As the winners of the 2007 European Band Of The Year at the European World of Bluegrass, they garnered the IBMA showcase slot “reserved” for the EWOB winners. They played on the Wednesday brunch showcase during IBMA week, but unlike most invited showcase acts, they were also featured on the International Bluegrass Music Awards show and the weekend Fan Fest.

But this wasn’t a matter of pure kismet; the band had laid the groundwork in advance. Banjoist Jens Koch had attended IBMA on a number of occasions, and the entire band was there in 2008. They generated quite a buzz from their late night showcase slots last year, and worked the networking hard that whole week.

Perhaps most importantly, they retained US representation (Roe Entertainment) following IBMA 2008, and booked two brief tours here prior to IBMA ‘09. Nothing shows an eagerness to perform in the US more than, well… performing in the US!

Jens shared a few impressions of their recent IBMA experience:

“We felt like we did a good performance on the main stage, and the energy in that room was great. I think that it’s great to have people sit down and enjoy the music with some food, that never hurts. We got great reactions after that showcase and to us it meant the world compared to doing all the late night showcases where very few people actually show up and personally I think that it’s hard to perform that well in a little showcase room due to our constant fight with jet-lag (it’s like 8 or 9 in the morning for us when we do late night showcases), less sound reinforcement and the small crowds. So we loved to play the brunch showcase.

Playing the Awards Show was such a treat. It felt very special to walk on that stage and I think one of us said ‘what the heck happened down there?’ as we came back to the dressing room in the Ryman, followed by ‘My record collection was sitting in the front row looking at me.’ Scary and nice at the same time. The vibe at the Ryman was definitely something else!”

Their second CD on Sweden’s Cosmos Records is due out shortly, and a number of US labels have expressed an interest in licensing it for distribution in the States.

G2 has plans for another US tour during the summer of ‘10, and maybe two. Jim Roe of Roe Entertainment tells us that their exposure at IBMA this year has made a big difference in arranging dates for the band.

“It’s a great selling point that they played on the awards show – not everyone gets to play that show.

We had a lot of interest following their Wednesday showcase. One major festival contacted me right away about having them next year after hearing them live. We’re not sure yet whether they’ll be able to do it, but the immediate response was very encouraging.”

Jim said that they will be in the US from mid-June of 2010 through at least the end of July.

“Their tour will start at the Grass Valley Festival in California, and we also have them booked at ROMP in Louisville. They are booked at Mohican Bluegrass just before IBMA, and we are still filling open dates. If we can keep them busy all summer, the band will stay over here from June all the way up to IBMA in September.

They also did as many media appearances as possible while they were here this fall, including live sets for WAMU’s Bluegrass Country and Bluegrass Breakdown, syndicated on Tennessee Public Radio.

There was also a set for The Woodsongs Old Time Radio Hour, which was broadcast a few weeks ago on their many affiliate stations. Though primarily a radio show, Woodsongs also offers their programs on video, and you can see G2’s performance online, or in the player below. Just click the image if the player controls don’t appear.

Click here to view the embedded video.

G2 was so visible this year that a number of European bluegrass enthusiasts got to grumbling about how well they were treated at IBMA versus other acts that have made the trip. Acousticure, the 2008 EWOB band champs (from Hungary), made their first trip to IBMA this year, and they could do a lot worse than emulating the example G2 has set for success in the US market.

UPDATE 11/17: Dan Hays, executive director of IBMA, sent along a clarification about the showcase selection process as it involved G2.

“G2 was actually chosen for an official showcase performance slot based on their own merits and IBMA’s selection criteria….rather than assuming a slot reserved for an EWOB winner. In fact, IBMA does not reserve a slot for EWOB winners or any other competition from Europe, the US or elsewhere. All of IBMA’s official showcase artists are selected from amongst those that apply and best fulfill the criteria for those presentations and we wouldn’t want anyone to think G2 was chosen on anything other than their own merits and through processes open to everyone.”

Not only do the sisters sing together in close three part harmony – eerily reminiscent of the Andrews Sisters – they complement their vocals with equally precise triple fiddles. Accompanied only by sock-rhythm guitar and an upright bass, their music is compelling, and to serious fans of this vintage slice of American music, a pure delight.

The Quebe Sisters Band have been performing together since 2000 with Drew Phelps on bass and Joey McKenzie on guitar. The Quebes met Joey through his music school (McKenzies’ Music and Instructional Studio) in Mansfield, TX, where they studied fiddle as very young girls. A spot on the 2008 Smithsonian Folklife Festival brought the Quebes to a national audience, which led to guest spots on The Marty Stuart Show, The Grand Ole Opry and the Ernest Tubb Midnite Jamboree.

We spoke recently with Sherry McKenzie, who manages the studio with her husband, and also handles publicity for the band. They were extremely well-received at IBMA, but I was curious whether the positive reaction was converting to new opportunities for the band.

“We have received inquires and have been following up on these as well as getting in touch with contacts made during the week. It looks like the band will have the opportunity play a few states in 2010 that they have never been to before, as a direct result of IBMA.

As far as expanding our fan base, we gave away many CDs for radio airplay, and have had orders trickling in each week from folks who are hearing the QSB on their local bluegrass & Americana radio programs. We have had interest as well from people who didn’t attend IBMA, but have discovered the group by the official showcase videos that have made their way to YouTube.”

As we have asked a number of the official IBMA showcase acts, Sherry was asked whether the trip to Nashville was worth the trouble and expense.

“I definitely feel the benefits were worth the expense. And worth the lack of sleep too!! The crash course for new artists, mentor sessions, gig fair and seminars were invaluable and we all came home with useful information to apply to our business. We tried to map out our week ahead of time and plan what sessions to attend each day, in addition to setting up meetings. Although it was a fun week with jam sessions, attending showcases, meeting new friends and connecting with old friends, we tried to keep a balance of both entertainment and business.

Everyone enjoyed spending time in the exhibit hall visiting the booths. The week could have been much, much more expensive than it was, as Joey prowled around the exhibit hall all week long looking for just the right mandolin!

I would encourage other artists to attend IBMA at least one time to see if it is a good fit for them. Although the QSB is new on the scene, the bluegrass community was very welcoming and encouraging. From a business standpoint, it was extremely educational with information we can use all year long. Musically speaking, it was very inspiring!

We don’t have the opportunity to hear much bluegrass at live shows or festivals where we live in Texas, so it was great to finally meet and hear many of the people we admire but have only heard on recordings or the radio. We heard so many great bands and musicians, we were all very impressed and inspired. We were excited to be part of such a first-class event.”

The Quebe Sisters Band will be back in Nashville in Decmber, with appearances at The Station Inn, Music City Roots and The Opry. They will also tape another set for The Marty Stuart Show, and visit with Eddie Stubbs at WSM. A new album is also in the works.

Is there room for classic Texas Swing in the world of country, bluegrass and Americana music? If so, The Quebe Sisters Band have a bright future indeed.

This particular video features Doug McKelway interviewing John McEueun, who was instrumental in the production of Steve Martin’s newest CD, The Crow.

Click here to view the embedded video.

This one features Katy Daley interviewing The Gibson Brothers, Eric and Leigh.

Click here to view the embedded video.

As most people in the industry had expected, the economic downturn seems to have taken a toll on attendance, though perhaps not as badly as pessimists may have presumed. These numbers do show some decreases, but the big picture won’t be complete until the dollar figures are in.

A quick side-by-side of some important numbers demonstrates how income to IBMA was affected.

Given severe unemployment and a recessionary global economy, these figures don’t seem particularly dire. IBMA is a membership organization, but annual dues are not their major source of funding each year. Most of that comes from the World Of Bluegrass events – attendance fees, sponsorships and exhibitor fees. Half of the net proceeds from Fan Fest are donated to The Bluegrass Trust Fund, which offers anonymous assistance to grassers in need.

The exhibit hall numbers are somewhat skewed this year since all 19 invited showcase artists were offered complimentary booth space during the Business Conference, and their numbers were included in the total exhibitors figure. I have had some difficulty resolving the number of exhibitors listed in the World Of Bluegrass program book and the numbers supplied by IBMA, though that confusion may come from not including sponsors among the list of exhibitors.

One number that doesn’t show up above is a measure of foot traffic in the exhibit halls, which struck us – and many of the exhibitors – as being down substantially this year. Since all registered Business Conference and Fan Fest attendees have access to the exhibit area, IBMA has no way to actually count the number of people who visit the hall over six days, so we are left with impressions as our sole gauge.

IBMA Executive Director Dan Hays shared a few comments about the situation in the exhibit hall…

“A few companies that used significant space in recent years chose not to participate in 2009 and the indication we’ve received from them is a downturn in spending is the primary factor. For others who choose to enhance their presence in the bluegrass world despite the current recession, several have indicated that having ongoing promotions are critical in jumpstarting new business when the economy rebounds.

With regard to traffic and sales for exhibitors there are probably several answers to the questions as broad as the objectives a varied set of exhibitors have for participating. We’ve heard from several that sales increased and others that sales were down, but I won’t pretend to be able analyze each situation in a short email.

We continue to explore options for giving the exhibitors a great value for their investment and working on means to enhance the relationships generated at the events. Part of that process includes listening carefully to both exhibitors and attendees which we’re in the process of doing right now through surveys and other communications.”

We have been conducting a survey of exhibitors as well, and will share those results soon, along with some suggestions for increasing exhibit hall traffic. The Bluegrass Blog is a strong supporter of IBMA and their annual convention, and would hope to be part of the solution in ensuring the ongoing success of both.

Perhaps the most telling contrast comes when we compare the numbers from 2005, when IBMA first hosted their week-long events in Nashville, and the recently-concluded convention.

It seems clear that support for bluegrass’ big night, The International Bluegrass Music Awards show, continues to be a hot ticket but, outside of that, the trend lines for the World Of Bluegrass are all moving in the wrong direction.

You can be sure that this question is high on the list of priorities that occupy the IBMA Board of Directors, who have the personal fiduciary responsibility to steward the financial resources of the organization. Voting members of IBMA may be well-advised to stay in contact with the Board member who represents their specific constituency to stay on top of this discussion, and for ongoing progress reports.

This particular video features Doug McKelway interviewing Larry Stephenson.

Click here to view the embedded video.

This one features Katy Daley interviewing Terry & Cindy Baucom.

Click here to view the embedded video.

The band consists of Phil and Dorene Bankester, their daughters Melissa, Lindsey, Emily and Alysha, and one son-in-law, Kyle Triplett. They were among the invited showcase acts for this year, and Phil provided this after action report for our readers.

IBMA’s World of Bluegrass was a terrific experience for us. We have never attended the business conference before, and this was a real treat. We arrived at 3:00 am Monday, exhausted from playing fifteen shows at Silver Dollar City and then driving most of the night. I learned quickly of the alternate IBMA acronym, ‘I’ve Been Mostly Awake.’

As one of this year’s official showcase bands, I have to give a public ‘thank you’ to IBMA and all they did for us. Free registration for the whole band, a booth in the exhibit hall, early sign up for the gig fair, and then the opportunity to perform was, to us, a wonderful package and we’ll be forever grateful. We thought that the selection of seminars/workshops was very good. In many instances we split up and attended multiple simultaneous sessions. The IBMA education committee is really doing a fine job.

The booth seems to have been very beneficial. A lot of people came by there to see us, and to watch the music video as well. We connected with a good number of DJs in the exhibit hall

John Abrams stopped by the booth the day he was there to say hi to the girls and see the music video. We met the Abrams Brothers back in 2005 playing the same festival in North Carolina. An interesting bit of trivia…  their first music video was a Becky Buller song, as is ours (Carolina Rain).

I think it’s pretty accurate to say that relatively few people knew of The Bankester Family before this past summer. Having been selected to showcase, we decided to do our best to generate some awareness prior to September 28. That’s what prompted the ‘behind the scenes’ video. That, along with learning how to make use of email blasts, and then the release of the finished music video a few days before WOB, actually seems to have worked fairly well.

The music video has been very well-received. I think something like that helps give a band some additional credibility. We’ve even had inquiry from some other artists interested in having us (Genuine Human Productions) produce music videos for them.

The younger girls really were quite in awe at the whole experience. They thoroughly enjoyed working the exhibit booth and visiting with so many folk. It was fun for them just walking around and being stopped by someone who had either seen the showcase or the video at some point. One of the real highlights for them was going to the awards show for the first time. They’re developing artists, but huge fans, too.

It’s important to remember that this was, indeed, a business conference and that’s why we were there. I think the contacts we made and the invitations we’ve received to festivals certainly made it a worthwhile experience for us.

I frequently say that Bluegrass is much more than a musical genre – it’s a community. Being at this year’s World of Bluegrass just drove the point home even harder. It was great being with so many wonderful people.

As most people in the industry had expected, the economic downturn seems to have taken a toll on attendance, though perhaps not as badly as pessimists may have presumed. These numbers do show some decreases, but the big picture won’t be complete until the dollar figures are in.

A quick side-by-side of some important numbers demonstrates how income to IBMA was affected.

Given severe unemployment and a recessionary global economy, these figures don’t seem particularly dire. IBMA is a membership organization, but annual dues are not their major source of funding each year. Most of that comes from the World Of Bluegrass events – attendance fees, sponsorships and exhibitor fees. Half of the net proceeds from Fan Fest are donated to The Bluegrass Trust Fund, which offers anonymous assistance to grassers in need.

The exhibit hall numbers are somewhat skewed this year since all 19 invited showcase artists were offered complimentary booth space during the Business Conference, and their numbers were included in the total exhibitors figure. I have had some difficulty resolving the number of exhibitors listed in the World Of Bluegrass program book and the numbers supplied by IBMA, though that confusion may come from not including sponsors among the list of exhibitors.

One number that doesn’t show up above is a measure of foot traffic in the exhibit halls, which struck us – and many of the exhibitors – as being down substantially this year. Since all registered Business Conference and Fan Fest attendees have access to the exhibit area, IBMA has no way to actually count the number of people who visit the hall over six days, so we are left with impressions as our sole gauge.

IBMA Executive Director Dan Hays shared a few comments about the situation in the exhibit hall…

“A few companies that used significant space in recent years chose not to participate in 2009 and the indication we’ve received from them is a downturn in spending is the primary factor. For others who choose to enhance their presence in the bluegrass world despite the current recession, several have indicated that having ongoing promotions are critical in jumpstarting new business when the economy rebounds.

With regard to traffic and sales for exhibitors there are probably several answers to the questions as broad as the objectives a varied set of exhibitors have for participating. We’ve heard from several that sales increased and others that sales were down, but I won’t pretend to be able analyze each situation in a short email.

We continue to explore options for giving the exhibitors a great value for their investment and working on means to enhance the relationships generated at the events. Part of that process includes listening carefully to both exhibitors and attendees which we’re in the process of doing right now through surveys and other communications.”

We have been conducting a survey of exhibitors as well, and will share those results soon, along with some suggestions for increasing exhibit hall traffic. The Bluegrass Blog is a strong supporter of IBMA and their annual convention, and would hope to be part of the solution in ensuring the ongoing success of both.

Perhaps the most telling contrast comes when we compare the numbers from 2005, when IBMA first hosted their week-long events in Nashville, and the recently-concluded convention.

It seems clear that support for bluegrass’ big night, The International Bluegrass Music Awards show, continues to be a hot ticket but, outside of that, the trend lines for the World Of Bluegrass are all moving in the wrong direction.

You can be sure that this question is high on the list of priorities that occupy the IBMA Board of Directors, who have the personal fiduciary responsibility to steward the financial resources of the organization. Voting members of IBMA may be well-advised to stay in contact with the Board member who represents their specific constituency to stay on top of this discussion, and for ongoing progress reports.

This one features Katy Daley interviewing Patrick McAvinue and his fiancée Sarah Fitzmaurice.

Click here to view the embedded video.

This one features Katy Daley interviewing Audie Blaylock.

Click here to view the embedded video.

This particular video features Doug McKelway interviewing Dick Spottswood, a 2009 Distinguished Achievement Award winner.

Click here to view the embedded video.

She has shots from the rehearsals and sound checks for the awards show, plus some back stage and hallway shots from the Renaissance Hotel. Access to the rehearsal is always tightly controlled, but Cindy took advantage of her status to snap a few pictures during the proceedings.

You can see all the photos in this gallery online.

Reprinted with permission from International Bluegrass and Pete Fisher.

I am very grateful and extremely honored to have this opportunity to speak with you this evening. I believe the bluegrass music industry holds tremendous potential to grow. In my years at the Opry, I have personally witnessed how the power of bluegrass music and its artists can win over those who may not consider themselves fans of bluegrass.

It’s hard to believe I’ve been at the Opry 10 years, and what an exciting 10 years it has been! It was around September of 1998 when Steve Buchanan first approached me about the General Manager position at the Opry. At that time I was in my fourth year of artist management, the second phase of my music industry career. To be honest, the call came as quite a surprise to me. Although I had a very high regard for the Opry, I never envisioned in a million years that my career would lead me to that revered institution.

In addition to the obvious musical compatibility, bluegrass music and the Grand Ole Opry have a lot in common. Introduced to the world by Bill Monroe on the Ryman Stage 64 years ago, like the Opry, bluegrass music has a long rich legacy which celebrates excellence and tradition.

Bluegrass music, like the Opry, is truly a slice of Americana. It’s all-American. Bluegrass Music, like the Opry, is multi-generational – the performers and fans alike.

A frequently asked question I get from the media is, “What is country music?” I typically respond by saying country music, at its best, is about real people singing real songs about real life. If country music is that, then bluegrass music is the espresso version of that!  Both bluegrass music and the Opry are real—authentic to the core.

With each and every one of the 200 Opry shows we present each year, we strive to present a diverse array of generations and musical styles. So when one experiences a Grand Ole Opry performance, they are really witnessing the past, present and future of country music, as performed by it’s new stars, superstars and legends. That is our core programming philosophy for the show.

This approach serves us well because it broadens the Opry’s relationship with performers and their representatives as well as those enjoying the Opry in person, on the radio or on television, online, or on satellite radio. This programming philosophy is best for the long-term interests of the Opry, the performers and from a tourism perspective, the city of Nashville and the state of Tennessee.

As many of you know, bluegrass music plays a key role in the make-up of any Opry show. Many Opry shows feature performances by some of the Opry stars of bluegrass like Bobby Osborne, Jesse McReynolds, Del McCoury and Dr. Ralph Stanley. Many also feature performances by some of the superstars of bluegrass like Opry stars Ricky Skaggs and Alison Krauss.

We also feature many guest bluegrass performers such as Dailey & Vincent, Rhonda Vincent, The Grascals, Cherryholmes, Larry Stephenson, The SteelDrivers, The Infamous Stringdusters, Steep Canyon Rangers, Doyle Lawson & Quicksilver, Mountain Heart, Dale Ann Bradley, Russell Moore &  IIIrd Tyme Out, Michael Cleveland & Flamekeeper, Old Crow Medicine Show, The Isaacs, Dan Tyminski, Steve Martin,  Alecia Nugent and The Lovell Sisters, just to name a few.

Over the next several minutes, I’d like to share with you some insights about the Opry, our industry, our customers and also share with you some ideas and best practices. I’m always up for a challenge because I believe we only grow when we’re challenged. I hope you take any challenges I may throw out there in the spirit in which they are intended – to grow and prosper.

I took the opportunity over the past several weeks to meet with various leaders in the blugrass industry. I set out to see what challenges were unique to bluegrass as compared to the broader country industry. What I took away from those discussions is that there really aren’t many differences.

The challenges are really the same: to make music with impact—find the audience and have an ongoing relationship with that audience year-round and exceed their expectations to win their loyalty. Note, I said “exceed their expectations,” as opposed to “meet their expectations.” You know, true fan loyalty comes when we deliver the total experience in a manner which goes beyond what the fan expects. You’ve heard the saying, “Give ‘em what they want”? We actually should be saying, “Give ‘em more than they want!”

We are at our best when we have a strong team. Now, I know many of you may be thinking what a thankless job I must have. I know that because many of you have come up to me over the years and have told me, “Man, what a thankless job you have.” Or you say, “Man, you’ve got a great job. I wouldn’t want to have it.”  Well, nothing could be further from the truth.

So many folks have approached me over these years with a great deal of praise for what has been accomplished. Although I am very grateful to accept those compliments, I accept them on behalf of the incredible team we have at the Opry. It’s very easy to recognize the great team of performers we have on stage, but what is not as easy to see is the great team of performers we have behind the scenes.

Just as any Opry show isn’t ever about one single performer, the Opry is an organization isn’t about any single member of our team.

Just as we have generations of performers on each and every Opry show contributing to a diverse musical experience, we have generations of team members behind the scenes who lend their talents—whether they be hosts and hostesses, concession stand workers, marketers, sales reps, audio, lighting and video technicians, etc. That’s the beauty of it…both onstage and behind the scenes.

It’s important that our team be made up of the best players, playing in the positions they were designed to play in. Everyone has a set of skills that are an extension of what they are most  passionate about. It’s important for us to make sure out team members are doing what they truly love to do, because then, they will do it better than anything else.

One observation I’ve had as it relates to many artists’ careers, particularly artists in the more niche formats, like bluegrass, is that a team often does not exist. Or, if a team does exist, it is rather limited. I realize that a team can be cost-prohibitive at times. If that’s the case, I would encourage the creation of an advisory board which might meet quarterly or even assist in providing some insights and do some strategic planning. We are at our best when we have a strong team.

We are at our best when we have the proper perspective. My time at the Opry has afforded me a number of memorable experiences over the years. I’ve also hd the opportunity to meet and get to know some truly awesome people, whether they are performers onstage or guests backstage.

Another key, great thing is when I stand on the side of the stage during our Opry shows and enjoy the incredible perspective that I, and others are afforded. I recall during my days on Music Row feeling like the only artists and music that mattered were those who were on the charts at the time. It seemed like adds at radio, SoundScan and industry nominations and awards were the driving force in the business. Sure, these sorts of metrics are important measurements of success, but it seemed that was what it was all about. In other words, we had the biggest ballfield to play on, yet we only chose to play in one relatively small corner most of the time – the flavor of the moment, if you will. At the Opry, I and others are afforded the opportunity to view out industry from a perspective which spans over 60 years on any given Opry show which features music spanning from the traditional to the contemporary to the alternative.

Talking about perspective—I believe a key element to success is that talking about perspective—I believe a key element to success is that perspective we hold. Even on the business planning side of the Opry, we shape our perspective, not by how one person in the organization sees it, but how our team collectively sees it. We have a management team who brings very diverse ideas to the table. We aren’t afraid to challenge one another.

If you don’t have the proper perspective, simply, you will not make the best decisions. Personally, I love participating in discussion where all sides are represented. I often find myself bringing up thoughts and ideas in meetings, not because that is my opinion, but because I want that thought to go before the team to get a reaction. That way, the game plan the team ultimately hammers out stands the best chance for success.

As an artist, your artistic perspective is important, especially when it comes to making the music. But the consumer’s perspective, as well as the perspectives of gatekeepers to those consumers like radio programmers, festival buyers and journalists is more important. Do all you can to develop a keen understanding of their perspective.

One last thought on perspective. We often find ourselves mired in the details, or tactics. Take time, on a regular basis maybe with your advisory board, to look at your career from a higher altitude. You know the clarity of thought you often get when you’re 30,000 feet above ground? The same clarity can come to you when you get away from the details and rise above to think from a broader perspective. Think vision. Think strategy. Develop a plan. We are at our best when we have the proper perspective.

We are at our best when we “stand by our brand.” Now what’s the point in developing a plan with your team if you don’t know what you’re developing? That’s where the brand comes in. Not the product—the brand. Not the logo or trademark, the brand. Marketing expert, Stephen King, puts it this way: “A product is something that is made in a factory. A brand is something which is
bought by a customer. A product can be copied by a competitor. A brand is unique. A product can be quickly outdated, a successful brand is timeless.”

Put another way, a brand is a collection of thoughts in the mind of the consumer. Or another way, a brand is a promise to consumers. What excites me most about the Opry is the brand that it is, and the brand that it still can become. When you are developing your producet, what is your promise to your customers?

Each and every brand has a set of attributes or qualities which make up the brand’s portfolio. These attributes need to be crystal clear and represented in all aspects of the artist’s career. Whether it’s the recorded music, the packaging, a video, the media kit, the website, the live performance, the speaking points in an interview, etc. Everything about the brand, the look, feel, sound, smell—it should all be consistent. I’ve always felt that we are in the business of selling emotions through music. In order to cut through the clutter, our brand, and all of the products which come from that brand, need to be distinct and have impact. Otherwise, we become just a bunch of musical wallpaper that doesn’t make an impact on consumers or the gatekeepers to those consumers.

I could go on one and on about brands. I encourage you to read some of the great books that are out there and become brand-centric in all you do.

We are at our best when tradition is a treasure, not a trap.  I mentioned earlier that bluegrass music, like the Opry celebrates tradition. Well, how do we honor tradition in today’s seemingly topical world?

Well, I believe one way you honor tradition is by presenting it in a manner which will resonate with today’s culture. Multi-generational duets, contemporary arrangements of classics and imaging are all ways to achieve this

As many of you are aware, the progress which has been made at the Opry has not always come easy. What I didn’t tell you earlier when I said I was approached about the Opry job in 1998 was that it took me over six months to ultimately join the Opry. It took that long because I was fully aware that succeeding at the Opry was not going to come easy and it would likely be controversial. However, it became apparent to me that not only could the Opry be relevant and viable, but it could thrive and serve to, once again, become a driving force for artists and the industry.

So when I joined the Opry in June of 1999, we set out to focus on various aspects of the show which would drive contemporary artist participation, a segment of programming which has been waning over the years. Much of our efforts and investment were focused on a more proactive approach to talent booking, upgrading the production values of the show like audio and lighting as well as introducing the Opry’s first new set in over 20 years—one that could move from a traditional look to a more contemporary look as the music did onstage. In addition, we placed a focus on increasing the reach of the Opry by growing our distribution with the addition of our syndicated radio show with Westwood One, America’s Opry Weekend and developing a retail and licensing program. We also set out to be more involved with the labels on Music Row, often participating in promotional partnerships with them. This really helped grow the value proposition for the artists who performed on the Opry.

As I mentioned, growing the Opry’s contemporary relevance has not come easy. I spoke earlier about brand attributes. Well, some of the Opry’s key attributes include tradition and heritage and authenticity. Qualities like tradition and heritage are tremendous assets for providing entertaining consumer experiences. On the flip side, those assets can become anchors if not managed properly. An over-reliance on tradition and heritage can lead to irrelevance in the eyes of the media and consumers.

I’ve learned that there are innovators, followers and preservationists in our world. Don’t get me wrong. There is a place and need for all three. However, when preservation leads to irrelevance, or even extinction—what’s the point? If you’re solely focused on innovation with no regard for how that innovation is going to grow and be sustained—what’s the point?

At the Opry, we celebrate and honor tradition by not only presenting it and preserving it, but also making it relevant. A key way that we accomplish this, in addition to the show’s production values, is through the show’s programming. Having a contemporary artist honor a legend, like we did this past Thursday when one of the biggest new names on the scene, Jamey Johnson, performed a Jones Jones classic as part of our Opry Country Classics Salute to George Jones. We are at our best when tradition is a treasure, not a trap.

So, to conclude, we are at our best when we have a great team—the right players praying the positions they were made to play. We are at our best when we develop and maintain the proper perspective with that team so we can make the best decisions possible.

We are at our best when we stay true to who we are and “stand by our brand” in all we do. We are at our best when we honor tradition as a treasure and not a trap by balancing innovation with preservation.

In a couple of weeks, we will celebrate the Opry’s 84th Birthday. Our greatest motivation is to ensure that the 10, 20, 30, 40, 50, 60 years that our members and guest performers have given to the Opry are not in vain. It is our job to keep it relevant while staying true to the values that got it there. The same holds true to the bluegrass music industry.

I hope you seize this week as an opportunity to learn, grow, and discuss new opportunities, nurture new relationships, and celebrate the incredible achievements of your colleagues Thursday night at the historic Ryman Auditorium.

Thanks you again for this opportunity and have a great week in Nashville.

First up is Darin & Brooke Aldridge, who were an invited showcase act who performed during the Monday (9/28) evening stage show, following the Keynote Address from Pete Fisher of the Grand Ole Opry.

The band is built around Darin Aldridge (formerly with The Country gentlemen and The Circuit Riders) and his wife, Brooke, a very talented bluegrass vocalist. Darin is on guitar, Brooke on mandolin, Chris Bryant on banjo, Eddie Biggerstaff on bass, and Perry Woodie on resonator guitar.

We spoke with Darin recently about their experience as an invited showcase act, and what sort of opportunities may have come their way as a result. I asked whether they had received many inquiries from festival or concert promoters at, or since IBMA.

“Yes we have John. The most important thing from IBMA was getting in front of all the promoters and performing. Brooke and I are a fresh new sound and a new band. Being a showcase artist helped us advance a year or two ahead in our career by getting in front of certain promoters. Now the follow up this month is what is most important.

We also got great media attention. On our showcase night, we got picked to go out over for an interview on the Eddie Stubbs show on WSM 650AM. Also it was out on bluegrasscountry.org. Tuesday morning we were interviewed by Fox News in Nashville, and later in the week by Chris Jones with Sirius-XM.

Brooke and I took part in the DJ taping session with radio hosts around the world, and also set up an article with Bluegrass Unlimited for 2010.”

Here is a piece of hand-held video from their IBMA performance.

Click here to view the embedded video.

Their impression was that the benefits outweighed the considerable expense and time commitment to be at IBMA.

“It was a honor to be featured as a showcase band, and was really helpful to us. We also were given a booth in the trade show Mon-Thur, and were able to meet lots of folks that might not have been there on Monday when we performed. It was nice to be able to network and meet people all week and tell them of our music and what we have to offer.”

Darin & Brooke Aldridge are represented by The Andrea Roberts Agency and are on the Mountain Home label.

This one features Katy Daley interviewing Jason Burleson of Blue Highway.

Click here to view the embedded video.

This one features Katy Daley interviewing Rachel Renee Johnson of the Dixie Bee-liners.

Click here to view the embedded video.

Our good friend Doug McKelway conducted the interview. He and Sam spoke at length about Sam’s new CD, Circles Around Me. The CD is due to be released on October 20, on Sugar Hill Records. They also spoke about the digital age of music, recording a duet with Del McCoury, Sam’s place in the mandolin world, and more.

Thanks to Donica and all the folks at Sugar Hill Records for making this interview possible.

The interview lasted close to 15 minutes, and we’re bringing it to you in full. Enjoy…

Click here to view the embedded video.

Our Thursday started with a Sam Bush interview, conducted by Doug McKelway. Sam talked about his new CD, Circles Around Me, due for an October 20 release on Sugar Hill. That interview will be posted in the next few days.

From there we shot for the elevator to make it in time for an interview with Katy Daley at WAMU’s Bluegrass Country. This time, it was Brance and I – and Doug McElway – who were being interviewed, and we had a lovely chat with Katy about that night’s upcoming awards celebrations. The four of us were conspiring for the Awards Show Red Carpet coverage, which was scheduled just a few hours later.

We all hustled down to the ballroom to set up before Thursday’s pre-awards show reception, where we set up our little Red Carpet, with cameras and lights. Katy and Doug, both arrayed in their finest formal duds, spoke to the bluegrass glitterati as they passed along media row. Most of the nominees for the IBMA awards stopped to speak with us, and many a memorable exchange took place.

Some were funny, some more serious, and everyone was in a celebratory mood. Interviews with Doyle Lawson, Dale Ann Bradley, Sammy Shelor, the McCoury family, Dailey & Vincent and many, many more will be included when we start posting these videos over the next few days.

Thursday’s big event, of course, is the awards show, and this one was perhaps the best ever. Producers Cindy Baucom and Chris Stuart did a fine job choosing performers, mixing new and established acts, traditional and modern bands, and it moved along at a very comfortable pace.

Some of the jokes were worse than corny, though. You know what they say about the theater…  “Dying is easy – comedy is hard.” Maybe the best plan is to let the musicians do music, and save the comedy for pros in that realm?

The music was the main attraction, though, and boy was it good. Lonesome River Band, Dale Ann Bradley, Hot Rize (with Kathy Mattea), Del McCoury Band, Dan Tyminski Band…  Each came on stronger than the next, though it seems safe to suggest that Dailey & Vincent stole the show with their pitch-perfect, a capella performance of Don’t You Want To Go To Heaven When You Die.

The induction of The Lonesome Pine Fiddlers was a highlight, with surviving members Bobby Osborne, Paul Williams and Melvin Goins taking the stage to share some memories, and later laying down a powerful version of Pain In My Heart, a Goins composition.

It has been suggested that The Dillards may have set a new record for acceptance speeches, besting even Jimmy Martin’s time, though I haven’t seen an official count. They were also inducted into the Hall Of Fame, and each of the original members (Rodney Dillard, Doug Dillard, Mitch Jayne and Dean Webb) spoke at the microphone, with Jayne reading a heartfelt message from Andt Griffith who congratulated “the boys” for their honor.

It was a delightful moment, and a fitting way to start the home stretch of the show, which was once again a sellout at the Ryman Auditorium.

You can read our play-by-play of the show as it went down live in our live blog presentation, and see a good many photos in a pair of galleries (here and here).

It was quite a night, one that made us all proud of bluegrass music.

We were treated to performances by Carrie Hassler & Hard Rain and Russell Moore & IIIrd Tyme Out, and had just missed a set from Audie Blaylock & Redline, who had turned in a brilliant show the night before on the main stage. Michael Martin Murphey made a special appearance with Carrie Hassler, where they sang a duet on his biggest hit, Wildfire, which the pair has recently re-recorded for Murphey’s second project with Rural Rhythm, due in February of next year.

During the IIIrd Tyme Out’s set, 1970s country star Lynn Anderson joined them on stage for a rousing version of Rocky Top. She was lively and animated, and clearly enjoying herself.

All this music, however, was leading up to the announcement of Rural Rhythm and Graves Mountain collaborating for the festival in June. Six Rural Rhythm artists will appear on Friday, June 4, and the entire day will be given over to a 55th birthday party or the label. Kyle Cantrell of Sirius-XM will serve as emcee, with performances from The Crowe Brothers, Carrie Hassler & Hard Rain, Audie Blaylock & Redline, Lou Reid and Carolina, Lonesome River Band and Russell Moore & IIIrd Tyme Out.

All of the day’s music will be recorded for a commemorative CD to be released later in 2010. Many of these artists will combine for special sets.

• Crowe Brothers with Russell Moore, Sammy Shelor
• Carrie Hassler & Hard and Brandon Rickman
• Audie Blaylock & Redline, Carrie Hassler, Russell Moore, and Lou Reid
• Graves Moutain Jam and Rural Rhythm all-star tribute featuring Grave Mountain Memories:  Carl Jackson, Mark Newton, Russell Newton, Lou Reid, Carrie Hassler, Andy Ball, Sammy Shelor, Mike Anglin, Justin Haynes
• My Home’s Across the Blue Ridge Mountains – Brandon Rickman, Crowe Brothers, Audie Blaylock, Mike Hartgrove, Wayne Benson, Steve Dilling, Edgar Loudermilk
• Instrumental Jam featuring many of the Rural Rhythm artists

You can find ticket and schedule information for the Graves Mountain festival on their web site. We’ll post with more details about the live CD as they emerge.