SVP of Partnership Alliances and Promotion
Strategy, Big Machine Label Group

This is a radio-driven business, and obviously radio strategy is a piece of what you do. But then, you also work beyond it.

I could say we’re to the point where radio isn’t enough, but really, people get their music in such diverse ways. And I think you have to involve people beyond just the song if you want to build a career that’s going to last, rather than lasting as long as the single’s momentum.

What’s your strategy?

Brantley Gilbert, who’s had back-to-back platinum albums without having that screaming radio momentum, is a great case study. We knew “Bottoms Up” was tracking, but we wanted to find other ways to saturate release week that would put what he values in alignment with Just as I Am, which was his follow-up to his way-past-platinum Halfway to Heaven. We decided to stage a Harley ride from his hometown of Jefferson, Ga., to Arlington National Cemetery in Arlington, Va., where he laid a wreath on the Tomb of the Unknown Soldier. We brought the media partners to Brantley, wrapped two buses and worked to create an experience that was more than “Here’s my record.” We had syndicated radio prep on the bus, a couple trade reporters, the AP came out. For the 20 morning shows we flew in, they broadcast from his high school the day before—and then we hosted them at Brantley’s house to hear the album. We enlisted his coach, his first teacher, and put enough material in the four hours to make a morning show work, showing who this artist is and making the audience realize he is them. In the end, we sold over 200,000 pieces the first week—with 35% being digital—and he debuted at #1. But just as importantly, the Wounded Warrior Organization benefited because we were able to blend cause and commerce for the fallen veterans and their families.

You mention digital and obviously both sales and streaming are becoming a factor. How does that impact what you do?

We do a lot of things with Slacker, Radio Disney Country, Play Network and Muzak, which is now Muve Music. We’ve merged all those things into a path to work with the other platforms for a cumulative build. When I look at some of those Q numbers, I’m amazed: Maddie & Tae, one of our developing acts, has the #2 Q rating—in part because of the things they’ve done with some of these platforms.

What are three campaigns you’re proudest of?

Martina McBride’s Band Against Cancer campaign for the Sara Cannon Center at Vanderbilt. It’s given her massive visibility, raised a lot of awareness and given the Center a big boost. Taylor Swift’s Red rollout, which was the world’s largest media broadcast. Seventy-two broadcasters worldwide were impacted. We had people on the plane; we went global, which had never been done—and Taylor delivered like only she can! Our Outnumber Hunger campaign, which is in its sixth year. We’ve teamed with General Mills to try to feed as many people as possible, while raising visibility among people who aren’t hungry, just how vast the problem is. Over the years, Reba, Rascal Flatts, the Band Perry, Jennifer Nettles and Florida Georgia Line have anchored it—and we’ve made great strides. And if I can throw one more in: Nashville. The music and strategy behind it, especially internationally, has given country music a boost among non-listeners in a way I don’t think we would’ve seen without Callie Khouri’s TV show.