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Speed Your Journey (Song of the Hebrew Slaves)

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'Va, Pensiero' Song Lyrics

The Famous Hebrew Slaves Chorus from Verdi's 'Nabucco' Translated

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• B.A., Classical Music and Opera, Westminster Choir College of Rider University

"Va, Pensiero," otherwise known as the Chorus of the Hebrew Slaves, is perhaps the most beloved piece of music from Giuseppe Verdi 's opera "Nabucodonosor." It is so well liked that it often is performed twice, the second time as part of an encore. The English translation shows us the parallels Verdi draws between the Hebrews under Assyrian rule and the Italians under the Austrian occupation in the mid-1800s.

Nicknamed "Nabucco," this four-act opera takes place in Jerusalem and Babylon in 583 B.C. It tells the story of Nebuchadnezzar , the King of Babylon, and the Hebrews he has enslaved and then subsequently sent into exile. Against this tumultuous background, Verdi also gives us a triangular love story involving the characters of Ismaele, Fenena, and Abigaille.

Grief and Politics

Verdi wrote Nabucco after the failure of his second work, "Un giordo di regno" (King for a Day), and the deaths of his wife and young children. He had vowed never to write another opera, but the impresario of the La Scala opera house, Bartolomeo Merelli, persuaded Verdi to look at another composer's rejected libretto. Once home, Verdi reportedly threw in on the table in disgust, but then glanced down. The words "Va pensiero, sull'ali dorate" inspired him to write "Nabucco." 

Some critics believe that Verdi deliberately makes parallels in this opera between the Hebrews and the Italians, who in Verdi's time were living—some say suffering—under Austrian rule. In fact, after the curtain fell on the opera's final act at the conclusion of its premiere at La Scala on March 9, 1842, shouts of "Freedom for Italy," came from members of the audience, who recognized themselves in the Hebrews.

The opera is still popular today and has remained a part of the  Metropolitan Opera 's roster since it premiered there in 1960. So beloved is this work that when the Metropolitan opened its season 11 days after 9/11, the chorus began by singing "Va, pensiero" in honor of the victims of the attack.

The Chorus 

This song takes place in the opera's third act after the Israelites have been captured and imprisoned in Babylon. It's reportedly this part of the libretto that got Verdi interested in writing the opera. 

Italian Lyrics to "Va, Pensiero"

Va', pensiero, sull'ali dorate; Va, ti posa sui clivi, sui colli, ove olezzano tepide e molli l'aure dolci del suolo natal! Del Giordano le rive saluta, di Sionne le torri atterrate… Oh mia Patria sì bella e perduta! O membranza sì cara e fatal! Arpa d'or dei fatidici vati, perché muta dal salice pendi? Le memorie nel petto raccendi, ci favella del tempo che fu! O simile di Solima ai fati, traggi un suono di crudo lamento; o t'ispiri il Signore un concento che ne infonda al patire virtù!

English Translation of "Va, Pensiero"

Go, thoughts, on golden wings; Go, settle upon the slopes and hills, where warm and soft and fragrant are the breezes of our sweet native land! Greet the banks of the Jordan, the towers of Zion ... Oh my country so beautiful and lost! Or so dear yet unhappy! Or harp of the prophetic seers, why do you hang silent from the willows? Rekindle the memories within our hearts, tell us about the time that have gone by Or similar to the fate of Solomon, give a sound of lament; or let the Lord inspire a concert That may give to endure our suffering.

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Speed Your Journey (Chorus of the Hebrew Slaves)

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Welcome to Hart Male Voice

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Music Learning – Speed Your Journey

Speed your journey.

TTBB: play_circle_filled pause_circle_filled Speed Your Journey save_alt volume_down volume_up volume_off TEN 1: play_circle_filled pause_circle_filled Speed Your Journey save_alt volume_down volume_up volume_off TEN 2: play_circle_filled pause_circle_filled Speed Your Journey save_alt volume_down volume_up volume_off BARITONE: play_circle_filled pause_circle_filled Speed Your Journey save_alt volume_down volume_up volume_off BASS: play_circle_filled pause_circle_filled Speed Your Journey save_alt volume_down volume_up volume_off

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Speed Your Journey (Va Pensiero)

About this work.

‘Speed Your Journey’ (Va', pensiero) is a chorus from the third act of Nabucco by Giuseppe Verdi. This arrangement by Geoff Kingston  may be performed by concert band alone or as an accompaniment to mixed voices or male voice choir. Scored in F major the original key, (F sharp), is also available on request.  Fully scored, this versatile arrangement is ideal for all occasions including the concert platform or the parade ground. Lyrics are available in either English or Italian.

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Updated: 04/04/2022 14:14:11

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How-To Geek

These 8 midjourney commands upped my ai image creation game.

Elevate your AI art game with these 8 powerful Midjourney features!

Quick Links

• The Blend Command: Combine Images Together
• The Describe Command: From Images to Text
• The No Parameter: Avoid Certain Elements In Images
• The Stylize Parameter: Control Midjourney's Stylization
• The Repeat Parameters: Fast Visual Exploration
• The Weird Parameter: Make Images Stranger
• The Video Parameter: Capture the Creation Process
• The Tile Parameter: Craft Stunning Patterns

Midjourney has a ton of features baked into it that you won’t find if you don’t know where to look. Many of these features can help you create awesome images, while others are not so useful. So, here are eight Midjourney commands and parameters that I find most productive and fun to use.

Midjourney commands refer to typed commands such as "/imagine" or "/settings" that you type into the message bar to trigger the Midjourney bot. Whereas, parameters refer to examples like "--v6" or "--niji," which you use to provide additional instructions along with your prompt.

1 The Blend Command: Combine Images Together

You might already know that Midjourney lets you create AI images using your own images . Now with the blend command, you can upload 2-5 images to Midjourney and combine the concepts and aesthetics of each image into a new original creation.

To use it, enter “/blend” into the Midjourney bot and upload your images. You can either drag and drop the images from your PC or upload them from your mobile photo library. By default, the blend will take two images as input. But you can add up to 5 by tapping the options field in the prompt window and then choosing "image3", "image4", and "image5."

Now, let’s see this in action. I inserted the following 3 images

And got this blended result:

By default, /blend generates square images with a 1:1 aspect ratio. You can customize this by going into Options > Dimension, in the prompt window and specifying the aspect ratio to Portrait, Square, or Landscape. You can also add suffixes and parameters to your blend command just like with /imagine, to further customize the results.

2 The Describe Command: From Images to Text

You can use the describe command to provide Midjourney with an image and get a prompt as input. So, the reverse of what we generally use it for. Simply type in “/describe” and you’ll be asked to either upload the image or provide a link to the image. Provide your image, and Midjourney will present 4 potential prompts for that image.

You can now use these prompts with the /imagine command to see what Midjourney cooks up. Or you can just use this to expand your artistic vocabulary. That said, one of the best use cases of this command is to reverse engineer AI images you see online and on social media and try to recreate them using Midjourney.

3 The No Parameter: Avoid Certain Elements In Images

Sometimes, when using a prompt, certain elements or items might repeatedly pop up in your image. At this point, you can use the no parameter to remove items or objects you don’t want in your composition.

For instance, this is what Midjourney generates with the following prompt:

summer picnic scene

As you can see, Midjourney is creating images with trees in them. But I don’t want trees. So, if I modify the prompt to:

summer picnic scene without trees

This is what I get:

Still, the generated images include trees. But you can stop this from happening by using the “no” parameter and specifying what you want removed. The modified prompt becomes:

summer picnic scene --no tree, branches, leaves, trunks.

And here’s the generated image:

Yes, trees are still present in the composition, but their presence is significantly reduced.

You can remove multiple items using the “no” parameter, such as: --no item1, item2, item3, item4…

4 The Stylize Parameter: Control Midjourney's Stylization

The 'stylize' parameter has a value between 0-1000 with the default value being 100. You can freely increase or decrease it to create more or less stylistic art by adding "--s 10" or "--stylize 900" (or whatever value you want to specify) at the end of the prompt.

If the Stylize Parameter is close to 10, it will create images that closely adhere to the prompt. However, if you go for a high Stylize parameter like 900, you’ll get an image that tries to look good (stylistic, according to Midjourney's training) even if it has to ignore elements of the given prompt.

Let’s take this prompt for example:

a child’s painting of a house with a car and a pool.

Here’s what you get from Midjourney without using the stylize feature:

Now, with stylize set to 10:

a child’s painting of a house with a car and a pool --s 10

This is the generated image:

And with stylize set to 900:

a child’s painting of a house with a car and a pool --s 900

We get this:

5 The Repeat Parameters: Fast Visual Exploration

Midjourney simultaneously generates 4 images from a single prompt to let you pick your favorite and work with it. However, sometimes 4 generations isn’t enough and you need to see more variations. At this time, you can either keep clicking the "reroll" button over and over again, or use the repeat parameter.

To do so, add "--repeat" (or "--r") at the end of your prompt along with the number of times you want it to repeat. For instance, the following prompt will generate 5 sets of 4 image grids:

two friends sitting at the beach, sunset, --r 5

You can also mix the “repeat” parameter with other options like the “stylize” parameter to speed up your explorations.

Basic users can do 2-4 repeats, Standard users can do 2-10, and Pro/Mega users can go wild with 2-40 repeats. Also, the repeat parameter only works with Fast or Turbo GPU models, not Relax, and will eat up a fair amount of GPU hours very quickly.

6 The Weird Parameter: Make Images Stranger

If you’ve used Midjourney long enough, you’ll soon realize it has a distinct style and aesthetic preference. If you want to force it to move away from the default styling, you can use the "weird" parameter. To do so, append your prompt with "--weird" (or "--w") at the end of your prompt along with a number between 0-3000, with 0 being the default value, meaning no weirdness.

To showcase this feature in action, let’s consider, by default, the Midjourney image you get with the prompt:

a steampunk cyborg

This is exactly how you'd expect Midjourney to create images. Now, let’s set weird to 100:

a steampunk cyborg --w 100

This is with weird raised to 1000:

a steampunk cyborg --2 1000

And finally, this is with weird cranked up to 2500

a steampunk cyborg --w 2500

7 The Video Parameter: Capture the Creation Process

As Midjourney processes your base imagine prompt and generates the final image grid, you get to see a slow evolutionary process of how your image goes from a crude blur to an AI masterpiece (most of the time). If you want to capture this creation process and save it as a GIF or short movie, you can do that using the "video" parameter. Just follow these steps:

Add "--video" at the end of your prompt such as:

watercolor scenery of a mountain in the woods --video

After the job finishes, click "Add Reaction" button and select the "Envelope" Emoji.

The Midjourney bot will send you a direct message with the link to the video. You can open it to view in a browser or right-click (or long press if on mobile) to download it.

And here’s what the video looks like:

8 The Tile Parameter: Craft Stunning Patterns

I often use Midjourney to create monotonous pattern-based wallpapers and this is when the 'tile" parameter comes in real handy. Of course, you can also use this feature to create any seamless repeating patterns, or textures, or even for printing on fabrics. To use the feature, simply prompt Midjourney to create a pattern and append it with the --tile parameter. You will get a grid of patterns that you can individually upscale and use them as repeating patterns to create large images.

Example prompt:

a pattern of autumn leaves --tile

And this is the result:

Ensure to mention "pattern" in the prompt or else the generated image will have absurd cuts and breaks in the image.

You can now use the Seamless Texture Checker to see the tile repeat and download it to your system. Whereas, if you want to use it as wallpaper like I do, follow these steps. On your Windows 11 system, go to Settings > Personalize > Background. Pick "Picture" under the option "Personalize Your Background" and select the image under "Choose A Photo field." Then, select “Tile” under "Choose A Fit for your desktop image," and voilà!

With these powerful Midjourney commands at your fingertips, you're well on your way to becoming an AI image wizard. Whether crafting seamless patterns, removing unwanted elements, or adding an extra dose of weirdness, these tools offer endless ways to refine and customize your creations.

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Kendrick Lamar vs. Drake Beef Goes Nuclear: What to Know

The two rappers had circled one another for more than a decade, but their attacks turned relentless and very personal in a slew of tracks released over the weekend.

By Joe Coscarelli

The long-building and increasingly testy rap beef between Kendrick Lamar and Drake exploded into full-bore acrimony and unverifiable accusations over the weekend with the rapid-fire release of multiple songs littered with attacks regarding race, appropriation, sexual and physical abuse, body image, misogyny, hypocrisy, generational trauma and more.

Most relentless was Lamar, a Pulitzer Prize winner from Compton, Calif., who tends toward the isolated and considered but has now released four verbose and conceptual diss tracks — totaling more than 20 minutes of new music — targeting Drake in the last week, including three since Friday.

Each racked up millions of streams and the three that were made available commercially — “Euphoria,” “Meet the Grahams” and “Not Like Us” — are expected to land near the top of next week’s Billboard singles chart, while seeming to, at least momentarily, shift the public perception of Drake, long a maestro of the online public arena and meme ecosystem .

In between, on Friday night, Drake released his own broadside against Lamar — plus a smattering of other recent challengers — in a teasing Instagram interlude plus a three-part track and elaborate music video titled “Family Matters,” in which he referred to his rival as a fake activist and attempted to expose friction and alleged abuse in Lamar’s romantic relationship.

But that song was followed within half an hour by Lamar’s “Meet the Grahams,” an ominous extended address to the parents and young son of Drake, born Aubrey Graham, in which Lamar refers to his rival rapper as a liar and “pervert” who “should die” in order to make the world safer for women.

Lamar also seemed to assert that Drake had more than a decade ago fathered a secret daughter — echoing the big reveal of his son from Drake’s last headline rap beef — a claim Drake quickly denied on Instagram before hitting back in another song on Sunday. (Neither man has addressed the full array of rapped allegations directly.)

On Tuesday, a security guard was shot and seriously injured outside of Drake’s Toronto home, which appeared on the cover art for Lamar’s “Not Like Us.” Authorities said they could not yet speak to a motive in the shooting, but the investigation was ongoing. Representatives for Drake and Lamar did not immediately comment.

How did two of the most famous artists in the world decide to take the gloves off and bring real-life venom into an extended sparring match for rap supremacy? It was weeks, months and years in the making, with a sudden, breakneck escalation into hip-hop infamy. Here’s a breakdown.

Since late March, the much-anticipated head-to-head seemed inevitable. Following years of “will they or won’t they?” lyrical feints, Lamar hit directly on record first this year during a surprise appearance on the song “Like That” by the Atlanta rapper Future and the producer Metro Boomin, both formerly frequent Drake collaborators.

With audible disgust, Lamar invoked the track “First Person Shooter” from last year’s Drake album, “For All the Dogs,” in which a guest verse from J. Cole referred to himself, Drake and Lamar as “the big three” of modern MCs.

Lamar took exception to the grouping, declaring that there was no big three, “just big me.” He also called himself the Prince to Drake’s Michael Jackson — a deeper, more complex artist versus a troubled, pop-oriented hitmaker.

“Like That” spent three weeks at No. 1 on the Billboard Hot 100, as Future and Metro Boomin released two chart-topping albums — “We Don’t Trust You” and “We Still Don’t Trust You” — that were anchored by a parade of Drake’s past associates, each of whom seemed to share a simmering distaste toward the rapper, who later called the ambush a “20 v. 1” fight.

In early April, J. Cole fought back momentarily , releasing the song “7 Minute Drill,” in which he called Lamar overrated, before backtracking, apologizing and having the song removed from streaming services. But Drake soon picked up the baton, releasing a wide-ranging diss track called “Push Ups” less than a week later that addressed the field, with a special focus on Lamar’s height, shoe size and supposedly disadvantageous business dealings.

Less than a week later, Drake mocked Lamar’s lack of a response on “Taylor Made Freestyle,” a track released only on social media. It featured Drake taunting Lamar for being scared to release music at the same time as Taylor Swift and using A.I. voice filters to mimic Tupac and Snoop Dogg imploring Lamar to battle for the good of the West Coast.

“Since ‘Like That,’ your tone changed a little, you not as enthused,” Drake rapped in an abbreviated third verse, as himself. “How are you not in the booth? It feel like you kinda removed.” (“Taylor Made Freestyle” was later removed from the internet at the request of the Tupac Estate.)

But it was a seemingly tossed-off line from the earlier “Push Ups” that included the name of Lamar’s longtime romantic partner — “I be with some bodyguards like Whitney” — that Lamar would later allude to as a red line crossed, making all subject matter fair game in the songs to come. (It was this same alleged faux pas that may have triggered an intensification of Drake’s beef with Pusha T in 2018.)

How We Got Here

Even with Drake-dissing cameos from Future, Ye (formerly Kanye West), Rick Ross, the Weeknd and ASAP Rocky, the main event was always going to be between Drake, 37, and Lamar, 36, who have spent more than a decade subtly antagonizing one another in songs while maintaining an icy frenemy rapport in public.

In 2011, when Drake introduced Lamar to mainstream audiences with a dedicated showcase on his second album, “Take Care,” and an opening slot on the subsequent arena tour, the tone was one of side-eying competition. “He said that he was the same age as myself/and it didn’t help ’cause it made me even more rude and impatient,” Lamar rapped on “Buried Alive Interlude” of his earliest encounter with a more-famous Drake. (On his Instagram on Friday, Drake released a parody of the track, citing Lamar’s jealousy since then.)

The pair went on to appear together on “Poetic Justice,” a single from Lamar’s debut album, “Good Kid, M.A.A.D City,” in 2012, as well as “___ Problems” by ASAP Rocky the same year.

But their collaborations ceased as Drake became his generation’s premier hitmaker across styles in hip-hop and beyond, while Lamar burrowed deeper into his own psyche on knotty concept albums that brought wide critical acclaim alongside less constant commercial success.

When asked, the two rappers tended to profess admiration for one another’s skill, but seemed to trade subtle digs in verses over the years, always with plausible deniability and in the spirit of competition, leading to something of a hip-hop cold war.

The Week It Went Nuclear

Lamar’s first targeted response, “Euphoria,” was more than six minutes long and released last Tuesday morning. In three sections that raised the temperature as they built, he warned Drake about proceeding and insisted, somewhat facetiously, that things were still friendly. “Know you a master manipulator and habitual liar too,” Lamar rapped. “But don’t tell no lie about me and I won’t tell truths ’bout you.”

He accused the biracial Drake, who was born and raised in Toronto, of imitating Black American heritage and insulting him subliminally. “I hate the way that you walk, the way that you talk, I hate the way that you dress,” Lamar said. “I hate the way that you sneak diss, if I catch flight, it’s gon’ be direct.” And he called Drake’s standing as a father into question: “Teachin’ him morals, integrity, discipline/listen, man, you don’t know nothin’ ’bout that.”

Days later, Lamar doubled down with an Instagram-only track called “6:16 in LA,” borrowing both Drake’s “Back to Back” diss tactic from his 2015 beef with Meek Mill and a song title structure lifted from what is known as Drake’s time-stamp series of raps. Opting for psychological warfare on a beat produced in part by Jack Antonoff, Swift’s chief collaborator, Lamar hinted that he had a mole in Drake’s operation and was aware of his opponent’s opposition research.

“Fake bully, I hate bullies, you must be a terrible person,” he rapped. “Everyone inside your team is whispering that you deserve it.”

That night, Drake’s “Family Matters” started with its own justification for getting personal — “You mentioned my seed, now deal with his dad/I gotta go bad, I gotta go bad” — before taking on Lamar’s fatherhood and standing as a man in excruciating detail. “They hired a crisis management team to clean up the fact that you beat on your queen,” Drake rapped. “The picture you painted ain’t what it seem/you’re dead.”

Yet in a chess move that seemed to anticipate Drake’s familial line of attack, Lamar’s “Meet the Grahams” was released almost immediately. “This supposed to be a good exhibition within the game,” Lamar said, noting that Drake had erred “the moment you called out my family’s name.” Instead of a rap battle, Lamar concluded after another six minutes of psychological dissection, “this a long life battle with yourself.”

He wasn’t done yet. Dispensing with subtlety, Lamar followed up again less than 24 hours later with “Not Like Us,” a bouncy club record in a Los Angeles style that delighted in more traditional rap beef territory, like juvenile insults, proudly unsubstantiated claims of sexual preferences and threats of violence.

Lamar, however, didn’t leave it at that, throwing one more shot at Drake’s authenticity as a rapper, calling him a greedy and artificial user as a collaborator — “not a colleague,” but a “colonizer.”

On Sunday evening, Drake responded yet again. On “The Heart Part 6,” a title taken from Lamar’s career-spanning series, Drake denied the accusation that he preyed on young women, indicated that he had planted the bad information about his fake daughter and seemed to sigh away the fight as “some good exercise.”

“It’s good to get out, get the pen working,” Drake said in an exhausted outro. “You would be a worthy competitor if I was really a predator.” He added, “You know, at least your fans are getting some raps out of you. I’m happy I could motivate you.”

Joe Coscarelli is a culture reporter with a focus on popular music, and the author of “Rap Capital: An Atlanta Story.” More about Joe Coscarelli

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Music Industry Moves: Peso Pluma Signs With CAA

By Thania Garcia

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Breakthrough artist Peso Pluma has signed with CAA for representation in all areas.

Peso’s debut album, “Génesis,” soared to No. 3 on the U.S. Billboard 200 chart, marking the highest-charting Mexican music album in the chart’s history. The album has also garnered a variety of other awards this year, including a Grammy for best música Mexicana album.

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Peso is managed by George Prajin of Prajin Parlay, Inc.

+ BMG has appointed Kristal McKanders Dube as its new global head of corporate communications.

McKanders Dube joins BMG after nearly six years at Warner Music Group (WMG) where she led the global communications function at Warner Chappell Music (WCM), the publishing arm of WMG, including overseeing executive and songwriter communications, corporate events and philanthropic initiatives at WMG’s West Coast headquarters in Los Angeles.

Based in LA, McKanders Dube will report to BMG CEO Thomas Coesfeld. In her new role, she will handle BMG’s corporate communications worldwide, spearheading internal and external communications efforts, and liaising with BMG’s parent company, Bertelsmann.

Coesfeld said, “It’s an exciting time at BMG with the company uniquely positioned for growth in a rapidly evolving music landscape, and we’re happy to have Kristal join us at such a pivotal moment and bring a fresh perspective to our business. Kristal’s innate storytelling ability, coupled with her expertise in corporate and music publishing communications, makes her an invaluable addition to our team.”

Vaughn joins Full Coverage Communications after nearly fifteen years within the music and entertainment industry. Vaughn has spearheaded numerous award winning, nominated and record breaking campaigns including: Benee, Conan Gray, Stephen Sanchez, Glass Animals, Greta Van Fleet, Jack Johnson, James Bay and more. She’s also worked on numerous film soundtracks including “Spider-Man: Across The Spiderverse,” “Space Jam: A New Legacy,” “Licorice Pizza,” “Charlie’s Angels” and more.

Vaughn added: “I am honored to join a company with such amazing leadership and passion for their craft. The Full Coverage Communications team goes above and beyond in a way that highlights their belief and commitment to their clients. Kristen is a force in the industry and I am honored to get the opportunity to learn from her while further aiding the team’s incredible work.”

The company has also added Amy McBrayer as a publicist following her years at Rogers & Cowan PMK and Press Here PR, working with A-list clients across music, entertainment and sports. Both new hires will work out of the Los Angeles office.

+ Kobalt has signed singer-songwriter Imani “Mocha” Lewis , co-writer of Tyla’s Grammy winning “Water,” and eight other tracks on the South African singer’s self-titled debut album.

“Mocha is a phenomenally gifted and versatile songwriter whose power to create lyrics and melody are only just now being recognized in the creative community,” said Genevieve Jackson Huguely, creative manager at Kobalt. “Her contributions to the success of Tyla’s debut album are just a sampling of what we can expect from her in the coming years. We are thrilled to have her at Kobalt.”

Mocha is also an actor who hails from Southside Jamaica, Queens, and only just recently returned to songwriting as a full-time pursuit. She has co-writing credits on K-Pop sensation P1 Harmony’s “Fall In Love Again” and Iggy Azalea’s “Money Come.” On screen, Mocha has starred in Netflix’s fantasy drama series, “First Kill,” Hulu’s coming-of-age comedy, “Miguel Wants to Fight,” Baz Luhrmann’s “The Get Down,” and A24’s award-winning film “Eighth Grade,” to name a few.

“When my manager, Ekram Ismael, introduced me to the Kobalt team, we encountered a bespoke organization of individuals who share with me the same level of intentionality, passion for music and a desire to make a global impact,” said Mocha. “I feel at home with a publisher that can represent my needs while I focus on making great music that can truly impact the world.”

Pictured above (L-R): Lindsey Lanier, Kate Loesch, Jamie Kinelski, Genevieve Jackson Huguely, Mocha, Jeannette Perez and Amanda Tufeld.

Rise Music Group is headquartered in Nashville, Tenn. and Austin, Texas. The company was founded in 2018 by long-time industry professional Tanner Louis. Rise Music Group also represents Hayden Coffman, Lane Smith, and Dave Fenley.

“We couldn’t be more excited to join the Rise Music Group roster. Every artist on that roster is a superb talent and it’s an honor to join this winning team,” said Hayefield. “Tanner is such a solid / genuine person. We wanted someone that was willing to work as hard or harder than us… and I wouldn’t want anybody else having our back in this business. He’s been a fan since day one and that’s exactly who you want supporting you along this journey. We can’t wait to share our sound and vision together.”

+ Concord has hired Brad Clark for the newly created position of senior vice president of streaming and data analysis. Additionally, Concord has hired Kristen Reed as VP of data analytics and research.

Working across Concord Label Group, Clark and Reed will focus on utilizing data to drive revenue and to amplify the voices of Concord artists. Both Clark and Reed will be based in Concord’s Nashville headquarters, Clark reporting to newly appointed Chief Executive of Concord Label Group Tom Becci and Reed reporting to Clark.

“I am excited to have Brad and Kristen join the team. Brad has worked with artists at all stages of their career, from the releasing of their first song to some of the biggest stadium acts in the industry. He has developed a unique understanding of how to translate data into real-world advancement for an artist’s career,” said Becci.

Having led projects for artists such as Chris Stapleton, Darius Rucker, Eric Church, Lady A, Luke Bryan and Sam Hunt, Clark has deep understanding of how to employ data to increase sales and enhance artists’ careers. Meanwhile, Reed joins Concord after a six-year stint in data analytics and research at Universal Music Group.

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