Luke Bryan’s Manager and the Secrets of Her Nashville Success

Speaker 1:

Takin’ a Walk, with Buzz Knight.

Buzz Knight:

Well, welcome to the Takin’ a Walk podcast. I’m your host, Buzz Knight. And I am thrilled with another in our series of Nashville shows, with someone who as made, and continues to make, a little bit of impact on Music Row. Kerri Edwards is the founder and president of management firm, KP Entertainment, and she manages the careers, among others, of country stars Luke Bryan and Cole Swindell. And I’m so grateful to be taking a walk with Kerri. Kerri, thank you for having us here.

Kerri Edwards:

Thank you. What an intro. It makes me overwhelmed just hearing it put like that, to be honest. Thank you for having me.

Buzz Knight:

Well, do you have a sense of how important a figure you are in the business to females in the Nashville music workforce?

Kerri Edwards:

Well, that is a very good question, because I think it really hit me in the last probably three or four years. Because I just put my head down and go and do my deal, and I love what I do and I love music. So honestly, I had never really truly stopped and thought of it that way. But I’m now that person that you walk in the room, and you’re looking around and people are like, “Hey. Hi. Hi.” But then I’m like, “Oh no, I don’t know who that is.” I’ve become that person, which makes me mad. But it’s also a compliment in my opinion, because I remember doing that to people that I’ve looked up to and admired and followed what they did. The first few times that it happened to me personally, it did kind of freak me out in the moment. Because I’m like, “I’ve always known everybody. How do I not know who this is?” But that’s kind of how I put it in perspective, and that’s one of the things that made me realize, “Oh gosh.”

And then, I do try to do stuff, and I’m trying to do even more in the community and outreach, and doing some coffees and some sit-downs with people that reach out, and just inquire and say they have questions, and they want to get to know me and that kind of thing. I try not to ignore those, because I think that’s an important part of how we keep this legacy going, in general, for country music. So, I try to stop and look at that at times. And that has helped me also be like, “Okay, you’ve got a lot of people-“

Buzz Knight:

But you’re being humble. You’re being humble about it.

Kerri Edwards:

Well, I’m being truthful. It really is how I look at it. Yeah.

Buzz Knight:

Well, so what is the state, in your mind, of females in the music industry, in terms of leadership and management, from your perspective today? And how do you also view the state of female artists in country music?

Kerri Edwards:

Right. I think it’s obviously two separate questions. But the first one being with our leadership. I’m proud for both, actually, the artist level and the executive level of women in this role. But I do feel like when I first started, which I mean, I guess I technically have done management probably 15 years. I’ve worked with Luke Bryan for 20. But in the first part I did more publishing in some other areas of the business. But when I truly stepped in the management thing, I mean, there was probably two or three women, period, that were even doing that.

And then, even management, and it wasn’t even just about the women. I feel like there are many more managers in general now than there was then, male or female. Because I feel like back then, when I look back at it, there was probably 10 or so. And those people managed everybody, men and women. But now, I feel there’s a lot more diversity even in the day-to-day management roles, in general. And I feel there’s a lot more people out there doing it, and that doors have opened for them, in general.

Buzz Knight:

Not as many day-to-day managers then?

Kerri Edwards:

Not really, that I remember. I mean, I worked at a record label for like, seven years. You had a team at the management companies, but there just seem to be a lot more day-to-days and management and different tiers than there was then, which I think is a good thing for our industry now.

Buzz Knight:

So, the trials and tribulations though, as a female working your way through, were there ever these dark moments where you didn’t necessarily have someone to go ask advice for as you were trying to work your way through the business?

Kerri Edwards:

I mean, yes, I didn’t. But I had men that were there that stepped up, too, if I ever had a question. I mean, I had a handful, I mean, Marion Kraft was always an amazing female leader for management side for me, even from the very beginning. I mean, I took her lunch immediately when I was even considering doing this. When I considered it, and probably wasn’t really ready for the role or even understood what the role really was going to be about at that time. But I believed in my artists. And I believed in what they were trying to do. So, I didn’t let that completely stop me, because I did see something in, referring to Luke Bryan, I did see something in him that I knew that I had to just figure out. And there were definitely hiccups along the way that made me stop and go, “Oh my gosh, you do have so much more to learn.” But I also was determined to not fail him.

Buzz Knight:

But is the treatment of females the way it should be these days in the business?

Kerri Edwards:

I just think that’s a personal opinion. I don’t feel like it has put up walls for me personally. Now, are there walls? Yes, there’s walls. I mean, in our industry and many industries. I mean, I don’t think it’s just about the music industry, but I think you can let that block your mind and block your drive, or you just keep freaking doing it. And I just kept freaking trying to figure it out and doing it. But I mean, had a few examples. I mean, even then, female executives. There was Connie Bradley at ASCAP, there was Donna Hilley at Sony, because that was my world a little bit more. My world was publishing and that side of things when I first got into it. But they were some of the few. There was another publishing lady that was amazing here in Conrad in the business. There was definitely a handful of those leaders. But at that time, as far as label heads and that thing, it was definitely more men-driven for sure. But I don’t ever feel I stopped and went, “Oh, they’re not letting me do that because I’m a female.” I really never did view it that way.

Buzz Knight:

You just plowed ahead.

Kerri Edwards:

I’ve plowed, and I’ve tripped, and I’ve rumbled and tumbled and fell.

Buzz Knight:

Sounds like a song.

Kerri Edwards:

Maybe so. I’m not sure it would do go so well, but we’ll see.

Buzz Knight:

You could work the magic somehow, right?

Kerri Edwards:

Yeah. Yeah, I mean, I think there’s been an amazing growth and awareness for all of us. And I do think it has turned the corner. And we have a long way to go, of course. But again, I don’t think it’s just about country music industry. I think it’s just as a whole. And I do think that there’s been a lot of focus on it, and change. And we’ll keep changing, hopefully.

Buzz Knight:

So, you’ve been with this guy, what’s his name? Luke Billin? No, Bryan. I’m sorry. I see his name all over.

Kerri Edwards:

Close. Bryant?

Buzz Knight:

Oh, Luke Bryant?

Kerri Edwards:

We’ve gotten that before. Don’t worry.

Buzz Knight:

You’ve been with this gentleman a few years. And what a ride.

Kerri Edwards:

It’s actually weird to say out loud how long that’s been.

Buzz Knight:

How many years?

Kerri Edwards:

I mean, we’re going on 20. When I first met him. Again, I started with him in the publishing world and was helping him book song writes and do that side of things. So, he had a artist thing happening, but he didn’t have a record deal or any of that when we first met. So, I count those years, because that’s like, I was still working with him and doing stuff. So, there was probably five years of that before it was an official handshake, “You should be my manager,” moment thing.

Buzz Knight:

So, what was that first moment when you guys met?

Kerri Edwards:

Where?

Buzz Knight:

Yeah. It was at the publishing house?

Kerri Edwards:

It was. He had gotten signed. He had just moved to town. He got signed to a writing deal pretty quickly, compared to a lot of people. I think he just kind of met the right people at the right time, and he got a writing deal. And then I was hired at that company to be a creative director, so to pitch the songs and work on combining songwriting opportunities with other writers and that side of things. So. I met him, it was called Murrah Music, and Roger Murrah was the owner of that company, Hall of Fame songwriter. And I got hired to work there. And that’s kind of where we first I met. I remember meeting him in the kitchen of that building, because it was a house on Music Row.

Buzz Knight:

And what was that first encounter like? I mean, what connected you?

Kerri Edwards:

Well, it’s very Luke-like. Because he’s very engaging and loud and you’re not going to… but I mean, that was being walked around the building to meet everybody, but I don’t know why I remember that being in the kitchen, but for some reason I do.

Buzz Knight:

I mean, I was fortunate, thanks to you and Luke and your team, to be at one of those famous Super Bowl parties.

Kerri Edwards:

Nice. Yes.

Buzz Knight:

And thank you. It’s one of the best experiences. But you’re not going to escape the presence of Luke.

Kerri Edwards:

You’re not, no.

Buzz Knight:

Right?

Kerri Edwards:

No, he can’t help himself.

Buzz Knight:

But it’s so great. It’s this immediate, “Oh my God, this guy’s not only an unbelievable performer, but a he’s pretty freaking cool guy too.”

Kerri Edwards:

Yeah, he is. And he really is that the guy I met in the kitchen. It’s the same guy. He really is the same guy. I can’t explain it. How does that happen? It hasn’t affected him in a way that’s, I guess, what, gross? I don’t know what the word is, but I think between his family and just different people in his life, it’s like everybody’s kept it pretty real.

Buzz Knight:

To keep it level. Yeah. But isn’t that a function of the authenticity of Nashville also?

Kerri Edwards:

I think so. I love Nashville. I love our people.

Buzz Knight:

I mean, it’s real.

Kerri Edwards:

It’s good. Yeah, it’s real. I’m glad. I’m glad I ended up here.

Buzz Knight:

Where would you have ended up, if you didn’t end up here? You’re from West Virginia, right?

Kerri Edwards:

I am from West Virginia. I probably would still be in West Virginia. I mean, truthfully. My parents kicked me off the curb to go explore life.

Buzz Knight:

What would you be doing if you weren’t doing this?

Kerri Edwards:

I really don’t know. I mean, initially I thought I was going to be a school teacher. That would’ve been horrible. I love school teachers, but for me, personally, I would’ve been like, “Ah.” So, yeah.

Buzz Knight:

Do you ever stop and think and go, “What has happened? Wow.” I mean-

Kerri Edwards:

It’s funny you say that, because yesterday when of my employees was having a birthday. And we try to post on our social media when somebody’s birthday or something. So, I was in the studio with another artist, but in the meantime, I was trying to scroll to find some photos to send in to post. And when I was scrolling, I stopped, and another person that works with me was at the studio doing content. And I looked at him and I went, “Oh my gosh, sometimes I don’t… It’s just hitting me right now as I’m scrolling through these photos, how much happens in my life in a week’s time.” And I was so grateful in that moment of, “Wow,” scrolling through here. We’ve done a festival in Mexico, we’ve done a farm tour, we’ve done Vegas shows. Cole’s done… I mean, it’s crazy to think about. It’s really a blessing. And then I’m scrolling, looking at my kids, both of them going off to college and leaving me. And all this has happened in the last 10 months. It’s a lot. It’s overwhelming, in a great way though. I mean, we’ve signed songwriters. I mean, it’s crazy to look at your content. Have you ever done that? Scrolled through your photos and just been like, “Ah.”

Buzz Knight:

Yeah, I sort of go, “What happened for these three weeks?” It was a blank.

Kerri Edwards:

Yeah.

Buzz Knight:

I’m just kidding. I just-

Kerri Edwards:

No, I don’t believe that.

Buzz Knight:

So, the story of Cole is pretty incredible.

Kerri Edwards:

Epic, yes.

Buzz Knight:

He was a merchandising guy, right?

Kerri Edwards:

He was. He and Luke met, they had gone to the same college and were actually in the same fraternity. Luke was a few years ahead of him, but when Luke would go back to play frat parties, Cole would show up. And he was just super intrigued that Luke did that. And he asked a lot of questions, and I’m telling their version of the story, I wasn’t there at that time. But Luke just says, “He was always asking questions and just intrigued by everything I was doing.” And Cole will tell this too. I don’t know what year it was, but Luke was doing a party, and Luke got excited. He was like, “Hey, I wrote this song,” and Cole tells the version that was the first time it hit Cole that you could write the songs. Because Cole would go out and do some little club stuff, him and this other guy, but they would do covers, of course.

So Cole says, “It never occurred to me that I should figure out how to write my own songs until Luke was saying it that day.” So, they go super way back. And Cole just became more and more serious about it, and Luke wanted to try to help him. So, Luke calls me one day and just says, “Hey, you know that Cole guy?” And I’m like, “Yeah.” Because Cole would show up at shows, even past the fraternity stuff. He would come to these… We had a bar in Atlanta, Peachtree Tavern, and just different places. And he would always come to them. If it was drivable, Cole would be there. Always. And so, I kind of knew him even then at that point. But he said, “He wants to move to town. Do you have a job for him?” I mean, I’ve told the story before, but I always laugh because I was like, “No, I mean, first of all, I’m not sure I’ve ever gotten paid yet. So, I don’t know how I’m supposed to pay somebody else.”

So, Luke’s like, “Okay.” And he hangs up. And then it hit me later. I mean, maybe 30 minutes after that. I’m like, I called him back, I go, “Well, you do need somebody to sell your t-shirts when we go out this next time.” And we were literally about to leave. And he got excited. He goes, “I’ll call you back.” And he hangs up and calls him, and Cole got in his car and drove up that day. And he was with us from then on out.

Buzz Knight:

Oh, that’s the best.

Kerri Edwards:

Isn’t that great? It was so great.

Buzz Knight:

My God. That is amazing.

Kerri Edwards:

To give Cole way credit that he deserves, I mean, he took that job and he did the job of selling shirts, but he didn’t just sell shirts. He learned so much out there, watching shows happen. And he would watch buses roll up and trucks unload. And I mean, even then, I mean, Luke didn’t even have a hit then. So, we were in, who knows what. Vans. And I remember finally getting to take a bus one time, and we got so excited. I think we were opening for either Brooks and Dunn or Dierks. I’m trying to remember which one was the first bus moment, because it’s always a big deal. I have a photo of it, actually, whenever the first bus actually got to have… It was just for one night. It got taken away from us real quick after that. But my whole point of that is that Cole, he was doing more than selling the shirts. He watched it all happen. He watched shows, he watched interaction, he watched things that worked and didn’t work from stage, because he was the only one at the front of the stage that could actually watch the show, because he was set up facing the stage to sell the shirts most of the time. So, he got all the fun stuff. He got to witness all of it, and the good and bad. The fights and all of it that happen in bars.

Buzz Knight:

But you are the example of someone who, through your career, has really worked your way through every possible ladder. Starting as an intern and then working your way through that onto your next work within the publishing side and everything. For someone who is maybe listening to this, who is considering this business or any business, what advice would you give them on working your way through every ladder so you learn a lot?

Kerri Edwards:

Well, I truly feel like I look back at those, and I was truly just as excited about being able to be an intern. Once I realized what interning in the music industry, I walked into that building, my first internship was Arista Records. I walked into that, I did not know what it even meant. I did not know what I was walking in to do. I met a lady named Denise Nichols who did radio promotions at the time, at a show in West Virginia, and that’s truly how I even got the internship. I did not even know what it meant. I walked in there going, “I’m interning here. I don’t know what I’m going to be doing.”

But the minute I walked into that building, and Arista Records at the time, hadn’t been around that long. I mean, the history this Brooks and Dunn, Pam Tillis, Diamond Rio, Alan Jackson. I mean, it was a pretty amazing building to walk in on and immediately learn the process from. I mean, it still blows my mind that I ever got to be a part of that. But I was hooked immediately. I was sitting there watching all the stuff. The office was probably under 20 people. So, you kind of heard and saw it all, even when you weren’t supposed to, because we were kind of in a tight little half of a hallway of offices, and I was under, Tim DuBois ran Arista records and Mike Dungan, there was a guy, Allen Butler. He was very well known in the industry then. I mean, just the fact that I learned from those people, who were great at their jobs, but they were just great people.

And at the end of the day, I just think being a great person, I mean, you can win tenfold, in my opinion, approaching it that way. But going back to your original question about advice. I mean, I just try to encourage people to just be patient with it all. Because I feel like in our rushed more and more society of everything happening in the second, and you’re tired of it here and you got to move on and all that, but if you could just stop… I remember telling a friend that moved here and got in the business and they got a great job in publishing, but then immediately was get another offer within months to go to a different publisher. And then next thing I know, that guy was calling me back. He’s like, “Hey, this label reached out.” I mean, this all was happening within a two-year period.

And I finally just stopped and I said, “Hey. At some point, you have to stay somewhere where you can make a difference. You’re moving around too fast. Don’t chase the money. Do not chase the money. Stay somewhere and make some difference, and then move, because then you’ll be even worth more, because you’ve already made an imprint on something somewhere else.” So that’s kind of advice, I guess, for me right now, a little thing that I’ve been on in my little head of, I guess this younger generation of like, “Hey, just be patient. It’s going to happen. It’s going to happen.” If you work for it. It ain’t just going to fall in your lap. You still have to work for it.

Buzz Knight:

So, you’re managing brands. You’re managing certainly a brand in Luke Bryan. What are your sort of core principles about managing a brand when you look for opportunities, collaborations, partnerships?

Kerri Edwards:

Well, I really have always tried to keep it real and authentic to that specific artist, because I really think that you can see through it when it’s not. And I think our audience is smarter than we think sometimes. And they can tell when things are being posted from the person directly and not. So, do you just own that it’s not and go ahead and say it, or? So, but when I’m picking partnerships, I really do think that, for instance, I think right before you came in, we were talking about Luke is launching with Jockey. Jockey Outdoors. Like, a clothing brand with them. And it truly just made sense, because Luke is a very known outdoorsman. I mean, that was a given. We have aligned with Jockey on some other pieces with Luke, and just realized just their values as a company, and they’re family-owned and just what they stand for as a whole. And kind of that Middle America thing, and all of it, the Heartland, all of it just felt like it fit Luke perfectly, and it wasn’t a stretch.

Then we get into the business of, you go into this whole process of you’re meeting with them, looking at the product. I mean, he and I, we were touching and feeling it, and “No, I don’t like that design. Let’s try that.” And you’re in it. And I mean, I want to be in it. If his name’s going to be on it, he needs to be in it. And I think he views it that way too. I mean, he takes that stuff seriously. And walked out of that, and I mean, I remember the first time we left that meeting with them, I was just like, “This is exciting,” because it’s really like you’re putting your name on something that you can walk away and be proud of. And I think you got to do that on all these pieces. I mean, you could take it for the money, but I think eventually, that’ll not go so well for you.

Buzz Knight:

So, the ear of hearing a hit when you hear something-

Kerri Edwards:

Songs.

Buzz Knight:

When you hear-

Kerri Edwards:

I’m clapping. Songs. My favorite topic.

Buzz Knight:

When you hear, Hunting and Fishing and Loving Every Day… Did I get the title right?

Kerri Edwards:

You did, yeah. Well done. It’s a mouthful.

Buzz Knight:

Did you hear that immediately and go, “Boom”.

Kerri Edwards:

Oh, well, he was a writer on that, being Luke. Yes. Because I mean, you can’t scream anything more authentic than that song for him. I mean, he smiles all the time. He is loving every day. He really does. He wakes up. He really has very few bad days, which is a feat for anybody. So, I mean, that title, it couldn’t have been any more perfect. But it also just had a message, and it also did what it needed to do in a song. It wasn’t just about the title, but it did fit him. And I did know that one. I mean, there’s been stuff, I mean, when Cole walked in, and he didn’t even have a record deal when he came and played me Chillin’ It. But he walked in, I knew he wanted to. He’d been talking about pursuing the artist thing again. And when he walked in and played that demo, he and I, we actually were just talking about this four weeks ago at a show.

But he played that, and his take was that I sat there with my head down and didn’t really make any reaction. So, he took it that I hated it. And he was so uncomfortable. I think he was trying to run out the office. But I didn’t even realize I was doing that. I had my head down, because in my brain, so much stuff was going, and I was thinking, “Oh my gosh, this song is massive.” And I turned it off and I was like, “Wow.” And he’s like, “Well, I probably hyped it. I probably, it’s…” because he really thought I didn’t like it. And I just said, “Cole, stop.” I’m like, “Do you really want to do this artist thing?” And he goes, “I do.” And I’m like, “Well, then this is the song. This is the song.” In my opinion, this was a game-changing, because it was different. It stood out to me than anything else on the radio and that was going on.

Not too far that I didn’t think it would work. It was just different enough that I thought, “I mean, I can take this song,” and I mean, it did everything that we hoped it would be doing when I heard it that day. But he had multiple record deals. So, it was a very different story than what I experienced with Luke, because he wasn’t getting offers for a record deal. And we plowed at that for a year or two, doing showcases. And in Luke’s world, nobody would say no, but nobody would say yes. But with Cole and that song and what it started doing, and then XM started playing it, and then he had multiple record deals. So, it was night and day. I had never been in a position where I’m like, “Oh my gosh, now we got to choose who to pick?” The other one was like, “Somebody, please.” So, it’s just funny how things happen.

Buzz Knight:

Is there something though, that you feel when you hear that song at that moment, that it’s this indescribable notion that you know it’s-

Kerri Edwards:

It is, but it is hard to describe. I don’t know how I would describe when somebody sends a song to me that I feel like works perfect for somebody that I’m working with. Hopefully you get to a point with your artist, if you’re a song person, not every manager… That’s not their thing and they may not be into that. I’m crazy into that. I tell myself often that the moment I get sent a song and it doesn’t do what it does to me right now, then that means I need to pack it up. I mean, in my opinion, for me personally. When I lose that, and maybe I never do. I hope I never do. But if that ever happens, that would be my cue to be like, “All right, you’re burnt out. You need to go do something else.” It’s true, it’s true. I mean, because it’s easy to get burnt out sometimes,

Buzz Knight:

But that keeps you on edge, though, in a good way, right? To just always be curious.

Kerri Edwards:

I got in the car, I think two weeks ago with my son and my husband, and we were driving. It was a Friday, and my son happened to be in town for the weekend from school, and we were riding to go eat. And I went, “Guys, it has been a good week.” And they’re like, “Why? What do you mean?” And I’m like, “I found four songs this week, four in one week, that I loved.” And that doesn’t happen that often. And then I made them listen to them all weekend. They were like, “Okay, we get it. You love this.”

Buzz Knight:

But I’m getting chills talking about this, because it really is backing up the joy of what music is, right?

Kerri Edwards:

Mm-hmm.

Buzz Knight:

I mean, can you describe what music does to people?

Kerri Edwards:

I think it’s all the things, right? What was the saying? For a while? “All the feels”? That was the hot saying a few years ago. But I just think it depends on the song and the mood and the person. I mean, what a song could do for me might do something different for you, truthfully. But the couch you’re sitting on, when I got sent Sunrise, Sunburn, Sunset, Repeat, I was jumping on that couch, and I played it over and over in my office probably 10 times. I had to call every one of the writers. They were like, “Oh.” And I was trying to get it to Luke, but he was at a family dinner and he wasn’t answering to me, and I was losing my mind. And then I was like, “You have got to answer your phone.” And then he called and he’s like, “What is wrong with you? I’m trying to eat dinner.” And I’m like, “Okay, well, when you’re done, go listen to what I sent you immediately.”

Buzz Knight:

Oh, that’s great.

Kerri Edwards:

So, those moments are so amazing.

Buzz Knight:

It’s such joy.

Kerri Edwards:

Yeah. Yeah. I mean, Dylan Scott, I worked with him as well. He’s on Curb. And I mean, two nights ago… Well, no, I’m sorry, it was last Thursday, because I went on the road with him to go see a show, and he jumped on the bus. He’s like, “I wrote a song last night.” And I’m like, “Well, what are you waiting on? Set it up.” He goes, “You want to listen now?” “Well, yeah.” So, that’s just the best part.

Buzz Knight:

That’s awesome.

Kerri Edwards:

It is. It is. It’s so fun.

Buzz Knight:

So, what’s the roadmap for KP in the next three years? What are you setting your sights on that you could share?

Kerri Edwards:

Well, I was fortunate enough to sign… I have a lot of sights, I have a lot of little goals, I guess, for myself, but we’ll pick a couple and talk about. But I was assigned a guy named Chayce Beckham. He won American Idol two years ago. And Luke is a judge on American Idol. So, I watch a lot of American Idol. We were at all the auditions and the tapings. And I mean, Luke and Katy and Lionel and Ryan put in a lot of work. They really do. It’s more than I ever, ever understood was going to go into a show like that. But they take it seriously. They work hard. I watch, I’m talking hundreds of kids come through there, and I’m watching their whole audition and stuff that’s not even shown on TV. A lot of stuff. But I guess it was season three or four for Luke.

And Chayce was on there. And I don’t know, there was just something about him the whole time that I couldn’t stop being intrigued about. And it’s very separated. I mean, as a manager, I’m in a room and I’m watching TV monitors. I’m not interacting with the contestants in any way. And the judges really kind of are in the moment, but they’re not either. I mean, you can’t show partiality in any way, and they don’t want to ever sway anything. So, they do that purposely. But with him, just the whole season, I just kept commenting and like, “Oh, this and that, and this song. Oh my gosh, he wrote that song about himself and it’s awesome.” And then it was over and it’s over. And we come back to Nashville and you kind of wait and decide are you going to do another season of it or not?

But his stepdad called me, found my number, and called and just said, “Hey, would you ever consider taking a meeting with him?” And again, I mean, for a minute I kind of stopped, because I was like, “Am I allowed to do that?” I really wasn’t sure. I didn’t know if there were rules. I mean, no one ever told me there was rules or anything to any of that, but also was just wanting to be careful about it. And so, I did a couple calls with him, and then he came into Nashville. He was about to move here. And he’s from Southern California. And he came here and I took him and we did a couple meals. And I’m like, “Oh my gosh.” I mean, I truly felt like I was at a point where I probably didn’t need to sign another artist, but I couldn’t walk away from him.

I’m so excited about him as an artist. His voice is amazing. His songwriting blows my mind, because he had never even co-written a song until a year and a half ago. And he moved here and he is crushing it. When he sends me a song… Another one, see, it’s always about the song for me. I always end up going back there, but it’s true. He has just really blown me away, for as little time as he’s been doing it. So, my whole point of that in a very, very long way of answering that, is that I am crazy excited about him and getting him to a next level kind of deal. And I refuse to lose on that. I’m going to win on getting the world to know him even more than they do. So, look out for that.

Dylan Scott, who I mentioned a little bit ago, I think we started working together two years ago. So, we’ve worked two songs to radio so far. Luckily, knock on wood, they’ve both been number one. So I didn’t get fired. Yay. So, that’s good. But he has been just a great, well-rounded… I really think he’s this little hidden jewel that people are about to really, really figure out. On stage, he is great. He is entertaining. He does all the things on stage. And then his music that he just put out a few months ago is just… I mean, his streams and it’s clicking. So, I was on a mission with him too, because even for me, I knew who he was and he’d had a couple hits, but I didn’t know enough about him until I started working with him. And now I’m like, “All right, we got to raise the profile on this guy, because he is the deal.” So, those are my, not to leave out anybody else, obviously, that I’m doing stuff with, but those are some personal missions for sure.

Buzz Knight:

Some highlights.

Kerri Edwards:

Yeah, some highlights.

Buzz Knight:

But they’re all highlights.

Kerri Edwards:

Yeah, they are.

Buzz Knight:

Every day’s a highlight.

Kerri Edwards:

They really are. But there’s a lot of pressure. I’m like, gosh, people’s livelihood is in your hands. It’s stressful. It’s stressful.

Buzz Knight:

How do you deal with that?

Kerri Edwards:

I truly try to… I don’t balance well personal life and work life. I’m terrible. Luckily, I have really awesome kids and husband, so that haven’t kicked me out the window yet. I don’t know. They really have been amazing, because I can’t ever shake it. I can’t. I try to relax and I suck at it. It’s terrible. It’s terrible. I don’t know, it’s just I somehow eat up with it. I don’t know.

Buzz Knight:

Well, you said to me about being on the podcast, “Well, I hope I don’t suck.” Well, you didn’t suck.

Kerri Edwards:

Thank you.

Buzz Knight:

And you don’t suck at the rest of it. And it’s a joy to be with you on-

Kerri Edwards:

Thank you.

Buzz Knight:

… the Takin’ a Walk podcast.

Kerri Edwards:

Thank you for having me. It means a lot.

Buzz Knight:

Thank you.

Speaker 4:

Takin’ a Walk with Buzz Knight is available on Spotify, Apple Podcasts, or wherever you get your podcasts.

Buzz Knight is an established media executive with a long history of content creation and multi-platform distribution.

After a successful career as a Radio Executive, he formed Buzz Knight Media which focuses on strategic guidance and the development of new original content.