“Dream Partners:” How the CMA Foundation’s Data-Driven Model Creates Opportunities for All Members to Make a Difference

By Carena Liptak

In late 2021, Keith Urban partnered with the CMA Foundation — the Country Music Association’s philanthropic arm — to surprise a class of students at Hillwood High School, a Nashville-area public school.

During his time there, Urban visited with the school’s Rock Band, Orchestra, Choir and Band programs, hosting a Q&A session specifically tailored to a generation of young artists considering careers in the music industry.

“The most meaningful part of our visit was seeing Keith’s tenderness and care with the students,” CMA Foundation Executive Director Tiffany Kerns reflects. “He made sure they were heard and seen. He put the students at the center of the experience, making each student feel comfortable enough to speak rawly and candidly about their challenges as young musicians. … Simply put, it was a magical day.” 

That magic was no coincidence. Rather, it was part of a nuanced venture–philanthropy model the CMA Foundation has adopted to serve its community’s specific needs. After Urban’s team approached the CMA Foundation about wanting to visit a music education program, Kerns says the organization’s familiarity with the Metro Nashville Public School system allowed them to maximize the impact of the experience. 

“Our team has to be incredibly thoughtful in curating an activity or experience that is meaningful for all involved,” she points out. “We knew Hillwood High School has several student songwriters and a modern band class along with a fantastic teacher and principal supportive of the arts.” 

Of course, artist school visits like Urban’s are just one of the ways the CMA Foundation supports and furthers access to music education. Last year, the organization also brokered a Jake Owen-helmed benefit show at the Ryman Auditorium that raised $50,000 for the cause. A portion of the evening focused on the stories behind the songs, personalizing the event to the venue, genre and artists. 

Then there’s the CMA Foundation’s Artist Ambassador program, which enlists artists such as Russell Dickerson and Jimmie Allen to use their unique skills to benefit students. For example, Lindsay Ell — one of Nashville’s most accomplished guitarists — taught a class how to restring and tune a guitar during a virtual visit with Nashville-area elementary students. Meanwhile, Ashley McBryde created a music lesson plan based around building the major scale that, amid the pandemic, could be used either in person or virtually.  

The CMA Foundation’s model has proven that while financial assistance is essential, it’s not the answer to every problem. “Not all programs are rooted in funding issues. In fact, sometimes funding has exacerbated the problem versus addressing the real issue at hand,” Kerns notes, citing ineffective scheduling models and inconsistency in program availability as two examples. 

“It is painful to learn that a student has access to music in elementary school, may attend a middle school with no music and then find themselves at a high school with a band. While we are thrilled the high school has a program, the odds of the student participating in music after several years off are low,” she elaborates. “Equipping ourselves with more data and more information about the communities we are trying to serve benefits us all.” 

While artist involvement is an important part of the CMA Foundation’s mission, all categories of members — from advertisers and marketers to those in the radio and digital fields — have a role to play in the organization’s mission. With more community data in hand, the CMA Foundation is equipped to provide the statistical backbone of any project its members can dream up. 

“We are experts at what we do because we spent the better half of a decade listening and absorbing all we could in the field,” Kerns observes, citing the organization’s work with teachers, superintendents and principals, among others. “We don’t pretend to have all the answers, but we believe that when we engage in conversation and let data guide our recommendations, we have the power to address needs in a much more effective and efficient way.” 

Kerns says a “dream partner” is anyone who can see the value in the CMA Foundation’s strategy — no matter their field or the scope of their project. “I would love to see us lock arms with the U.S. Department of Education around our model,” she says. 

“I would also love to see our model attract the attention of donors that are currently investing in education,” she continues. “Our approach yields significant results. It gets to the root issue and allows for us to begin dismantling systemic issues that have not been addressed for years, if it all.” 

But cumulatively, small-scale progress is just as impactful as sweeping initiatives. “Be an advocate for music and the arts in your personal and professional lives. Talk about the importance of our young people having access and the ability to exercise that creative part of their brain. Need statistics to help support your elevator pitch? We got you,” Kerns says. 

“And give us a follow on socials and engage with us,” she concludes. “You never know when your comment will inspire a teacher or encourage someone to support music and the arts.”