Dave Cobb Announced as the ACM’s 2016 Producer of the Year
The accolades won’t stop pouring in for many of the artists he works with, including but not limited to Chris Stapleton, Jason Isbell, Sturgill Simpson, and many more. And now the country music industry is beginning to wake up to the contributions producer Dave Cobb has made to completely reshaping the landscape of country music, first in the independent side of things, and now in the mainstream with the widespread success of Chris Stapleton.
Announced Tuesday (3-29), the Academy of Country Music, or ACM’s have handed out their 2016 awards for studio work, including awarding the Producer of the Year honor to Dave Cobb for his efforts with Chris Stapleton and many others. The distinction comes ahead of the televised awards on Sunday, April 3rd where Stapleton is up for another five awards, including Album of the Year for the Dave Cobb-produced Traveller. Chris Stapleton has also already walked away with an ACM, being named New Male Artist of the Year on March 23rd.
Other studio awards handed out on Tuesday by the ACM’s include:
- BASS PLAYER OF THE YEAR: Michael Rhodes
- DRUMMER OF THE YEAR: Shannon Forrest
- GUITAR PLAYER OF THE YEAR: Derek Wells
- PIANO/KEYBOARDS PLAYER OF THE YEAR: Jim ‘Moose’ Brown
- SPECIALTY INSTRUMENT(S) PLAYER OF THE YEAR: Danny Rader
- STEEL GUITAR PLAYER OF THE YEAR: Paul Franklin
- AUDIO ENGINEER OF THE YEAR: Justin Niebank
Ross Cooperman also won Songwriter of the Year.
Dave Cobb’s win for Producer of the Year speaks to just what kind of inroads more independently-minded and organic country music is making in the industry. Compared to the heavy-handed production practices that prevail throughout the country music industry, Dave Cobb took a very relaxed approach to producing Chris Stapleton’s Traveller, and you can’t argue with the results. The album has now sold over 1 million copies, and is the best-selling album in all of country music in the last 18 months.
Meanwhile Dave Cobb has just released a compilation album featuring many the artists he works with, and major country superstars like Miranda Lambert and Zac Brown called Southern Family. The album debuted at #5 on Billboard‘s Country Albums chart this week, and has received much critical acclaim.
Dave Cobb’s ACM award also sets up well for Chris Stapleton to have a big night on Sunday, April 3rd for the televised portion of the ACM’s. It was Stapleton’s massive night at the CMA’s in November that set him on the path to his overwhelming success.
March 29, 2016 @ 11:59 am
Woah. Congrats to Dave! One would have to be blind, deaf, or dumb to try and deny a real country resurgence now. Gotta love it!
March 29, 2016 @ 12:11 pm
Good for him! He sure as hell deserves it!
March 29, 2016 @ 12:51 pm
Hey Trig,
Random question but will you be doing a song review for Craig Campbell’s new single “Outskirts of Heaven”?
March 29, 2016 @ 2:09 pm
It’s on my list. Been a very busy last few weeks.
March 29, 2016 @ 1:00 pm
It’s really great to see this for Dave. He is as great a guy as he is a producer/musician. I’ve been nominated a few times in the steel category. It would be great to see the musicians that make these records get deserved nominations & not speaking of me, but of JT Cure, Derek Mixon, Mike Webb, Chris & Leroy Powell, etc…. I’ve been Blessed much recognition in my life. Congrats Dave!
March 29, 2016 @ 2:09 pm
One hope is that seeing Dave and Chris Stapleton get these awards opens the door for other unsung people behind-the-scenes to be recognized in the coming months and years. I think it is already starting to happen to some extent.
March 29, 2016 @ 1:11 pm
Based on what I’ve heard in the way of production from DC , I’d have to question the ACM’s choice here. Perhaps they should have cited him as the UNDER- producer of the year ? There were so many terrific sounding records (George Strait and Maddie and Tae’s albums come to mind ) who’s productions were exquisite . As I’ve mentioned , most of what DC produced seemed like , basically , artist-produced projects where his contribution was in just leaving the artists alone .But ….OK ….whatever the ACM’s say . I just remind myself that its the ACM’s . I’m certain my opinion in this regard wouldn’t be shared by most folks here but I’m not talking about the artists DC produced ….just the actual production involved on the records .
March 29, 2016 @ 2:07 pm
Wouldn’t under-production still be a production tactic? So Fuzzy in this same comments section is chiding Dave Cobb for being a heavy-handed obstructionist (for no other reason than this is apparently what all producers do), and you’re saying he didn’t do enough to qualify? I’ve openly questioned some of Dave Cobb’s production decisions over time, but like I said in the article, it’s hard to question the results. “Traveller” is on its way to be the biggest album to be released in country in the last two, maybe three year when all is said and done, without virtually any radio play mind you. Dave did something right, even if it was deciding not to do anything.
March 29, 2016 @ 4:44 pm
I’m not suggesting that DC , perhaps , didn’t do something right by leaving these artists’ sound and approach intact by NOT influencing THEIR vision with an “over-producing ” approach .. I just don’t understand how that qualifies someone for an award . He wasn’t dealing with a Kelsea Ballerini or a Reba or an Eldgridge who are trend-chasing for airplay and need production to get them to a competitive level . His artists were rootsy , throwback , meat and potatoes kinda projects where less is more in terms of letting the talent do the heavy lifting with unique vocals and lyrics of substance . James Taylor singing solo with his acoustic can move you to tears . I suppose THAT stripped -down approach can be credited to his producer but hell ….its a no-brainer with artists the caliber of James and DC’s projects. Certainly Chris Stapleton could do the same with his vocal prowess and a great lyric . Vince Gill never tells his session guys what to play outside of providing a chord chart and song structure. Paraphrasing Vince , he says ” who am I to tell a Paul Franklin what to play ? How could Dave Cobb improve on the power a talent like Chris Stapleton and those elite side guys brings to a studio and a song ? By standing out of the way . Seems that’s enough to get you an award nomination ..
March 29, 2016 @ 1:12 pm
This is awsome but I wounder when radio will get there head out of there asses because nobody to blame fell to 13 on the carts.
March 29, 2016 @ 1:18 pm
So let me get this straight… Dave Cobb won an award for getting in the way of an artist’s creativity by imposing his own opinions on somebody else’s art.
That’s what producers do, people! They aren’t artists! they piggyback on artists to make money, they restrict an artist! That’s what Atkins, Billy Sherill, Fuzzy Owen and whichever one tried to keep Ferlin from recording “Wings of a Dove” do!
It’s all they do!
Artists need the freedom to go into a studio and make their art the way they intended it to, not the way some non-musician with influence wants it to go. (I know I know Dave Cobb can play bla bla bla) That’s why we have Bro-“Country” music, because producers are out of control and artists are getting their creative input shafted!
And this is not an attack on Dave Cobb, but on the institution in general, because Dave Cobb has been behind some great projects.
March 29, 2016 @ 1:25 pm
I have to completely disagree with this. Without a producer, artist have the freedom to make anything they want. That isn’t a good thing. Most artists will not be able to see problems in their own work, and a good producer is supposed to guide an artist to the best possible sound they can create. Now, bad producers completley restrict creativity. Good ones, like Dave Cobb, push artists in the right direction.
Consider Whiskey Myers- their first album wasn’t that great. It had its moments, but the production kept it back. Their latest album, produced by Dave Cobb, was amazing. He helped them find their best sound.
I respect your opinion, but I just have to disagree. You will find that most great albums have a good producer behind them.
I know that you’re talking about the music industry in general, but Dave Cobb deserved this award.
March 29, 2016 @ 2:01 pm
Quite broad brush strokes here Fuzzy. Just because Chet Atkins and Dave Cobb have the same title doesn’t mean their contributions to music, or their approach to handling artists in the studio is in any way the same.
March 29, 2016 @ 3:29 pm
Dave Cobb, like Albert said above, is good at getting out of the way and letting an artist shine, but by and large producers get too involved with the production of music,
as evidenced by the fact that Ferlin Husky had to go against his producers to cut “Wings of a Dove,”
as evidenced by the fact that neither Waylon nor Willie hit their stride until AFTER they took back creative control,
as evidenced by the fact that Hank 3’s best album was done WITHOUT a producer,
as evidenced by the fact that Johnny Cash was DISCOURAGED from recording two of the most famous albums ever, “At Folsom Prison” and “San Quentin.”
Artists need to have creative control of their own work, and need to be in control of their own decisions, and that means they need to be able to surround themselves with “producers” of their own choosing, instead of having a label assign one.
Because that’s how we’re going to get the most quality art, by turning “producers” into the same kind of hired-and-fired job that a road musician is, so that an artist can use any “producer” they want and get the most out of their own creative art.
It ain’t rocket science.
Because producers are an easy way for a big label to get somebody on the inside, and that’s why we have so much music that all sounds the same, because big labels are using corporate producers to turn artists into carbon copy puppets that follow the crowd.
Do you honestly believe Taylor Swift is responsible for “1989?” Because I don’t think so. Taylor Swift may be one dimensional, but she’s never been so shallow and uncompelling in her music.
Anyone with half a good eye can see that Max Martin got his stubby little hands all over her creative output and ran away with it, completely sidelining her creative vision.
March 29, 2016 @ 4:58 pm
“Do you honestly believe Taylor Swift is responsible for “1989?” Because I don”™t think so. Taylor Swift may be one dimensional, but she”™s never been so shallow and uncompelling in her music.Anyone with half a good eye can see that Max Martin got his stubby little hands all over her creative output and ran away with it, completely sidelining her creative vision.”
Couldn’t agree more F2S. HOWEVER ( and as strange as this may seem or sound ) the MAX MARTINS actually are the creative force that puts TS on the map .These guys can take a characterless non-descript directionless artist ( ie: Mickey Guyton ) and mold them to radio and a demographic’s conditioning in a way the artists couldn’t begin to do which, of course translates to $$$$$$. Yes we all hate those producers cuz we THINK they’ve taken control from the artist . But in almost every case where pop music and big label $$$ are concerned , THAT’S THE DEAL ! An artist know this going in and , in fact , those artists are overjoyed that someone is going to take their hands and walk them to stardom by way of production .Just look at the singers lined up to be molded and manipulated by the judges on the Voice and Idol . Dave Cobb’s role is the complete opposite to a Max Martin’s role . The artist KNOWS who he is and has a vision .Dave stays out of the way of the vision . Arguably , most pop /pop-country artists DON’T …beyond wanting to be successful. They need producers to tell them who they are going to be , or so they seem to think .
March 29, 2016 @ 5:18 pm
That’s because Dave Cobb understands authenticity, he knows better than to dilute someone’s creative experience.
Your average producer creates by numbers and figures and the end result is shallow one-dimensional products.
But even when the artist has artistic vision they get laughed at. I.E. Ferlin Husky, Willie Nelson wanting to use Jimmy Day instead of Buddy Emmons, that’s because producers are corporate moles whose purpose is to dilute real art in order to homogenize it and serve it to the masses who don’t know any better. If an artist got the freedom to use their own producer instead of a corporate one then artists could pick the producer best suited to their creative vision, rather than being handed a producer by somebody else.
Dave Cobb would probably be the go-to guy.
March 29, 2016 @ 5:26 pm
“If an artist got the freedom to use their own producer instead of a corporate one then artists could pick the producer best suited to their creative vision, rather than being handed a producer by somebody else.”
Yes….IF the artist actually has a creative vision .My point is that so many DON’T…they just want to be famous and sign that vision over to a label /producer
March 30, 2016 @ 5:29 am
I have to respectfully disagree with both of you. Do you think that all of these artists just happen to gain success all at the same time…..as if by chance? The common denominator with Sturgill Simpson, Chris Stapleton, and Jason Isbell is Dave Cobb. And these are just the big three. Everything this guy does is really good. I have been going back into his discography and purchasing albums that he has done with other artists as well, such as Rival Sons and Linda Ortega. His two albums with Jamey Johnson are great. I told the guy at the record store they should have a “produced by Dave Cobb” section.
We will get a real test when Sturgill Simpson’s album drops next month. I hope it is really good, even without Dave’s guidance. But right out of the gate I have concerns. “Brace for Impact” is a good song, but I did not like his version of “In Bloom” at all. Will Sturgill’s album hold up to his Dave Cobb produced album’s? Time will tell.
Dave is not taking away an artists’ creative control,…..I don;t know how to explain it, but all you have to do is look at “Southern Family”. All of these artists are unique, but yet each one shines through Dave’s production techniques.
Congratulations Dave Cobb!!!!!
March 30, 2016 @ 6:38 am
Agreed, Cobb is the man right now. Both Sturgill albums are excellent, Stapleton album is great, and I still think Jamey’s That Lonesome Song is one of the greatest albums released in country music history.
March 29, 2016 @ 3:04 pm
Hell yeah. Way to go Cobb.
It’s hard to deny that Dave Cobb is emerging as a mainstream figure in the country music world at this point. I just hope he can bring all his friends with him.
March 29, 2016 @ 3:50 pm
Some day I’d love to hear the story of Sturgill producing his new album instead of Cobb. I know what Cobb has said, and I know Sturgill had a “vision”, but still…
Anyway, I couldn’t be happier for DC! Well deserved!
March 29, 2016 @ 4:19 pm
Very well deserved!!
Congrats!!
March 29, 2016 @ 6:14 pm
Thanks for mentioning the musicians…
There’s a really interesting interview of Derek Wells on Youtube at
Truetone lounge.
March 29, 2016 @ 11:15 pm
Leroy Powell is a great guitarist, and a pretty good producer himself. Shooter hasn’t sounded as good since he left.
March 31, 2016 @ 6:56 am
I’ve worked on projects with, and without, producers. Even on records that sound transparent, under produced, there’s a lot going on. It ain’t easy to get an acoustic guitar to sound great. And guitars and male voices compete for the same frequencies. Without skill and experience, it’s pretty easy to make a muddy murky record that sounds dull. A good producer frees an artist to be themselves, and knows when to hold back or pile it on.
April 1, 2016 @ 9:19 pm
Didn’t he produce A Thousand Horses album too? I was a huge fan of the production on that.