On Thursday, NAMM (National Association of Music
Merchants) kicked off Day 1 of The NAMM Show at Anaheim Convention
Center in Southern California.
photo: George A. Paul
The world’s oldest and largest music trade show draws thousands of music business professionals and others from numerous countries.
This week marks the first time the annual event returned to its traditional calendar spot since
2020. More than 1,600 exhibitors are representing 3,000 brands, with more than
200 educational sessions scheduled. Additionally, there are music industry
award shows and dozens of concerts held on various stages inside and outside
the ACC as well as the adjacent Marriott and Sheraton stages.
New NAMM President and CEO John Mlynczak - taking
over from Joe Lamond, who spent 20 years in the position - presented an “Industry
Insights” breakfast time address Thursday which revealed a newly
commissioned study on AI innovation; a pledge to continue open communication
and collaboration with music industry members; and NAMM NeXT, a summer
education/networking summit for the music industry held in Nashville.
“We put on the world’s best products show,” Mlynczak said.
“It’s a historic time for our industry” and “an opportunity to grow back
stronger…we must work together.” He also reminded people how “NAMM exists to
grow this industry.”
Special attention was paid to music influencers. Mlynczak
heartily welcomed them to The NAMM Show. Then he brought Reverb.com CEO David Mandelbrot
and Elderly Instruments President Lillian Werbin to discuss their
successful businesses. Next was English singer/guitarist/music influencer Mary
Spender who relayed how she built up her 720,000 YouTube channel subscribers
over the years.
Mlynczak bestowed the 2024 NAMM “Music for Life” award
to Mark Ronson. The London native is an esteemed producer, musician and DJ with an Oscar,
a Golden Globe, several Grammys and other plaudits to his credit. Amy
Winehouse, Bruno Mars, Lady Gaga, Miley Cyrus and Duran Duran are among those Ronson
has worked with. 
photo: George A. Paul
His 2021 documentary series “Watch the Sound” is still airing on AppleTV+. More recently, Ronson has been nominated for an Oscar and Golden Globe for writing a song from the soundtrack to hit film “Barbie” with Andrew Wyatt.
At the Anaheim Convention Center, Ronson said he was
excited to be at NAMM Show for the first time, admitted to being obsessed with
music gear and spending much of his teen years in music stores. When
Foreigner guitarist Mick Jones became Ronson’s stepfather, visiting fancy studios with
“fabulous gear” became the norm. “I loved being around gear and teaching myself
how (everything) worked.”
When Mlynczak asked about Ronson’s thought on
Artificial Intelligence and its potential effect on the music industry, the
artist affirmed his belief in the human power to tell stories like Stevie
Wonder and Amy Winehouse have done.
Still, “in the studio, I’ll use any tool available…I
have one foot in analog, one foot in digital” sound, Ronson said.
TEC Tracks talks – sessions for recording, live sound
and music business professionals – are often insightful. Early Thursday
afternoon, “The Art of Mixing” featured mixing engineers Matt Wallace (Faith
No More, The Replacements, John Hiatt, Train, Susanna Hoffs) and Mark
Everton Gray (The Killers, Katy Perry, Guns ‘N Roses, Joe Bonamassa) with
moderator/journalist Steve Baltin.
Wallace said it was “important to be super tuned into what
the artist says and read between the lines…people are putting their trust in
you.”
He also stated that engineers “have to get out of own
egos” and find out “what the artist wants to accomplish.” Gray added “I’m a
vessel for the client.”
“It took me two decades to figure out ‘the art of
planting seeds’” in the minds of musicians about what you think a song needs,”
said Wallace. “It’s like a Jedi Mind Trick. You want to get the best out of the
artist.”
Gray, a frequent user of Studio at The Palms in Las
Vegas, said, “in the studio, an artist’s creative soul is naked.”
Wallace said he felt engineers should believe in their own instincts. One example cited was his co-production/mixing
work on Maroon 5’s multi-platinum 2002 debut album “Songs About Jane.” While the band was away from the studio, Wallace thought some crowd noise would enliven a song and the musicians ended up liking what he did.
Elsewhere, they talked about what happens when engineers need to rescue an album that isn't going well and might not meet a deadline. Wallace also said he tries not to stick with the same genres consecutively because then it’s easy to fall into the pattern of doing things by rote.
During the mid-afternoon, country singer/guitarist Hunter
Hayes did a warm and inviting acoustic performance adjacent to the C.F. Martin
& Co. guitars booth. 
photo: Robert Kinsler
Fortunately, it wasn’t noisy in that area of the convention center. Hayes prefaced the half-hour set by saying, “I’ve never played in this chaos before.” He tried to get to know some of the audience members by asking where they were from, and whether any musicians were present.
Hayes, 32, provided some career background – how he’d
been writing songs since he was six and signed a recording contract at 19 – and
then raved about the Martin “Inception” acoustic guitar and its sustainability (Hayes
has worked with the guitar company for a decade).
Opening with the title track to 2019 album “Wild Blue,”
he delivered passionate vocals for lyrics about independence and freedom, noting that the entire record touched upon those subjects. Before playing a
laid back, John Mayer-esque “Somebody’s Heartbreak” complete with falsetto
vocal, the artist explained how he knew it had the makings of being a hit (sure
enough, the track went top 10 at country radio in 2012). A jaunty “Missing You,”
from last year’s “Red Sky” album, was about nostalgia and California. Hayes
talked about the album being inspired by the Topanga Canyon surroundings in
L.A. while making it.
After touching upon his Cajun influence as a Louisiana
native, Hayes admitted to spending the money received from his initial publishing
deal on a Martin guitar he’d long had his eye on. Then, the musician played the
upbeat and fun “Storm Warning,” his first top 20 hit on country radio. Finally,
Hayes closed with the strident “Sober,” off “Red Sky.” The tune, about “dating
in the digital age,” gave the guitarist a chance to jam a bit. He dedicated it
to people participating in “Dry January,” a challenge revolving around abstaining
from alcohol for a month.
Late Thursday afternoon, 5x Grammy Award-winning
producer, engineer, and mixer Chris Lord-Alge (Green Day, Bruce Springsteen, Muse, Cheap Trick, Brian Setzer, P!nk) presented a TEC Tracks Session
on “Commanding Your Career.”
photo courtesy of NAMM
The large upstairs convention center room was packed; people even stood against the walls to listen. With a brash and frank talking style, Lord-Alge paced around the floor, and often asked whether attendees had encountered specific problems with past clients.
His dozen “CLA Rules” for being a successful mix engineer included: how to network, communicate professionalism, maintaining rules and defining boundaries, collecting payment, time management, understanding the artist’s vision and more.
Among the notable Lord Alge quotes from the session:
“Whether you’re Harry Styles, Muse or P!nk, you’re
gonna pay me.”
“The artist wants to be led – you’re the shepherd…and
there to serve the artist.”
At one point, Lord-Alge’s equally successful music
engineer brother Tom Lord-Alge appeared at the room entrance and gave him a boisterous shout
out – likely typically of New Jersey siblings.
The NAMM Show continues through Sunday at the Anaheim Convention Center. For more information, visit namm.org.
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