Micah Wilshire Signs With Peermusic Nashville
Peermusic’s Matt Michiels, Kendell Lettow, Michael Knox, Micah Wilshire. Photo: Annelise Loughead
Micah Wilshire has signed an exclusive global publishing deal with Peermusic Nashville. Through the deal, Peermusic will represent Wilshire’s publishing and master recordings for future works as well as select back catalog masters.
Most recently, Wilshire has co-written multiple songs on Tim Montana’s new album Long Shots (Music Knox Records/BBR Music Group), including the lead single “Get Em Up,” “River Kids,” “Do It Fast,” “Don’t Wait Up On Me,” “Doing Everything Right,” “Be A Cowboy,” “Long Shots,” and “Bar Band.” Wilshire has also written extensively for TV and movies, and his music has been featured on Riverdale, Legacies, Grey’s Anatomy, The Black List, Yellowstone (under his band Mississippi Twilight), Million Little Things, Vampire Diaries, Sons of Anarchy, Dexter, American Idol, the Olympics and many more. Movies and trailers that have featured Wilshire’s music include Google Stadia, MAX, Keeping up with the Joneses, Bad Moms, Ubisoft games, Xbox Video, For Honor, The Crew 2 and Apple.
As a performer, Wilshire has appeared alongside Dierks Bentley, Jake Owen, Brett Eldridge, Darius Rucker, Michael Bolton, Amy Grant, Faith Hill, Michael W. Smith, Steve Winwood, and David Nail. He’s also recorded music used in commercials for Nissan, Ford, The Oscars and many more. Wilshire also mixed Brett Eldredge’s No. 1 single “Drunk on Your Love.”
“I’ve been a big fan of Micah’s for some time, it’s going to be exciting to work with him and watch his songwriting and production talents shoot to the next level,” says Senior Vice President, Peermusic Nashville Michael Knox.
“I couldn’t be more excited to join the peermusic camp. It’s inspiring to be in the company of such great writers, and I’m really looking forward to building something awesome with Kathy [Spanberger], Knox and the entire team,” says Wilshire.
Tin Roof’s Bob Franklin Talks The Spirit Of The ‘Live Music Joint’ [Interview]
Tin Roof has sat on Demonbreun Hill since 2002, housing songwriter rounds and live music for nearly two decades.
The company has grown significantly over the past few years and now has 17 locations across the US, supporting a lot of new talent out of Nashville. In addition to its two Nashville locations, Tin Roof has establishments in in Alabama, South Carolina, Indiana, Florida, North Carolina, Michigan, Kentucky, California, and more. Tin Roof’s inside stage capacities range from 300-1,200 (pre-pandemic), and most of the locations do outdoor concerts ranging from 600-2,500 pre-pandemic capacities.
Artists including Luke Bryan, Florida Georgia Line, Luke Combs, Dustin Lynch, and many more have made fans out of patrons on Tin Roof’s circuit.
The CEO of Tin Roof, Bob Franklin, recently spoke with MusicRow to discuss the growth of the circuit over the last 19 years.
MusicRow: Tell me about starting the Tin Roof brand.
We just celebrated our 19th anniversary last month in February, so we’re on year 20 right now. The original spot is on Demonbreun close to Music Row. It was never created as something we were going to expand on or build a brand around, it was just like our tagline says: a live music joint. That’s what it is: it’s a joint, it’s a restaurant, it’s a bar and it’s all centered around live music. We just had really good feedback. The customers loved it, the musicians loved it, and we have always had a great crew. So we started expanding in 2008 and it’s just opened up a couple of years since then. We’re up to 17 locations in 16 cities.
Click here to read the full interview on MusicRow.com.
Mechanical Licensing Collective Completes First Royalty Distribution
The Mechanical Licensing Collective has completed its first-ever monthly distribution of mechanical royalties. The organization’s distribution, its first connected under the new blanket license established by the Music Modernization Act of 2018 (MMA), included royalties from the use of musical works by U.S. digital service providers during January 2021. It did not include any historical unmatched royalties.
The distribution process started in February, and the royalty pool for all usage data reported to The MLC totaled more than $53 million when calculated at the applicable statutory rates. The MLC was then able to match approximately 80 percent of the royalties reported to musical works registered in its public database, a figure in line with industry benchmarks for initial matching results. Once the matching work was completed, The MLC established which uses were covered by voluntary licenses between the DSPs and copyright owners – a substantial portion in this case – and thus needed to be carved out of each DSP’s blanket license.
After carving out the matched uses covered by voluntary licenses, The MLC determined that the remaining amount of mechanical royalties owed by DSPs to the MLC totaled more than $40 million. Those royalties were collected and then included in the monthly distribution process, the results of which are:
• $24 million in matched royalties was paid by The MLC to its Members.
• $16.4 million is currently pending distribution as follows:
• $4.9 million in matched royalties related to shares of registered works for which claims have yet to be submitted by a rightsholder/MLC Member.
• $500 thousand in matched royalties on legal hold.
• $11 million related to usage that The MLC has not yet been able to match to the musical works in its public database.
All of the royalties currently pending distribution will accrue interest until they are distributed, as required by the MMA.
“The completion of The MLC’s first monthly processing of royalties and the payment of more than $24 million in royalties directly to rightsholders represents another step toward realizing the promise of the Music Modernization Act,” said Alisa Coleman, Chair of The MLC’s Board of Directors.
Kris Ahrend, The MLC’s CEO, added: “Thanks to the hard work and diligence of our team, and the cooperation and support of our many partners, we have now begun fulfilling our important mission of ensuring that rightsholders receive their proper share of the blanket mechanical royalties paid by DSPs.”