restaurants Care provides hope and stability to food & beverage workers in California who are in crisis. In the past few months, Restaurants Care has provided close to one million dollars to LA-area hospitality workers whose livelihoods were impacted by the fires.
]]>Ella Langley was the winningest artist of the night bringing home five total awards including New Female Artist of the Year, Single of the Year, Musical Event of the Year and Visual Media of the Year all for her song "you look like you love me" with Riley Green, who also won three awards. Reigning Entertainer of the Year Lainey Wilson brought home four awards including the title for a second consecutive year along with awards for Album of the Year for Whirlwind, Artist-Songwriter of the Year and Female Artist of the Year.
Brooks & Dunn was named Duo of the Year for the first time in 15 years and GRAMMY nominated songwriter Jessie Jo Dillon won Songwriter of the Year for the second year in a row. Keith Urban was tributed for his coveted ACM Triple Crown Award through performances of his original songs. First time award-winners include Cody Johnson with his Song of the Year win for "Dirt Cheap," written by BMI affiliate Josh Phillips, Zach Top for New Male Artist of the Year and the Red Clay Strays for New Duo or Group of the Year.
The evening was packed with powerful performances by BMI affiliates Blake Shelton, Cody Johnson, Ella Langley, Eric Church, Jelly Roll, Lainey Wilson, Miranda Lambert and Zach Top.
See the full list of BMI winners below:
ENTERTAINER OF THE YEAR
Kelsea Ballerini
Luke Combs*
Cody Johnson*
Jelly Roll*
Chris Stapleton
Morgan Wallen*
Lainey Wilson* - WINNER
FEMALE ARTIST OF THE YEAR
Kelsea Ballerini
Ella Langley*
Megan Moroney
Kacey Musgraves
Lainey Wilson* - WINNER
DUO OF THE YEAR
Brooks & Dunn* - WINNER
Brothers Osborne
Dan + Shay*
Muscadine Bloodline*
The War And Treaty*
NEW FEMALE ARTIST OF THE YEAR
Kassi Ashton*
Ashley Cooke*
Dasha*
Ella Langley* - WINNER
Jessie Murph
NEW MALE ARTIST OF THE YEAR
Gavin Adcock*
Shaboozey
Zach Top* - WINNER
Tucker Wetmore*
Bailey Zimmerman*
NEW DUO OR GROUP OF THE YEAR
Restless Road*
The Red Clay Strays* - WINNER
Treaty Oak Revival*
ALBUM OF THE YEAR [Awarded to Artist(s)/Producer(s)/Record Company–Label(s)]
Am I Okay? (I’ll Be Fine) - Megan Moroney
Producer: Kristian Bush*
Record Company-Label: Columbia Records / Sony Music Nashville
Beautifully Broken - Jelly Roll
Producers: BazeXX*, Brock Berryhill*, Zach Crowell, Devin Dawson*, Charlie Handsome*, Ben Johnson*, mgk*, The Monsters & Strangerz*, Austin Nivarel, SlimXX*, Ryan Tedder, Isaiah Tejada, Alysa Vanderheym
Record Company-Label: BBR Music Group / BMG Nashville / Republic Records
Cold Beer & Country Music - Zach Top*
Producer: Carson Chamberlain*
Record Company-Label: Leo33
F-1 Trillion - Post Malone
Producers: Louis Bell, Charlie Handsome*, Hoskins*
Record Company-Label: Mercury Records / Republic Records
Whirlwind - Lainey Wilson* - WINNER
Producer: Jay Joyce*
Record Company-Label: BBR Music Group / BMG Nashville
SINGLE OF THE YEAR [Awarded to Artist(s)/Producer(s)/Record Company–Label(s)]
A Bar Song (Tipsy) - Shaboozey
Producers: Sean Cook, Nevin Sastry*
Record Company-Label: American Dogwood / EMPIRE
Dirt Cheap - Cody Johnson*
Producer: Trent Willmon
Record Company-Label: CoJo Music LLC / Warner Music Nashville
I Had Some Help - Post Malone, Morgan Wallen*
Producers: Louis Bell, Charlie Handsome*, Hoskins*
Record Company-Label: Mercury Records / Republic Records
White Horse - Chris Stapleton
Producers: Dave Cobb*, Chris Stapleton, Morgane Stapleton*
Record Company-Label: Mercury Nashville
you look like you love me - Ella Langley*, Riley Green* - WINNER
Producer: Will Bundy
Record Company-Label: SAWGOD / Columbia Records
SONG OF THE YEAR [Awarded to Songwriter(s)/Publisher(s)/Artist(s)]
4x4xU - Lainey Wilson*
Songwriters: Jon Decious*, Aaron Raitiere*, Lainey Wilson*
Publishers: Louisiana Lady; One Tooth Productions; Reservoir 416; Songs of One Riot Music; Sony/ATV Accent
The Architect - Kacey Musgraves
Songwriters: Shane McAnally, Kacey Musgraves, Josh Osborne
Publishers: Songs for Indy and Owl; Sony/ATV Cross Keys Publishing
Dirt Cheap - Cody Johnson* - WINNER
Songwriter: Josh Phillips*
Publishers: Warner-Tamerlane Publishing; Write or Die Music; Write the Lightning Publishing
I Had Some Help - Post Malone, Morgan Wallen*
Songwriters: Louis Bell, Ashley Gorley, Hoskins*, Austin Post, Ernest Keith Smith*, Morgan Wallen*, Chandler Paul Walters*, Ryan Vojtesak*
Publishers: Bell Ear Publishing; Master of my Domain Music; Poppy’s Picks; Sony/ATV Cross Keys Publishing; Universal Music Corporation
you look like you love me - Ella Langley*, Riley Green*
Songwriters: Riley Green*, Ella Langley*, Aaron Raitiere*
Publishers: Back 40 Publishing International; Langley Publishing; One Tooth Productions; Sony/ATV Tree; Warner-Tamerlane Publishing Corp
MUSIC EVENT OF THE YEAR [Awarded to Artist(s)/Producer(s)/Record Company–Label(s)]
Cowboys Cry Too - Kelsea Ballerini, Noah Kahan
Producers: Kelsea Ballerini, Noah Kahan, Alysa Vanderheym
Record Company-Label: Black River Entertainment
I Had Some Help - Post Malone, Morgan Wallen*
Producers: Louis Bell, Charlie Handsome*, Hoskins*
Record Company-Label: Mercury Records / Republic Records
I’m Gonna Love You - Cody Johnson*, Carrie Underwood*
Producer: Trent Willmon
Record Company-Label: CoJo Music LLC / Warner Music Nashville
we don’t fight anymore - Carly Pearce, Chris Stapleton
Producers: Shane McAnally, Josh Osborne, Carly Pearce
Record Company-Label: Big Machine Records
you look like you love me - Ella Langley*, Riley Green* - WINNER
Producer: Will Bundy
Record Company-Label: SAWGOD / Columbia Records
VISUAL MEDIA OF THE YEAR
4x4xU - Lainey Wilson*
Dirt Cheap - Cody Johnson*
I’m Gonna Love You - Cody Johnson*, Carrie Underwood*
Think I’m In Love With You - Chris Stapleton
you look like you love me - Ella Langley*, Riley Green* - WINNER
ARTIST-SONGWRITER OF THE YEAR
Luke Combs*
ERNEST*
HARDY*
Morgan Wallen*
Lainey Wilson* - WINNER
SONGWRITER OF THE YEAR
Jessi Alexander
Jessie Jo Dillon* - WINNER
Ashley Gorley
Chase McGill*
Josh Osborne
*indicates BMI affiliate
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]]>BMI is thrilled to announce the launch of its inaugural Composer Lab, designed to provide emerging composers with a one-of-a-kind experience to foster artistic growth and professional development. Under the guidance of acclaimed composer and former director of the Sundance Film Music Program Peter Golub, and BMI’s VP of Film, TV & Visual Media Tracy McKnight, the program will select ten composers to participate in a two-week online workshop followed by a nine-day onsite intensive in Los Angeles. BMI-affiliated composers of all musical backgrounds are encouraged to apply now through May 30.
For more information, including submission guidelines and requirements, please visit bmicomposerlab.slideroom.com .
Throughout the lab, participants will be advised by world-renowned BMI composers including Nathan Barr, Kathryn Bostic, Sean Callery, Sherri Chung, George S Clinton, Chanda Dancy, Bryce Dessner, Stephanie Economou, Fil Eisler, Kurt Farquhar, James Newton Howard, Mark Isham, Christopher Lennertz, Nami Melumad, Tony Morales, Blake Neely, Thomas Newman, Carlos Rafael Rivera, William Ross, Ed Shearmur, Rob Simonsen, Dara Taylor and Harry Gregson-Williams, among others to be announced. Industry professionals will also lend their expertise as advisors, including Warner Bros. Pictures’ Paul Broucek, Kraft-Engel Management’s Laura Engel, film producer and Filmmaker Magazine’s Scott Macaulay, Encompass Music Partners’ Peter Rotter, The Society of Composers & Lyricists’ Ashley Irwin, Fortress Talent Management’s Robert Messinger and music supervisor Julia Michels.
Golub, a highly regarded composer and educator known for his extensive work in film, theatre and concert music, and his decades-long experience leading the Sundance Film Music Program and Film Music Studies at the Herb Albert School of Music at UCLA, will oversee the lab alongside McKnight, who brings over two decades of experience as a creative executive and award-winning music supervisor to the program. Together, Golub and McKnight will guide the finalists through a series of interactive workshops that will culminate with orchestral recording and mixing sessions with The Hollywood Cinematic Orchestra at Bandrika Studios.
"I’m delighted to introduce the launch of the BMI Composer Lab and work alongside my longtime friend and collaborator Peter Golub to shape the next generation of musical talent," said McKnight. "This program will provide participants with the rare opportunity to engage directly with some of the most revered composers in the industry, who will share their expertise and creative journey in scoring some of the most celebrated works in film, television and video games."
"How great to be partnering with BMI in curating a program that will help the selected artists develop their unique voices and take bold steps forward in their musical journeys," said Golub. "It’s exciting to continue my work as a dedicated educator while embarking on this new program."
The lab finalists will be announced on July 16, with online sessions starting August 11-22 and in-person sessions taking place from September 18-26 in Los Angeles. To apply and for more details, visit bmicomposerlab.slideroom.com .
]]>Time for a key change. Having trouble hitting all them high notes? It’s not a good sign when you can’t comfortably sing your own song—therefore, ensuring you’re in the correct key should be priority one. This can sometimes be a little tricky, particularly if the melody has a lot of range—for instance, you might be in a lower register during the verses, then have to jump an octave for the chorus. If you’re at a digital keyboard, you can easily manipulate the pitch up or down to accommodate (rather than changing the actual chords); on a guitar you could simply use a capo to adjust the key upward or, conversely, de-tune a half or full step, which not only lowers the key but also gives the instrument a different texture (since there’s less tension on the strings).
Dynamics matter. All the parts have been recorded to perfection, and yet the whole thing still feels flaccid. What gives? Bear in mind that some of the most compelling records out there have a certain "vibe" that is often so subtle it can take innumerable listens before you put your finger on it. It could be the sound of a tambourine as the chorus begins; perhaps it’s that extra layer of guitar, organ or synth that slowly emerges midway through the second verse. Or maybe the engineer just raised the master volume on the coda for that extra push over the cliff. The point is that altering the sound by switching up the instrumentation or building the volume at specific intervals makes for a much richer, dynamic listening experience—that classic "tension and release" feeling that has powered innumerable hit songs, whether you realize it or not.
Move around. One common problem is that it takes too long for the song’s "punchline" to arrive. Let’s say you’ve got a good chorus waiting, but first the listener needs to wade through a lengthy intro followed by two full verses. By the time the hook rolls around, your audience could be long gone. Accordingly, there are times when a little re-structuring can go a long way. Using your sound editor, try removing an extra verse, tighten the intro, or even copy a piece of the chorus to tease right at the top of the song. The point being, don’t leave the tastiest bits for later—announce your presence with authority!
Give it space. A splash of reverb can add some extra dimension to an otherwise arid recording, but it can also turn the whole thing into a big wet mess if you’re not careful. Never apply a single layer of effect to the entire work; instead, use the channel effect-send controls to tailor the amount of reverb going to each track—say, less effect or none at all on bass or bass drum, more for voices, horns or strings. Also be sure to add some "pre-delay" (i.e. a millisecond gap between the dry and wet signals) at the top of the chain, which keeps the echo slightly "behind" the track, thereby ensuring sufficient clarity.
Other thoughts. It may seem inane, but have you ever tried just flipping the stereo channels when a particular mix isn’t working? The problem with spending excess time on a stalled arrangement is that you’re continually listening to the same parts in the same place, over and over again. Though it may not be the game-changer, sometimes swapping L for R (or simply reversing your headphones) is enough to trick your brain into hearing a way out of the current quagmire. And on a related note, don’t forget to experiment with your pan positions, as even a few minor adjustments one or way or the other can sometimes dramatically improve the overall sound.
]]>Cost: 600ドル. Writers are encouraged to apply early as space is limited.
For more information and to register, click here.
]]>Performances by:
Alex Oliva (@alexolivaaa)
audalei (@audalei)
BEVERLEE (@beverlee_music)