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Songwriting Session with Jerry Vandiver
CATEGORIES: Songwriting Session



Songwriting Session is a column that goes behind-the-scenes with artists and songwriters. Each Sunday, a new songwriter will share their journey and provide lessons they’ve learned along the way. This week, Jerry Vandiver shares what he has learned as a songwriter.


Seven years into his teaching career in Missouri, Jerry Vandiver visited Nashville during Spring Break and dove into the music scene playing his songs in writers rounds. He had visited Music City many times over the past few years during spring and summer breaks but this trip was different and a fellow teacher at school noticed the change. As Vandiver recalls, while the two were chatting about their vacation there was a lull in the conversation. While he had no immediate plan to move to Nashville, she saw things differently.

“You’re going to do it, aren’t you?” she asked. “You’re going to move to Nashville.”

“I thought about it and I said, ‘Yeah!’” Vandiver recalls of that fateful day in 1984. “I don’t know if she hadn’t said that if I’d be here today, because it’s a scary thing. I got everything in order, I told my Principal, told my Superintendent I’m not coming back. I came here in the fall and I remember driving from Kansas City to Nashville. I was halfway between Kansas City and St. Louis and I had the trailer behind me. I was like, ‘What the hell am I doing?’”

While he admits he almost turned back, ultimately he knew Nashville was the right decision. And, the thought of turning around and facing some of his biggest supporters after all those going away parties kept him driving. Vandiver cites that conversation with his colleague and his move to Nashville as his first defining moment. The second would come four months after his move when he would play the Bluebird Cafe for the very first time.

“Like everybody else that was really serious about it, I had my blinders on. I was like, ‘Damn the rejection! Full speed ahead.’ I pitched my songs like crazy, but none of them were ready at all,” he admits. “Up until that moment I had been naively calling publishers trying to get my songs heard. I say naively because at that time my songs were not ready. At that time though publishers were a little more receptive and a lot of them — not all of them but a lot of them — would offer critiques and feedback especially if they saw that you were serious.”

There was one publisher in particular called The Reese Company who Vandiver called only to learn that they weren’t taking any material. After his successful performance at the Bluebird, however, another songwriter approached him who had recently played some songs for the company’s owner, Jan Reese. That songwriter, Sandy Ramos, asked if he’d like to co-write sometime and for Vandiver it was a no brainer. He says it was all part of the networking process and after four years of co-writing with Ramos he signed his first single-song contract with The Reese Company. While the song he was signed for never got cut, it was a foot in the door that led to more single-song contracts for the songwriter. Vandiver calls his first single-song contract a “momentous moment” and he and Ramos continued to get better writing together.

One weekend, he was writing a new song while trying to get over a heartbreak. When he and Ramos met later that week she loved what she heard and said that she could make it a hit. Ramos put a new melody on the song and it became their first major label cut together for Gene Watson. The song was called “Don’t Waste It On the Blues” and went to No. 5 on the country charts in 1990 and won Vandiver an ASCAP Award. Vandiver notes that had he not gone to the Bluebird that one Sunday night and met Ramos and had he not had that heartbreak, the song would have never come together.

“Those are the stories that are all over Nashville. I find them fascinating, from anybody’s perspective,” he adds.

Before the song was put on hold Vandiver thought about giving up his career as a songwriter. At the moment his song was being pitched to Watson’s team, Vandiver was considering returning to school to get his Master’s Degree in Secondary Education and was at a local campus taking a tour. Vandiver says going back to school just didn’t feel right and went to his publisher’s office at Little Big Town Music afterward when he learned he had his first hold with Watson.

“I think that most songwriters can make a little bit of encouragement go a long way and so you get a little encouragement like that, a hold or sign a single-song contract or something, and you go, ‘Okay. I can make this last a few more days,’” he explains.



For more of my interview with Jerry Vandiver, visit Sounds Like Nashville.

October 2, 2016 | | (0) comment comment
Songwriting Session with Richard Casper of CreatiVets
CATEGORIES: Songwriting Session


(Pictured L-R) Richard Casper, Johnny Bulford, unnamed veteran, Stephen Salyers; Photo via @creativets on Instagram

Songwriting Session is a column that goes behind-the-scenes with artists and songwriters. Each Sunday, a new songwriter will share their journey and provide lessons they’ve learned along the way. This week, Richard Casper shares his journey to founding non-prfit CreatiVets.


For many veterans, returning home after war is a challenging ordeal. Numerous men and women who have served our country suffer from post-traumatic stress (PTS) and struggle to get reintroduced into society, some even commit suicide.

In a 2013 study, the Department of Veteran Affairs reports that 22 veterans each day commit suicide. CreatiVets, a non-profit organization that aims to offer relief and healing to veterans through songwriting, visual arts, music and creative writing, hopes to combat depression, PTS and suicide.

Richard Casper is the co-founder of CreatiVets and learned the struggles firsthand when he returned home after one tour in the Marine Corps Infantry in Iraq where his humvee was blown up four different times and his best friend died beside him. Casper himself suffered through three concussions, tore cartilage in his chest and after returning home learned he had brain damage from a traumatic brain injury.

“I had a lot of stuff inside me that I couldn’t get out after the war about my buddy who died,” Casper tells Sounds Like Nashville. “I started writing a lot about it. Not a song yet, but I was in a creative writing class so I was writing about it.”

When Casper returned from Iraq, he enrolled at a community college in Illinois and a friend suggested he try his hand at songwriting. Soon after, he got accepted to the School of the Art Institute of Chicago and to make money while studying, Casper worked at Joe’s Bar. It was there that he was introduced to several songwriters through the venue’s songwriter series, all the while, he continued to write on the side. As he explains, his anxieties and depression minimized through songwriting and one night after a writer’s round at the venue he approached songwriter Mark Irwin (Alan Jackson, Tim McGraw) and shared his story and asked if he traveled to Nashville if Irwin would write with him. Irwin agreed and soon after Casper took a trip to Music City and wrote a song about his experience in Iraq called “One Night In Iraq.”

After his first writing session, Casper knew he wanted to find a way to help other veterans. He invited his friend who lost a leg and was severely burned from a vehicle borne Improvised Explosive Device (IED) to Nashville and they wrote a song in May of 2013 with Blackjack Billy. It was during this co-write that CreatiVets was born and was founded as a nonprofit that July.

Since 2013, nearly 30 veterans have come to Nashville to write with songwriters like Darryl Worley, Johnny Bulford, Lance Carpenter and Erik Dylan. Casper serves as the nonprofit’s co-writer and tour guide as he spends three days with each veteran. The day before the veteran sits down to write his or her story, Casper takes them to a writer’s round and tells them to listen to why the songwriters created their songs.

“Days prior, I’m on the phone with them prepping them about what the song’s going to be about so when we go into the writing room they know exactly what the song’s going to be. We’re not trying to write a hit song,” he stresses. “We’re trying to write their story and turn it into a song. If it becomes a hit that’s awesome, but that’s not what we’re doing it for. When we’re done, the guitar that we wrote the song with I give to the veteran so that we can get them to hopefully keep learning how to play guitar on their own and to write more music about what they went through and give them a new tool to help with the PTSD.”


For more on CreatiVets, read my article on Sounds Like Nashville and visit


September 11, 2016 | | (0) comment comment
Songwriting Session with Brett James
CATEGORIES: Songwriting Session


Photo courtesy Evolution PR

Songwriting Session is a column that goes behind-the-scenes with artists and songwriters. Each Sunday, a new songwriter will share their journey and provide lessons they’ve learned along the way. This week, Brett James shares what he has learned as a songwriter.


Brett James’ career is one of perseverance. It includes two stints in med school, two tries at an artist career and a long legacy of 22 No. 1 songs over the span of 16 years. In an interview with Sounds Like Nashville, the songwriter shares how a Steve Wariner concert shifted his life plan and sparked his decision to move to Nashville.

During his first year in med school at the University of Oklahoma, James attended Wariner’s concert and instantly thought, “I think I can do some of that.” As he recalls, he knew he could sing and he thought he could write songs, too.

“He inspired me to show that part of me for the first time,” James explained to Sounds Like Nashville over the phone. “And so, I went home and wrote ‘Sweet, Slow Oklahoma’ and I wrote about ten other songs and took some summer money I made in between my freshman and sophomore year in med school and did a little cassette tape.”

It was 1991 and James had one friend in the music business who was an intern at a college radio station in Michigan. She shared his music with her boss who was well connected and soon called James and said he’d like to be his manager, asking how soon he could get to Nashville. Spring break was coming up so during his sophomore year of med school, James traveled to Nashville for the first time and found himself at the famed Bluebird Café and took several label meetings. His third day in Nashville he met with the president of Arista Records, Tim DuBois, who promised James a record deal if he moved to Nashville.

Knowing a record deal doesn’t happen so easily, James went back to med school and thought about his impending decision. Once he realized Nashville was the answer, he then finished up the school year and told the dean that he’d take a year off. That one year turned into seven. James then waited a year before he reached back out to Arista Records because he says he wasn’t ready.

“I waited tables at Midtown Café in Nashville and hit the streets and got my own publishing deal and finally, when I thought I had something that he’d want to hear, I came back in and said, ‘Remember me? It’s been a long time, but you said if I moved here, you’d give me a record deal,’” he explains.

James had another meeting with Arista and they liked what they heard and he eventually garnered a record deal and spent 1993-1997 on Arista Records and released three singles. James admits that he “failed miserably” as all three songs went to around No. 28 on the country charts. By the time 1999 rolled around he was dropped by both his label and publishing deal and with two young children at home he had to figure out a Plan B.

“I just wanted to make sure I could feed my family. At some point, that’s what it comes down to when you’re a dad,” he says. “And I really didn’t care how. I didn’t care if it was in music. I figured I’ve given music my shot, and it hasn’t worked out, so let me figure out a way to feed the family. All I’d ever done was gone to med school, so I wrote the dean of the school a letter and said, ‘I’ve been out one year, I know it’s been seven, but is there any chance I could come back?’”

The dean allowed him to return, but said he had to repeat his sophomore year. So, in the fall of 1999 he went back to Oklahoma since he knew as a doctor he could feed his kids and put them through college. But that’s far from the end of James’ Nashville story.

“It was kind of bizarre to be back at school, seven years later, same classes and all that kind of stuff,” he admits. “I started on Sept. 1, and on Sept. 4 Faith Hill cut one of my songs. And up until that I only had two of my songs recorded by other artists. By the third day back to med school, Faith Hill cut one and the floodgates opened, and I got 33 more of my songs recorded in the next five months and ended up having five Top 10 singles that year while I was going to med school every day.”

While finishing up his sophomore year for the second time, he decided to give Nashville one more shot. Although, James admits had it only been 10 songs cut, he probably would have stayed in med school.

“It was so overwhelming that there were so many of my songs getting recorded and people liking them all of a sudden that I thought, ‘Well, I’ve got a job now,’” he recalls. “After a lot of failure in Nashville I came back in 2000, and that was 16 years ago.”

For more of my interview with Brett James, visit Sounds Like Nashville.

August 28, 2016 | | (0) comment comment
Songwriting Session with Lori McKenna
CATEGORIES: Songwriting Session


Photo by Becky Fluke

Songwriting Session is a column that goes behind-the-scenes with artists and songwriters. Each Sunday, a new songwriter will share their journey and provide lessons they’ve learned along the way. This week, Lori McKenna shares what she has learned as a songwriter.


The youngest of six children, Lori McKenna grew up writing songs in her journals. Her two older brothers were songwriters and as a result, she thought that everybody wrote songs. It wasn’t until she got to high school that she realized songwriting wasn’t the norm.

McKenna remembers writing songs as early as twelve years old and the first one she wrote, a track titled “Take,” she first presented to her brothers.

“It was a country song and my brother, Richie, was like, ‘How in the world did you just end up writing a country song?’” she tells Sounds Like Nashville over the phone. “We didn’t grow up listening to country music. We grew up listening to songwriters; James Taylor, Carly Simon, Neil Young. I remember my brother being like, ‘What just happened? How does that come out of you?’”

She kept writing but never thought to pursue music professionally until she was 27 and her sister-in-law talked her into doing an open mic night in the Boston area. (McKenna still lives in Massachusetts with her family and five children). The open mic night was successful as the man who ran it invited McKenna back to perform.

McKenna has since made a thriving career as a songwriter with her home base in Massachusetts where all her siblings live within 45 minutes of each other. While many of her peers reside in Nashville, McKenna instead makes several trips a year to Music City to co-write and when she’s not in Tennessee she writes by herself back home. Her writing credits have not suffered as they include songs recorded by Faith Hill, Reba McEntire, Alison Krauss, Little Big Town, Hunter Hayes, Tim McGraw and Keith Urban, among others.

“It would be hard for the kids to leave their cousins or their school or for my husband to relocate and all that, and it’s worked out really well for me to just travel back and forth to Nashville because I’m not an everyday writer,” she admits. “I’m not really built to write every day. Some of my friends are and they write one or two songs a day. I need to simmer on things more.”

Simmering on songs is suiting McKenna just fine as she recently celebrated a No. 1 with “Humble & Kind,” a song she wrote with her five children in mind that Tim McGraw took all the way to the top of the country charts. It also marks the first time in over four years a song went to No. 1 with one writer. (The last was Taylor Swift’s “Ours” in 2012).

During a recent performance at the Country Music Hall of Fame and Museum, McKenna says she wanted to write a list of things to tell her children so she wouldn’t be accused of not sharing important life lessons later on.

“I had the title and I knew I wanted it to be things I wanted my kids to know,” she says, explaining her process. “Once you get there, there’s a lot of information. You could overshoot the song. It was more about editing and taking out ‘put the toilet seat down.’ That didn’t necessarily have to be in it.”

McKenna says that the song itself is fairly simple and the list of hopes and dreams was easy to write as a parent. While she always starts with verses when it comes to songwriting, McKenna said for “Humble & Kind” the chorus came first.

“I knew that I lucked out in finding that chorus, to be honest, and then everything else, like I said, was easy to put in there,” she explains. “It was just a matter of editing it down and putting it all in the order that worked in my head the right way.”


For more of my interview with Lori McKenna, visit Sounds Like Nashville.

August 14, 2016 | | (0) comment comment
Songwriting Session with Marc Cohn
CATEGORIES: Songwriting Session


Songwriting Session is a column that goes behind-the-scenes with artists and songwriters. Each Sunday, a new songwriter will share their journey and provide lessons they’ve learned along the way. This week, Marc Cohn shares what he has learned as a songwriter.


As a teenager, Marc Cohn was constantly inspired by songwriters. He admired artists like Joni Mitchell, James Taylor, Van Morrison, Paul Simon and Randy Newman and says the art of songwriting moved him so much that he willed himself to be a songwriter.

“I wanted to learn if it was possible for me to do the same thing and have been on that journey to find out ever since,” he tell Sounds Like Nashville over the phone during a recent tour stop.

Cohn wrote his first song as an early teen. “It was about a girl, of course,” he says with a laugh. It wasn’t until he was 29 years old that he signed with Atlantic Records and later released his first album. This year, he celebrates the 25th anniversary of his debut self-titled album which included his timeless single, “Walking In Memphis.”

While Cohn has seen much success as a songwriter, it was a long journey. He says there were many times he was close to giving up. In those dark hours, it was always someone in his life that encouraged him or an opportunity arose that convinced him not to throw in the towel.

“I had people in my life that believed in me more than I did and were really very loving and very supportive and encouraged me to try a little bit harder. That was important,” he shares. “The truth is, it’s a matter of luck and fate, too. It’s not just being good. There’s a lot of good songwriters that don’t get discovered. I was lucky.”

When he was in his early 20s, Cohn moved to New York and found work as a session singer where he sang demos for other songwriters. He eventually began writing for commercials and movie scores, which kept him going financially as he continued to pursue a songwriting career.

He credits his songwriting success to putting in the hours. Much of his time was spent eating, breathing and drinking music, whether he was writing on his own, jamming with friends or listening to records.

“I would spend any time I had at a piano or a guitar or with my legal pad writing lyrics,” he recalls. “Month after month, year after year, honing my craft and trying to find my voice. It took a long, long time. Longer than I hoped.”

Cohn says it’s important for songwriters to study the people that inspire them and perhaps even imitate them for a while. Sooner or later, what makes an artist’s music resonate is when he finds what is “essentially you and not someone else.” For Cohn, it was listening to the advice of a hero of his, James Taylor.

“He gave advice in this article to songwriters who were stuck for ideas. He said, ‘Go somewhere you’ve never been. Get in the car, get on a train, take a guitar, keyboard, whatever, and go some place you’ve never been,’” Cohn recalls. “He called it a geographic. Do a geographic. His advice was that if you get out of some familiar territory, you might come up with something you wouldn’t have thought of if you just stayed at home. Go places. Open up your sensibilities. That’s what I did. That’s why I went to Memphis. I was following James Taylor’s advice. It was great advice.”

Cohn admits he would have never written “Walking In Memphis” if he didn’t travel to Memphis. Writing the song was a big moment for Cohn. He wasn’t signed to a record label at that point, but he knew he turned a corner as far as finding his songwriting voice. As he explains, he felt that there was something about the song that was essentially him as he wasn’t imitating anyone else.

“It was a wonderful beginning to my songwriting and artistic journey, no doubt about it,” he says of writing “Walking In Memphis” when he was 25 years old. “It has opened up and continues to open up a lot of doors.”

Cohn said after traveling to Memphis for the first time in 1985 he knew he had a song. During his trip, he visited Al Green’s church and met an inspiring woman named Muriel Davis Wilkins who played piano at The Hollywood. All these experiences made their way into “Walking In Memphis.” While he took some poetic license, Cohn says the song is as close to a true travel log as they come.

“In the end, that song is about the transformational power of music itself, which is why over all these years, it’s still easy to sing, because that’s still true for me,” he explains. “It resonates the fact that music is really a healing thing.”



For more of my interview with Marc Cohn, visit Sounds Like Nashville.

July 17, 2016 | | (0) comment comment
Songwriting Session with Caitlyn Smith
CATEGORIES: Songwriting Session


Courtesy Essential Broadcast Media

Songwriting Session is a column that goes behind-the-scenes with artists and songwriters. Each Sunday, a new songwriter will share their journey and provide lessons they’ve learned along the way. This week, Caitlyn Smith shares what she has learned as a songwriter.


Caitlyn Smith’s first song dates back to elementary school. She was eight years old when she began writing the verses for a song she titled “It Felt Like Magic.”

“Then I co-wrote and finished it with one of my friends on the playground and we’d sing it to our recess lady,” she recalls with a laugh over ice cream at Jeni’s Splendid Ice Creams in Nashville’s 12South neighborhood. “It was there that really sparked an excitement and a curiosity for me around songwriting and so I continued to do it.”

By the time Smith was a teenager, she was frequently traveling back and forth to Nashville from her home in Minnesota to co-write and meet with publishers. It was during these visits that she realized she could have a career writing songs and she set a personal goal to write 52 songs a year. She quickly learned the Nashville style of writing, which she says typically starts around a title or a riff, melody or groove.

Smith’s dream was to be an artist but she saw writing songs as a “really great plan B,” she explains. Through a series of connections she met Beth Laird, who worked at BMI at the time, and introduced her to several publishers. For years, Smith would travel to Nashville to meet with publishers and after being featured on a BMI showcase she found herself with several offers. Now writing for Cornman Music, she spends her days writing for other artists as well as focusing on music for her solo album which is due out next year.

“It was years and years of writing and rewriting and coming back and forth,” she explains. “The best decision was moving here though because it made it a lot easier to be submerged in the culture and have the luxury of co-writers around you at all times. When an idea strikes you can call someone and they’ll write it with you and it’s way easier that writing by yourself.”

Living in Nashville for the past six years has allowed Smith the ability to write with a number of artists, one being Meghan Trainor, who was just a songwriter when they sat down with Justin Weaver to write what would become her No. 1 song “Like I’m Gonna Lose You.” As Smith recalls, the song had a reggae feel with her singing on the demo and Trainor playing ukulele.

“My publisher set the three of us up and I was really excited about it because I had heard some of her stuff and I was already obsessed. It was a super fun day,” Smith recalls of the write several years ago. There was no pressure because she at that time didn’t have a record deal so we were like, ‘Let’s write the best song that we can write today!’ Someone threw out the title and the song happened pretty magically and quickly.”



For more of my interview with Caitlyn Smith, visit Sounds Like Nashville. Her EP Starfire is out now.

July 10, 2016 | | (0) comment comment
Songwriting Session with Tia Scola
CATEGORIES: Songwriting Session

Tia Scola

Songwriting Session is a column that goes behind-the-scenes with artists and songwriters. Each Sunday, a new songwriter will share their journey and provide lessons they’ve learned along the way. This week, Tia Scola shares what she has learned as a songwriter.


Tia Scola has always been passionate about music. From the moment she began speaking as a young child, Tia would sing and make up songs as her mother captured the footage on a VHS tape from their yard in New Jersey.

“I used to take over my dad’s cassette tapes in my karaoke machine. That’s how I recorded my first songs,” she recalls with a laugh. “There was definitely more advanced technology than that but that’s just what I had so that’s what I did.”

In high school Tia’s passion for singing and writing songs only grew, prompting her mother to suggest she continue it professionally. One summer she attended a songwriting camp at Berklee College of Music in Boston, Mass. where she learned of the songwriting program at Belmont University in Nashville, Tenn. She applied and was accepted, saying her acceptance was the “first statement of validity” she had about a career in music.

Now a student at Belmont, Tia has lived in Music City for nearly two years where she spends her days co-writing and interning at various management companies and publishers as she tries to navigate all aspects of the music industry.

“Since I’ve been here it’s been the most absolute amazing journey,” she gushes.

One recent evening Tia found herself on stage in a writers round beside hit songwriters like Billy Montana, Dan Couch and Erik Dylan. Having come a long way from hosting her own songwriters showcase at her high school, Tia held her own as she debuted new songs she wrote with friends and paid close attention to the greats who played before her.

“They’re all really talented writers in their own way and lyrically is what is most impressive about all of their writing to me. It just makes me strive to have better lyrics,” she says. “It was such a rush. It reminded me how much I love performing.”

Tia didn’t begin co-writing until she moved to Nashville and remembers being nervous during her first co-write, not knowing what to expect. As she explains, it’s a great way to meet people and it’s always more fun to write a song with someone else than writing it by yourself.

“I do have a few people that I write with all the time but I am trying to find that circle where it just clicks for everyone, every time,” she adds. “I’ve only been here for a short while so I’ve been grateful to be able to write with people [but] I never want to lose the ability and the love of writing very raw and my own thoughts in my room. I book co-writes four times a week but then those other days I’ll just write by myself.”

Tia says when writing a song she’s strongest with coming up with a melody. So, each song she’ll usually start with a melody in mind before she figures out the lyrics. Her song, “Dead Roots,” came together for a class assignment. She was paired with a classmate, Derek Scott, who had the idea dead roots. The term had her immediately think of moving away from home and leaving everything behind while he envisioned it more as the end of a relationship. The song soon evolved into a universal theme where every listener could relate.

“I think it’s something that resonates with a lot of people because if you’re in that relationship, whether it be a bad friendship, a bad intimate relationship, or even your family, it’s hard to leave all of that behind and just move on,” she explains. “We combined both of our stories; me leaving my town that was holding me back and no longer fertile and he had a relationship that didn’t end well. I think that’s the song that most defines me as an artist.”

Currently, Tia is working on a project with producer David LaBruyere (John Mayer). She makes her demos available on Soundcloud where her equal love of Kelsea Ballerini and Jason Isbell are apparent. Recently, one of her previous projects, Worktapes by Tia, found its way to former X-Factor contestant Alyssa Mezzatesta. Loving what she heard, Alyssa recorded three of Tia’s songs including “The One,” “Over You” and “Learnin’ Lonely.” While Tia credits being honest in her songwriting as a reason why some relate to her music, she says the best advice she has received is to write every song like it’s the song.

“Like it’s the song that’s going to make or break you,” she explains. “If you leave a room and you don’t really believe in the song then you did not do your job that day. I think that if I leave the room every day and I love that song and I can go back a few days from now and still be proud of that song, then I did my job as a songwriter. My songwriting teacher, Drew Ramsey, said write every song like it’s going to be the one that puts you on the map.”

Living proof that hard work and determination always pays off, Tia Scola is one songwriter to keep on your radar.

Tia will perform on June 7 at Neighbors at 8 p.m. and Aug. 3 at The Listening Room in Nashville. To hear more of Tia’s music, visit her on Soundcloud

June 5, 2016 | | (0) comment comment
Songwriting Session with Rachael Turner
CATEGORIES: Songwriting Session

Rachael Turner

Songwriting Session is a new weekly column that goes behind-the-scenes with artists and songwriters. Each Sunday, a new songwriter will share their journey and provide lessons they’ve learned along the way. This week, Rachael Turner shares what she has learned as a songwriter.


Rachael Turner caught the music bug at an early age. While growing up in Sugar Land, Texas, she began singing in a children’s choir at church and by the time she was 11 years old she had the solos. She began taking voice lessons as a teen and her passion for music led her to study at Nashville’s Belmont University where she received her degree in Commercial and Music Performance.

“I loved every second of it,” she says of her time at Belmont over coffee at Nashville’s Edgehill Cafe. “I think that really grew my love for music in general and it was a really great place to cultivate [my] style and who I was, because for a while I struggled.”

As Rachael explains, she wasn’t sure the genre of music she wanted to pursue. She grew up listening to country music but loved both the pop and country genres.

“There was never anything on the radio but country growing up,” she adds with a smile. “Dolly Parton, Lee Ann Womack, I wore those records out. My mom was probably tired of listening to me sing in the car, but yeah, Belmont helped me experiment and decide.”

At Belmont, Rachael discovered that she loved country too much to stray from it. “That’s where my heart and soul is,” she explains.

In 2012 while a senior at Belmont, Rachael signed with Rustic Records and has since released four singles while trying her hand at songwriting and working on her debut album. She says her degree from Belmont has helped her communicate with the musicians she works with and her producers, allowing her to speak their language and gain insight into the industry as a whole.

Her previous singles have been written by well established songwriters including Brandy Clark, Jeff Cohen and Lance Carpenter. While Turner doesn’t have a writing credit yet, she says she is learning the importance of co-writing within the Nashville community.

“I come up with great concepts and ideas and every now and then I’ve got some great little one liners or a good melody piece, but I’m not the strongest of pulling it all together in the best way possible,” she admits. “I’ve come to really value extra opinions and other ideas to help weave the fabric together.”

She adds that she loves being able to bounce ideas off her co-writers because it keeps things fresh and allows her songs to come to life. Rachael says she plans to co-write more often in the coming year with the goal to make her music relatable to listeners.

“I really think that will help solidify who I am as far as what music I make,” she explains. “There’s something about having something you wrote that came from your heart. I only sing about things that I can personally relate to. I want people to get to know me and my music and also be able to emote though music as well, because music is the best therapy. You can lock yourself in your car and sing at the top of your lungs and let all of that emotion go in song. That’s what I want people to do with my songs.”

Rachael’s previous single “I Don’t Love You,” written by Brandy Clark, does just this. As she explains, she heard the song years ago but had trouble relating to it herself. After going through a difficult breakup, she stumbled back upon the song and her entire perspective on the song changed.


“The very first time I heard the song I knew there was something special about it, but it didn’t strike a chord with me,” she recalls. “A couple months down the road, a boy broke my heart, and I just remember going through the CDs again and I heard that song again and I was like, ‘This is my life right now.’ I was in a place where at night I would go to sleep and I couldn’t sleep. Just this constant loop of, ‘What did I do wrong? Was there somebody else? Why didn’t this work out?’ All these questions and self doubt, [my] broken heart talking. Everybody’s been there.”

Rachael says recording the song helped her move on from the heartbreak and she hopes it will have the same effect on her listeners. More recently, she released her new song “Aftershock” to country radio. It tells the story of the end of a relationship and just like on “I Don’t Love You,” her emotion shines through as she sings of trying to pick back up the pieces after a heartbreak.

Rachael is currently working on her debut album with producer Chuck Ainlay (Miranda Lambert’s Platinum, David Nail’s I’m a Fire) and says what is most important to her is showing her authentic self throughout her music. Additionally, she hopes her music shows her versatility.

“I want to be real. I want people to able to reach out and touch me and touch my music. I just want to be an open book for people,” she concedes.

For more on Rachael Turner, visit her website.

April 17, 2016 | | (0) comment comment
Songwriting Session with Danae
CATEGORIES: Songwriting Session


Photo by Sarin, Text Design by Brad Wolf

Songwriting Session is a new weekly column that goes behind-the-scenes with artists and songwriters. Each Sunday, a new songwriter will share their journey and provide lessons they’ve learned along the way. This week, Danae shares what she has learned as a songwriter.


Danae is living out the lyrics of her debut pop single, “Direction.”

For the past 10 years, Tiffany Danae Thompson has been refining her sound and as she sings on “Direction,” she has “got a new direction,” both figuratively and literally. A recent Nashville transplant from D.C., the former singer-songwriter is leaving this genre for her new pop project, which is a blend of what she loves musically.

“I’m pulling the intimacy of being a singer-songwriter into the pop space with songs that are personal but also larger than my own life,” Thompson explains. She looks to Chris Martin and Bono as champions of this type of music, and as inspiration for her writing style. Their lyrics are “often poetic and vague, but the songs still tell us stories about their lives,” Thompson explains.

Thompson says a quote she lives by is “what is most personal is also what is most universal.” Her latest songs reflect this motto, as the lyrics tell her heart’s stories with words that could be describing any number of situations. In her song “Prove,” Thompson writes, “I’ve got nothing left to prove / Couldn’t walk away if I wanted to / I’ve got something left to say / My fire for you won’t fade away.” Perhaps it’s about love or maybe it’s about a dream; the listener gets to choose.

Coming from her singer-songwriter background, Danae’s music is not only influenced by EDM (Electronic Dance Music), but also jazz, folk and rock.

“I’m excited that each track on my first EP sounds different. ‘Prove’ and ‘Direction’ might remind you of Katy Perry or Coldplay; while ‘Gold in the Dirt’ reminds me of Imagine Dragons. I’ve started a few songs and immediately thought, ‘This isn’t a Danae song.’ I know what I want my new music to feel like; so I’ve been leaning into that,” Thompson says. “I want it to leave people feeling encouraged and with a sense of momentum. That doesn’t mean all sunshine and flowers, but I want to make sure each song is in some way an echo of my core.”

Since her move to Nashville a year ago, Thompson has been collaborating with her executive producer, Sarin Kuruvilla. During their first co-write, he asked if she had any titles in mind and she immediately cited the title of what would become her first single under Danae – “New Direction.”

Over the next six months Kuruvilla and Thompson brainstormed melodies and verses while thinking about the overarching question in the song: “what does it mean to have a new direction?” Thompson said that after several sessions it was clear the lyrics were more than just a one off song, they were describing her evolution as an artist.

Danae 'Direction' music video

Danae’s first music video was shot in Nashville with the help of a motorcycle, an old truck and a friend’s minivan

As Thompson continues to find her own momentum for the new music coming out this year, she encourages other songwriters who are questioning a genre change not to be scared.

“Going in a new direction, being vulnerable in a place where you are unfamiliar is intimidating. But, if you’re being called to a creative adventure, you have to just do it,” she urges. “I don’t know what the next year or five or 10 years hold for me, but I know I’m growing and excited to be in this new season.”

Thompson adds: “Don’t let where you’re at today limit where you can go tomorrow.”

While jumping out of your comfort zone may be scary, Thompson explains it’s more terrifying to not push yourself, at least in her mind. “A mentor once told me, if you never fail at anything you are probably not taking enough risks,” she says. “Change is risky. But I believe we were created to grow and change. Isn’t that why they call life a journey?”

To get an exclusive pre-release download of “Direction” visit For more on Danae, visit Instagram and Facebook.

March 13, 2016 | | (0) comment comment
Songwriting Session with Jeff Cohen
CATEGORIES: Songwriting Session

jeff cohen

Songwriting Session is a new weekly column that goes behind-the-scenes with artists and songwriters. Each Sunday, a new songwriter will share their journey and provide lessons they’ve learned along the way. This week, Jeff Cohen shares what he has learned as a songwriter.


Jeff Cohen left what many would call a dream job at BMI in New York as Senior Director, where he had a hand in discovering and signing Jeff Buckley, Kara DioGuardi, Lisa Loeb, Joan Osborne, Ani DiFranco, Spin Doctors, Wilco and many other artists, to pursue a career as a songwriter.

“My attitude was, ‘If I think you’re good, I trust my instincts. I don’t care what anyone else thinks. And if you’re willing to work hard I’ll work with you and we’ll try to get this going,'” he says of his time scouting bands at BMI over lunch at Nashville’s J. Alexander’s.

After nearly a decade at BMI, a serious illness caused Jeff to take some time off and he says while in the hospital he came to realize that his favorite time of day was at midnight when he’d be home with SportsCenter on the TV and pick up his acoustic guitar and write songs.

“I said, ‘You know what? I may not be the best songwriter in the world but I don’t want to be 40 years old and never show anyone these songs,'” he recalls. “I had just been writing for fun where I’d write four or five songs a year at two in the morning or on a Saturday about some girl I had a crush on or someone who wouldn’t date me. I never showed anyone. My close friends knew, my sisters, I’d make cassettes for them. I never pitched anything. My job was to help other writers and other bands. I was very focused on that and very conscious of not having anyone think I wasn’t doing anything but that. I didn’t want people thinking, ‘He’s up there behind a big desk and a big salary doing his own shit.'”

So, the then 33-year-old Jeff Cohen took a major leap and quit his job to pursue songwriting. “BMI was the greatest company to work for but I needed to prove to myself that I could do this,” he explains over tortilla soup and salad.

Jeff’s vision was to go full speed ahead writing songs and not looking back until he was 40. He survived on slices of pizza and turkey sandwiches while he got his start. The first thing he did was make a CD of 10 songs he wrote which he passed around to friends. As fate would have it, a friend in Los Angeles passed along the CD to Roxanne Lippel who worked at the WB television network, and she wanted to use two of his songs in a pilot. He edited one song down to 40 seconds and it became the theme song to television series Jack and Jill.

Jeff’s songs then found homes in films and television shows including Sisterhood of the Traveling Pants, My Super Ex-Girlfriend, Stuart Little 2, The Exes, Dawson’s Creek, Party of Five, One Tree Hill, The Simpsons and Saturday Night Live, among others. Meanwhile, Jeff continued to try and get work in New York and L.A. writing with bands, but also decided to go to Europe for co-writes, focused on his own project, Pancho’s Lament, and continued to write music for television and film.

Along the way, he came in contact with Jaron Lowenstein of Evan and Jaron and the two wrote “Crazy for This Girl,” which would rise to No. 3 on the Billboard chart in 2000.


The song hit radio a little over a year after Jeff left BMI and he admits he got lucky with the success of the song. Two years later, a friend called him from Nashville and said a co-write fell through in New York with two unsigned artists and asked if he was available to write that day. He was and that duo was Big Kenny and John Rich of Big and Rich. The guys sat down and wrote what would become “Holy Water,” Big and Rich’s third single and the song that helped land them a record deal.

“We wrote what I thought was a really good song but would have been a song that was on a cassette in my storage if they hadn’t demoed it,” Jeff admits. “I didn’t know how good it was. If they had not demoed that song no one in the world would have ever heard ‘Holy Water.’ They demoed it and combined with ‘Save a Horse’ got a record deal and that was my first Nashville cut in 2004.”

Jeff was living in New York when “Holy Water” began getting airplay on country radio and admits he regrets not taking advantage of the momentum and not traveling to Nashville to write more often.

“I didn’t take advantage of the momentum from ‘Holy Water’ even though we were Top 10. I probably could have worked with a lot of people at an early level but I didn’t know.”


Jeff says there are pros and cons to not having a publisher or manager. Sometimes, those cons mean the songwriter doesn’t get asked on as many projects. However, Jeff has made the best of the opportunities he has had. He came to Nashville frequently in the 2000s and eventually bought a place in 2005 while he continued to split his time between Nashville and New York. It wasn’t until 2010 that he finally called Nashville home. In that time, he realized Nashville was the place he wanted to live and write songs when he was in his 40s and 50s. He has had cuts with many artists including Sugarland, The Band Perry, Josh Groban, Laura Bell Bundy, Macy Gray, Nick Lachey, Mandy Moore, Marc Broussard, Spin Doctors, and many others.


“I think there’s a lot of integrity in a lot of the writing [in Nashville] and the direction that I naturally write,” he says of his move to Music City. “Go to Nashville, get to the back of the line and try to work your way up and try to earn the good work. No one cares what I did in TV, film or pop. I have to earn it in country. I was lucky to have good songs with Sugarland, The Band Perry, Laura Bell Bundy, Big and Rich and I’ve tried to put my time in and do good work.”


One of his frequent co-writers is Kristian Bush of Sugarland. Jeff has seven songs he wrote with Kristian on his debut solo album Southern Gravity released last year and the writing began simply as something to do for fun. Kristian and Jennifer were taking a break from Sugarland so Jeff invited Kristian along with him to Europe to join on some co-writes.

“Next thing I knew we had all these songs and he’s like, ‘I’m gonna do a record.’ When we wrote, we were just writing to write great songs. We just had fun writing. He works so hard that I’m so happy for all of his success,” Jeff says. “I think he proved to people that he’s amazing live and he’s a great talent.”

Two years ago Jeff started his own company, Nashville International Music, where he works with songwriters and artists in Nashville and abroad.

“I think when it comes to co-writing the most underestimated facet of it is chemistry. Think about it, on a date why can you sit with someone and talk all night effortlessly and not even think about it and you’re so attracted to someone and you don’t know what it is? And then there are some people that you really actually like but you don’t have a great conversation. It’s the same thing with songwriting. Just because you have two No. 1 hit songwriters doesn’t mean they’re going to write well together. You don’t know until you try. That’s why it never hurts to get in a room and spend a day writing a song with someone. If it works, it works and if it doesn’t it’s not personal.”

Jeff adds that the secret to writing a good song is that a lot of times your first instincts are your right instincts. Most of the time when he writes alone 75 percent of the song flows out of him while the remaining 25 percent he says will make or break the song.

“That’s when I roll my sleeves up and rip a song apart to piece it together. Certain songs I’ve worked on for years. To me there’s no rule that you have to write a song in four hours in a room.”

He concludes: “I just want to try to figure out a way to keep doing this the rest of my life. It’s about evolving with the ever changing industry. To me, you have two choices in life: you can complain about something or do something about it. The way the old industry was working for us as songwriters is not working anymore. It’s our responsibility to be creative and not just in creating songs. It’s a business so we have to find more outlets for our music. There is a way to do it, we just have to figure it out.”

For more on Jeff Cohen, visit his website. He’ll be performing throughout Nashville in the coming weeks, February dates below.

Feb. 6 @ Country Music Hall of Fame 11am
Feb. 6 @ The Bluebird Cafe 6:30pm
Feb. 17 @ The Bluebird Cafe 9pm
Feb. 27 @ Puckett’s Franklin 8pm

January 31, 2016 | | (0) comment comment
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