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Aloe Blacc and Walker Hayes Set to Perform at 2024 Family Film and TV Awards on CBS

Aloe Blacc and Walker Hayes will perform at the 2024 Family Film and TV Awards, CBS has announced.

R&B and soul singer-songwriter Blacc and country singer-songwriter Hayes, both Grammy-nominated artists, will take the stage for the Nov. 9 show airing at 8 p.m. ET/PT on CBS and streaming on Paramount+. Entertainment Tonight‘s Kevin Frazier and The Talk‘s Amanda Kloots were previously named as hosts.

The Family Film and TV Awards celebrate excellence in family-oriented film and television. This year’s show features award categories including outstanding actor in a feature film, outstanding actor in a TV series, best iconic film, best iconic television series, best competition television series, best game show, outstanding reality show, best ensemble television series and best feature film.

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Timothée Chalamet (Dune: Part Two), Zendaya (Dune: Part Two), Ryan Reynolds (IF), Mark Wahlberg (Arthur the King) and Zachary Levi (Harold and the Purple Crayon) are up for outstanding actor in a feature film, while nominees for outstanding actor in a TV series are Walker Scobell (Percy Jackson and the Olympians), Iain Armitage (Young Sheldon), Gordon Cormier (Avatar: The Last Airbender), Louisa Harland (Renegade Nell), Amandla Stenberg (The Acolyte).

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Blacc — who had a top 10 hit on both the Billboard Hot 100 and Billboard’s Hot R&B Songs with “The Man” in 2014, and hit No. 1 on Billboard’s Top R&B Albums chart and No. 4 on the Billboard 200 with his album Lift Your Spirit the same year — celebrated the 10th anniversary of Lift Your Spirit with a special deluxe release this year. He also released the two-EP set Rock My Soul, which saw him covering a number of classic alt-rock hits. February 2025 will bring more new music from the R&B and soul vocalist, who has a philanthropic project in mind: an album of songs inspired by different non-profit organizations.

Hayes — whose 2021 hit “Fancy Like” topped Billboard’s Hot Country Songs chart at No. 1 and reached No. 3 on the Billboard Hot 100, and whose 2022 Country Stuff: The Album hit No. 2 on Billboard’s Top Country Albums and charted in the top 10 of the Billboard 200 — released an EP titled Sober Thoughts earlier this year. Up next for Hayes is Christmas Vacation, a collection of classic holiday cover songs plus originals from the singer, which will be available for the Christmas holiday this year.

Complete details about the 2024 Family Film and TV Awards can be found on the award show’s official website.

Dua Lipa Returns to NPR’s ‘Tiny Desk’ With Stripped-Down Dance Party Vibes

When you’re already number one you can take some chances. Secure that her 2020 pandemic home NPR Tiny Desk concert still holds the record for the most-seen Tiny Desk ever with more than 130 million views, Dua Lipa was back in the crowded public radio offices on Friday (Oct. 25) when her second stripped-down show highlight tracks from this year’s Radical Optimism album.

Speaking to NPR’s Ari Shapiro in an interview before the four-song episode dropped, Dua explained that she flipped the uptempo album track “Happy For You” into a stripped-down piano and voice ballad that represented the song in its “purest form,” stripped of the bubbling electronic production. “It is what it is in the moment, and I think you just feel that song differently,” she said. “You listen to the lyrics in a different way, and it was really fun to think about it and take it back to the basics.”

She also talked about how she flipped the oft-used phrase “if these walls could talk” on “These Walls” by “personify[ing] the walls, because no one knows you more than the four walls in your room.”

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The mini-concert opens with an unplugged, meditative take on “Training Season,” highlighted by acoustic guitar and electric piano and a gently thrumming bass and angelic backing vocals before the singer’s seven-person band picks up the pace and (gently) rocks the office with a jazz pop take on the Radical Optimism single.

“I’ve always wanted to come down and be by the desk,” a smiling Dua told the assembled NPR staffers. “We did a at-home Tiny Desk in 2020, so this feels really, really special,” she added, cheekily wondering if anyone had seen that little record-setting show. She then slipped into the chilled out “These Walls” before setting up “Happy For You” by saying she’s always been inspired by the way artist’s reimagine their songs for the series.

Which is why she also switched up the arrangement for the song about her being happy that her ex has a new girlfriend, swapping the original’s wistful pop dance vibe for a skeletal, emotion-forward keyboard and voice arrangement that brought new poignancy to the wish-you-the-best lyrics.

“Even the hard parts were all for the best/ I see where you’re at now, you picked up the pieces/ And then you gave them to somebody else,” she sings over keyboardist Georgie Ward’s gentle backing. The session ends with the album’s first single, the certified banger “Houdini,” whose slinky, joyful vibe likely sent the NPR crew shuffling back to their desks with a big smile on their faces.

Check out Dua’s Tiny Desk show below.

Lily Allen Says She Earns More Money From Selling Feet Pictures Than Spotify Streams

Whether you respect her hustle or not, Lily Allen is gonna keep on grinding.

A few months after joining OnlyFans to sell photos of her feet, the 39-year-old singer-songwriter said on X Friday (Oct. 25) that her side business has been more lucrative than the streams she earns on one of the world’s biggest music platforms. “imagine being and artist and having nearly 8 million monthly listeners on spotify but earning more money from having 1000 people subscribe to pictures of your feet,” she wrote.

Allen’s remark came in response to someone who’d negatively commented on a post advertising her OnlyFans account. “Imagine being one of the biggest pop stars/musicians in Europe and then being reduced to this,” the fan wrote, to which the “Smile” singer added: “don’t hate the player, hate the game.”

Billboard has reached out to Spotify for comment.

At press time, the monthly subscription cost of Allen’s OnlyFans page is $10. Going off her numbers, Allen is making about $10,000 each month on the site. In 2023, the number of artists who made $10,000 or more in royalties from Spotify streams was about 66,000.

The musician launched her feet-photo business in July after learning that she had an exceedingly high score on WikiFeet, which she revealed on her Miss Me? podcast. “I have a lady that comes and does my nails,” she told co-host Miquita Oliver at the time. “She said that I could make a lot of money from selling foot content on OnlyFans. And I’m like, ‘Not no.’”

Shortly afterward, Allen shared how her husbandStranger Things star David Harbour — reacted to her new undertaking. “Yeah, he is, he thinks it’s great,” she said on Miss Me? “At first, he was like, not turned on, but he was like, ‘Is this a kink for you?’ And I was like, ‘No, it’s totally not a kink,’ but maybe there’s something in the power element of it that’s slightly kinky for me.”

See Allen’s tweet below.

In Canada: Toronto Prepares For Its Taylor Swift Era, Plus AMG Acquires Major Stake in NXNE

Toronto is preparing for a new era.

Taylor Swift will bring her behemoth Eras Tour to the biggest city in Canada for six sold-out shows in November. But Torontonians know all too well that major concerts can lead to bad traffic downtown. The city has announced that to help those shows run more smoothly, there will be a ‘Limited Activity Zone’ around the Rogers Centre stadium during the two weeks of Swift-mania.

Planned work in the zone — like construction or filming — will be limited to off-peak hours and will require express permission from the City of Toronto, though emergency work will be allowed.

The zone covers a sizeable area of Toronto’s downtown and will aim to keep traffic flowing as roughly 240,000 fans attend Taylor Swift’s performances. The affected industries shouldn’t be too worried though — the zone will only be in place for a fortnight, from Nov. 11 to 25.

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The ‘Limited Activity Zone’ isn’t the only infrastructural adjustment needed to account for Swift’s superstardom. Rogers revealed last week that it just completed an $8 million upgrade to its 5G network at the Rogers Centre, so fans can livestream the enchanting spectacle in real-time — or just text their friends, which can be tough during service overloads at major events.

The route from Rogers Centre north to Toronto’s Nathan Phillips Square, where City Hall sits, will also be renamed Taylor Swift Way for the month. Signs will designate the new name, guiding fans into the ‘Limited Activity Zone’ where Swift will take the stage.

The city is anticipating a major financial boost from Swift’s visit, with over $250 million in economic impact projected.

Taylor Swift performs in Toronto from Nov. 14-16 and again from Nov. 21-23. –Rosie Long Decter

Slipstream Acquires Anthem Entertainment’s Extensive Production Music Portfolio

Music licensing platform Slipstream has announced that it has acquired the production music portfolio of Toronto-based music rights company Anthem Entertainment.

The acquisition of Anthem Production Music Group includes three major brands: Anthem’s production music agency Jingle Punks, independent production music library 5 Alarm Music, and U.K.-based independent production music publisher Cavendish Music. The net result is the addition of over 650,000 tracks to Slipstream’s catalog.

Slipstream says the acquisition positions it as “the largest global independent music licensing platform.”

There are long and close connections between the principal players involved. Slipstream was founded in 2021 by CEO Dan Demole and chief revenue officer Jesse Korwin. Demole was the co-founder of Jingle Punks and former president of Anthem Production Music Group, while Korwin served as managing director of Jingle Punks.

“This acquisition is a homecoming for us,” says Demole. “Jesse and I built both Jingle Punks and Slipstream on the foundation of making great music accessible to every type of creator. We now have an unprecedented opportunity to build on the success of both brands while leading the next wave of innovation in music licensing. With this vast catalog and our tech-enabled platform, we’re not only the largest independent player in the space, but also the most innovative.”

The expanded platform will serve a diverse client base, from individual content creators and small businesses to global brands and enterprises. Slipstream said the acquisition is in line with its goal to streamline music licensing across TV, film, advertising, gaming, social media and brands.

Anthem Entertainment will make an investment in Slipstream as part of the transaction. Anthem Entertainment CEO, Jason Klein, who is one of Billboard Canada’s 2024 Power Players in the Publishing category, commented: “Anthem’s focus since my appointment in January 2023 has been on building its core music publishing and recorded music divisions, while considering the best path forward for our production music businesses.”

“This sale to Slipstream has placed Jingle Punks, 5 Alarm and Cavendish Music back in the familiar and capable hands of proven leaders in the production music and technology space. Dan and Jesse already know these businesses and have a unique vision for their future as part of Slipstream. Our belief in them as leaders and their vision is the reason we have also chosen to invest in Slipstream going forward.”

The New York City-headquartered Jingle Punks has long maintained an office in Toronto, alongside branches in Santa Monica, London, Sydney and Melbourne. – Kerry Doole

Billboard Canada Parent Company AMG Acquires Major Stake in Music Festival NXNE

Artshouse Media Group (AMG) has acquired a major stake in Toronto music festival North By Northeast (NXNE).

The media company — which publishes Billboard Canada, Billboard UK and Rolling Stone Quebec and also owns Arts Help, Waveland Canada and the Climate Library — will own 50% of the long-running festival. The acquisition begins a long-term partnership, starting with NXNE’s landmark 30th anniversary edition from June 11-June 15, 2025.

“This partnership with NXNE comes at an exciting time for both Billboard Canada and AMG. As NXNE marks its 30th anniversary, we are aligning our shared goals of elevating artists and engaging music lovers,” says Amanda Dorenberg, CEO of Billboard Canada and AMG. “Together, we’ll amplify the festival’s impact, providing artists with a broader platform to reach audiences and creating new ways for fans to discover fresh talent.”

Michael Hollett will continue as NXNE’s president and CEO, while Barbara Hefler serves as managing director.

NXNE launched in 1995 and quickly established itself as the heart of Toronto’s live music scene. Originally formed in partnership with Austin’s SXSW, it evolved its own identity for recognizing and showcasing emerging talent in the early stages of international success. Artists from Lizzo to Daniel Caesar, Feist, Grimes, The Beaches, Mac DeMarco, Haviah Mighty, Sam Roberts and Billy Talent have played critical NXNE showcases at breaking points in their careers.

The festival has also been responsible for some legendary headlining shows from acts including Iggy Pop & The Stooges (one of the biggest free shows ever in downtown Toronto at Yonge-Dundas Square), Vince Staples, the Flaming Lips, The National, Post Malone, Tyler, The Creator and many more.

The collaboration with AMG and Billboard Canada will grow the festival’s reach in its landmark 30th anniversary edition with new co-produced programming and activations to be announced soon.

Artist applications are open now at nxne.com. 2025 venues will include The Garrison, Drake Underground, Collective Arts brewery and more, plus a new official festival headquarters at The Theatre Centre on Queen West.

The 30th anniversary edition will celebrate the festival’s rich history and the big acts who have played over the decades, while staying committed to its “Listen to the Future” tagline and its commitment to always looking for the next big thing in music.

“We want to meet and exceed NXNE’s ‘glory days’ as a citywide, community-engaging discovery festival,” says Hollett.

Kylie Minogue Lands Her 10th No. 1 on the U.K. Albums Chart

Kylie Minogue has scored her 10th No. 1 album on the U.K. Official Albums Chart.

The Aussie singer’s Tension II, a sequel to her September 2023 album of the same name, is her 17th studio album and features contributions from Diplo, Bebe Rexha and The Blessed Madonna.

Tension II is a continuation of the dancefloor-focused electronic sound that she’s found success with in recent years. Her 2023 single “Padam Padam” from Tension reached the top 10 on the U.K. Official Singles Chart.

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With her 10th No. 1 album in the U.K., Kylie joins only a handful of acts to reach double figures, drawing level with Coldplay, Queen, Michael Jackson and ABBA.

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Kylie now trails only The Beatles, The Rolling Stones, Robbie Williams, Elvis, Madonna, Bruce Springsteen, Taylor Swift, David Bowie, Rod Stewart, Eminem and U2 for No. 1s on the Albums Chart.

The pop icon has previously topped the chart with Kylie (1988), Enjoy Yourself (1989), Greatest Hits (1992), Fever (2001), Aphrodite (2010), Golden (2018), Step Back In Time: The Definitive Collection (2019), DISCO (2020) and Tension (2023).

Rag’n’Bone Man re-enters with his third consecutive top 3 album with What Do You Believe In? The British solo artist topped the Albums Chart on his previous two outings, 2017’s Human and 2021’s Life By Misadventure.

Australian-born, London-based dance group Confidence Man land their first top 10 album with 3AM (LA LA LA), their first after signing to Polydor. Their third album comes in at No. 9 in this week’s edition.

All five of One Direction’s albums have returned to the charts following the death of member Liam Payne, who died earlier this month at age 31. Up All Night (2011), Take Me Home (2012), Midnight Memories (2013), Made In The A.M. (2015) and Four (2015) all chart in the top 40.

Fans worldwide have been holding vigils for the late singer, who died following a fall from a hotel balcony. Zayn Malik recently postponed his first ever solo tour following the news, while his 1D bandmates have paid tribute to their late friend.

See the full list at the Official Albums Chart website.

Analyzing GloRilla’s ‘Glorious’ & Rod Wave’s ‘Last Lap’ Success | Billboard Unfiltered

In this episode of Billboard Unfiltered, Billboard staffers Carl Lamarre, Trevor Anderson, Damien Scott and Kyle Denis break down GloRilla’s No. 5 debut with Glorious and Rod Wave’s No. 2 debut Last Lap on the Billboard 200, discussing why they are so successful. They dive into whether hip-hop journalism is dead, if the BET Hip-Hop Awards should continue and more!

Trevor Anderson:
Glo had that one year, she had “F.N.F.” she had “Tomorrow 2” and that’s the end of GloRilla. So for her to come back, not only with these songs.

Damien Scott:
Which is insane, it was such an insane narrative. 

Carl Lamarre:
Is it time to put a bow on the BET Hip Hop Awards, which started in 2006, and call it a day? Or what changes would y’all make?

Damien Scott:
They want participation, but they don’t, themselves, want to participate. 

Carl Lamarre:
Hip-hop is back clearly on the Billboard 200 in terms of we got Mr. Rod Wave debuting at No. 2 this week with Last Lap with 127,000 while Ms. Glo, big Glo.

Kyle Denis:
Big Glo!

Carl Lamarre:
No. 5 this week with 69,000 her debut album, Glorious, doubling her mixtape which came out earlier this year, Ehhthang Ehhthang, so shout out to those two for making their splashes this week. We’ll start with this: What are you guys more surprised about I guess — is it Rod not going No. 1? Is it Glo getting a top five entry? Thoughts.

Damien Scott:
It’s got to be Glo because this is just what Rod does, Rod is just nothing if not consistent, and you know I think the idea of him going up against a Jelly … I thought he was going to take it, but you know, especially because I like Jelly Roll, I do. I actually like Jelly Roll. I don’t think this was the album that I would see he would, if I had to play an album for people, this is not the album I would give people to listen to of his.

Keep watching for more! 

ROSÉ Becomes Highest-Charting Female Solo K-Pop Act on U.K. Singles Charts

BLACKPINK’s ROSÉ has become the highest-charting female solo K-pop act ever on the U.K. Singles Charts.

The singer lands at No. 4 with “APT.”, her collaborative single with Bruno Mars, and marks only her third solo single release. She previously peaked at No. 43 in 2021 with single “On the Ground.” Her BLACKPINK bandmates JISOO and JENNIE have also previously had top 40 solo hits; the former with “Flower” in 2023, and the latter with “Mantra” earlier this month.

At the top of the chart, there’s no change as Sabrina Carpenter’s “Taste” rules for a ninth week at No. 1. It marks her 21st week of the year at the summit of the Singles Charts following success for “Espresso” and “Please Please Please.”

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She’ll face competition over the next week from Gigi Perez, whose “Sailor Song” reaches a new peak at No. 2, while Lady Gaga and Bruno Mars’ collaborative single “Die With a Smile” lands at No. 3. Perhaps Gaga’s “Disease,” her first taste of her upcoming seventh studio album, could be the track to dethrone Sabrina.

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Elsewhere, there were returns for One Direction material in the top 10 following the death of Liam Payne at the age of 31. “Night Changes,” first released in 2013, reaches a new high at No. 6, while “Story of My Life” comes in at No. 9. 

There’s appearances for “What Makes You Beautiful” at No. 23, and three of Payne’s solo tracks also hit the wider charts: “Strip That Down” (No. 41), “For You” (No. 43) and his final solo release, “Teardrops,” which makes its chart debut at No. 85.

See the full list at the Official Singles Charts website.

‘She’s Somebody’s Daughter’ Hitmaker Drew Baldridge Partners With BBR Music Group/BMG Nashville

Drew Baldridge, who earned a top 5 hit on Billboard’s Country Airplay chart with his independently-released song “She’s Somebody’s Daughter,” has partnered with BBR Music Group/BMG Nashville in releasing his new song, “Tough People,” which goes for radio adds Nov. 4 via Stoney Creek Records.

Baldridge has also signed with Left | Right Management for representation. He will be repped by Left | Right Management president John Meneilly, Jay King, and day-to-day managers Alex Goodman and Hannah McElroy. Left | Right Management also manages artists including Jelly Roll and Alison Krauss.

“From the moment I met Drew, I knew I wanted to be an advocate for everything he stood for,” Meneilly said in a statement. “Then he played ‘Tough People’ for me and Jay King, and we wouldn’t stop calling him until he agreed to let us represent him!”

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With “She’s Somebody’s Daughter,” Baldridge became the highest-charting independent artist ever on the Billboard Country Airplay chart, a record previously held by Aaron Watson since 2017.

Baldridge wrote his new single, “Tough People,” with Adam Sanders, Jordan Walker and Luke Combs.

“This song means so much to me,” Baldridge said in a statement. “Our world is full of tough people fighting to stay ahead every day. But for me, it’s my story about not giving up on my dreams. I had to risk everything to make ‘She’s Somebody’s Daughter’ a hit. It was definitely a tough time for me, but our team kept our heads down, worked hard, and pulled out a win—hard work pays off, good beats evil, and tough times make tough people.”

Baldridge is currently performing shows as part of his Drew Baldridge Live tour throughout the end of the year, and will join Cody Johnson’s Leather Deluxe Tour in 2025.

Luther Vandross Covers Beatles Classic ‘Michelle’ in Newly Discovered Recording: Listen

The velvet vocals of Luther Vandross take center stage again with the Friday (Oct. 25) release of the late singer-songwriter’s cover of the Beatles’ classic “Michelle.” The never-heard-before rendition is among the 21 tracks featured on the upcoming Never Too Much: Greatest Hits. The Dec. 13 compilation and previously unreleased single are part of the celebration underscoring the Nov. 1 theatrical premiere of the documentary Luther: Never Too Much.

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“Michelle” not only showcases Vandross’s distinctive, soulful tenor and signature vocal riffs. It also spotlights the eight-time Grammy winner’s innate talent for adding rhythmic nuances and other colorful arrangements to songs he covered during the course of his career. Those include Stevie Wonder’s “Creepin’”; “A House Is Not a Home,” originally covered by Dionne Warwick; and the Roberta Flack and Donny Hathaway duet “The Closer I Get to You” with Vandross and Beyoncé. The latter two songs are featured on the forthcoming compilation, as is another previously unreleased track: “Speak Your Love,” written and produced by Vandross and his longtime friend and background vocalist Fonzi Thornton.

In announcing the release of “Michelle” and Never Too Much: Greatest Hits, Epic Records and Sony Music’s catalog division Legacy Recordings note that additional details about the recording “remain a mystery.” What is known is that Thornton discovered a cassette labeled “Luther Vandross Michelle 6/1/89.” However, no further information about the recording such as  location or session players has yet come to light.

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Borrowing its title from Vandross’ 1981 debut solo album Never Too Much, the documentary Luther: Never Too Much chronicles the ups and downs of his career and personal life. Among Vandross’ close friends and musical collaborators sharing their perspectives are Warwick, Mariah Carey, Valerie Simpson and Roberta Flack. Directed and executive produced by Dawn Porter, the documentary will open theatrically in select cities on Nov. 1 with preview screenings on Oct. 30. Then the film will premiere on CNN, OWN: Oprah Winfrey Network and Max in 2025. 

The album’s track list is as follows:

  1. “Never Too Much”

  2. “Power of Love / Love Power”

  3. “Give Me the Reason”

  4. “Stop to Love”

  5. “Take You Out”   

  6. Any Love     

  7. “Michelle”*     

  8. “Here and Now”

  9. “I’d Rather”

10. “So Amazing”

11. “Heaven Knows (Classic Radio Mix)”

12. “Dance With My Father”

13. “Speak Your Love”*

14. “The Closer I Get to You”

15. “Endless Love”

16. “Always and Forever”

17. “A House Is Not a Home”  

18. “Superstar / Until You Come Back to Me (That’s What I’m Gonna Do)” 

19. “Never Too Much (Lost Frequencies Edit)”*

20. “Get Myself Together (Louie Vega Radio Remix)”*     

21. “Michelle (Radio Edit)”*     

*previously unreleased

How Jelly Roll Crafted the First No. 1 Album of His Career With ‘Beautifully Broken’

Following his 2023’s breakthrough album, Whitsitt Chapel, Jelly Roll has become a country superstar widely embraced for the former rapper’s confessional, salvation-seeking songs and his larger-than-life personality, as well as his redemption arc as a former convict.  

As he began promoting and releasing songs from his follow up release, Oct. 11’s Beautifully Broken, Jelly Roll also made it very clear on social media that debuting at No. 1 on the Billboard 200 would be the realization of a dream. That dream came true this week, when the set entered atop the chart with 161,000 equivalent album units earned in the U.S. for the week ending Oct. 17, according to Luminate — the artist’s best week ever by units and the third-largest week, by units, for any country album in 2024.  

The work began more than a year ago, as Jelly Roll began writing and recording songs for the new album. He worked closely with Katie Kerkhover, vp of A&R for Nashville-based BMG/BBR Music Group (which released the album in conjunction with Republic), whose own background as a musician helped inform her work with Jelly Roll. And her contributions to Beautifully Broken help earn Kerkhover the title of Billboard’s Executive of the Week.   

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Here, Kerkhover discusses the making of the album from the “vision” Jelly Roll took into its creation, his sense of purpose in recording every song and the intention behind picking his duet partners from several different genres, as well as the non-stop promotion efforts that brought it over the line.  

Beautifully Broken debuted at No. 1, something that Jelly Roll made clear was his goal. What decisions did you make in the making of the album that you felt would increase its chances for a No. 1 debut?  

Jelly has a very strong vision for the impact he wants to make with his music. It has a purpose. Every song he writes has a purpose. Making sure his heart and the gravity of his messages was the constant that was guiding everyone was critical in making the album. Encouraging those involved, who have their fingerprints on it with him, to bring that emotion out of their own contributions was vital. Making sure the production and mixes were mirroring Jelly’s emotions. He was creating until the absolute last moments, so having trust in each other when we were counting the hours on the final touches was also extremely important. Don’t forget, he was finishing this album while he was in the middle of tour. 

This album was a joint project with Republic. What was the division of duties in terms of the A&R?  

Jelly started working on this album in 2023. He had already defined a solid foundation and clear direction, so when Republic joined the team, we all knew what we were aiming at. There wasn’t so much a division of duties as more of how we work together to add the most value to Jelly. What strengths do we have separately and together to elevate his vision and hit his goals. 

Was there a mission statement from the moment you started recording tracks for what Jelly Roll wanted the album to be?  

There wasn’t any more of a mission statement than what you hear him continuously say, “I make real music, for real people, with real problems.” When we started to go through songs in 2023, we listened to every song he had written and focused on the ones with the strongest impact. Did we feel something? One of the things I admire most about Jelly is he always comes back to the purpose and to the why. “Why am I cutting this song? What purpose is it filling on the album and in the lives of others?”  

Jelly Roll duets with a number of artists, country and otherwise, on Beautifully Broken, including Halsey, Keith Urban and Wiz Khalifa. How were his duet partners chosen and how does the diversity of the artists broaden the album’s appeal?  

The collaborators were chosen by who Jelly felt the song would resonate with. Who would be the best person to add their talent and continue to elevate the song? As far as the broader appeal, Jelly is a huge music lover and that’s why you see so much diversity in his collaborators on this album. I think it’s only natural that the appeal is broadened because he creates without boundaries and, ultimately, the human factor is what connects all of us. Fun fact: he also knows more about the history of songs, artists and genres than anyone I’ve met, so his well of potential collaborators runs deep.  

“I’m Not Okay” tackles mental health and is a Hot 100 hit for Jelly Roll. How has that song brought him a new audience?  

We all have times we struggle and are not okay. The message of this song transcends genres and resonates deeply with listeners. Jelly has the courage to share his personal struggles through candid lyrics, revealing a vulnerability that really enables him to connect with a broader audience, including those who may not have been familiar with his earlier work. 

There are several different configurations of Beautifully Broken, ranging from 14 to 28 tracks. How was the sequencing for each project decided to convey a cohesive work no matter what variation fans were buying?   

We selected the initial 14 as the first collection for vinyl because he was still writing. The sequencing is tied together by the overarching message that Beautifully Broken is a reflection on his experiences with mental health and addiction, and the idea that winning comes from losing. The road to atonement has no shortcuts and there will be highs and lows along the way. It all began once he selected “Winning Streak” to be the opening track of the album.  

Beautifully Broken achieves the third largest week for a country album in 2024, behind Beyoncé and Post Malone. What does that mean to Stoney Creek/BBR?  

Jelly’s success speaks volumes about the incredible connection he shares with his audience. His fan base is broad and deeply passionate, showing up in full force for every project. This relationship helps fuel our growth as a team, pushing us to innovate and strategically add resources that make sense. Our collaboration with Republic on this project is one example. 

But the real driving force behind this achievement is Jelly himself. The sheer amount of work he poured into creating and promoting this album is nothing short of mind blowing. For two months leading up to its release, Jelly didn’t have a single free minute. Every ounce of his energy was devoted to making this album the best it could be, and the results speak for themselves. His work ethic, paired with the passion of his fans, made this project a true success. 

You come from a publishing background. How did that help you approach picking songs for this album? 

I’ve had a long and extensive career as a touring musician, having played violin since the age of four. Before I turned 20, I was performing hundreds of shows a year with Nashville artists like Sara Evans and Billy Currington, playing at the biggest country festivals and stadiums. 

What I set out to do was take my real-life musical experience and transform it into a tool to help songwriters and artists master their craft. A great example of that is from late 2020 when I joined BMG as a publishing A&R. One of the first things I did was bring in the incredibly talented songwriter/producer Austin Niveral, just as the label was signing Jelly Roll. I immediately saw the potential for the two to collaborate, [then-BMG Nashville president] Jon Loba recognized my strengths and ultimately appointed me to lead A&R for the label side. As we know, Jelly and Austin would go on to write the massive hit “Need A Favor” from Whitsitt Chapel, and they continued their partnership with Beautifully Broken, setting the tone for the album with “Winning Streak.”