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This week, it was especially fitting that American Idol airs on Sundays. On the March 30 episode of the show, teenage contestant — and aspiring preacher — Canaan James Hill took the judges to church with his audition for the show, leaving Lionel Richie in particular stunned. Before diving into a soulful rendition of Earnest […]
This week, hitmakers Cody Johnson and Carín León pair up for a stone-cold, country-meets-Latin intertwining. Meanwhile, Tanner Adell releases one of the most powerful songs of her career with “Going Blonde.” Elsewhere, Cole Swindell brings a summer-ready new offering, while Laci Kaye Booth offers up a haunting new track. Steve Martin, Alison Brown and Tim O’Brien team up a new bluegrass outing, while duo Something Out West brings their latest rock-fueled offering.
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Check out all of these and more in Billboard‘s roundup of the best country, Americana and bluegrass songs of the week below.
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Cody Johnson and Carín León, “She Hurts Like Tequila”
Cody Johnson and Carín León blend their signature sounds to put forth this slice of classic country punctuated with steel guitar and accordion, and English-meets-Spanish lyrics that accentuate the agility and passion in each artist’s voice. The two entertainers co-wrote the song with Johan Sotelo, Trent Willmon and Orlando Aispuro Meneses. Together, Johnson and León offer an intense rendering of this song praising a passionate lover whose affections are worth the heartbreaking pain that ultimately follows.
Tanner Adell, “Going Blonde”
With songs like “Buckle Bunny” and “FU-150,” Tanner Adell has become known for crafting and singing dance-worthy country-pop grooves that will anyone on the dancefloor. Her ethereal voice also appears on Beyonce’s Cowboy Carter project. But with her latest, Adell shows another side to her story and artistry. She’s been open about being adopted, but here, Adell offers up a devastatingly honest song about the biological mother she never got to meet. “Going Blonde” chronicles her journey of longing for that maternal connection — even dyeing her hair blonde in a nod to her mother–while building up her own perceptions of her mother’s characteristics and persona in her mother’s absence. Written solely by Adell, “Going Blonde” showcases one of her most stunning, vulnerable vocals to date.
Laci Kaye Booth, “Daddy’s Mugshot”
Singer-songwriter Booth, who made her Grand Ole Opry debut on March 29, blends her gritty, bluesy vocal with a story arc of a defiant impulse that’s embedded deep in her bloodline. Over robust, glossy pop chords that balance her dusky vocals, she traces early-career music industry experiences, singing, “I made a record that didn’t break no records/ Only my soul,” then compares the resistance apparent in her father’s mugshot to her own rebellious streak in taking a chance on rebuilding her career on her own terms. This new track brims with confidence and steely determination.
Cole Swindell, “Spanish Moss”
Swindell’s latest is infused with sensual guitars to create this summery, carefree ballad that wraps in vivid imagery of breezy Southern coastlines and nights spent soaking in the summer heat. All in all, it makes for an easygoing track that pushes Swindell’s lilting twang into slightly sultrier territory than usual. He wrote the song with Devin Dawson, Jordan Minton and Jordan Reynolds, with production from Reynolds, Dawson and Jacob Durrett. “Spanish Moss” marks the title track to Swindell’s upcoming fifth studio album, out June 27 on Warner Music Nashville.
Steve Martin and Alison Brown (feat. Tim O’Brien), “5 Days Out, 2 Days Back”
Having previously collaborated on several songs including “Foggy Morning Breaking” and “Wall Guitar,” banjoists Alison Brown and Steve Martin reunite on their latest collaboration, teaming with vocalist and mandolinist Tim O’Brien for this heartfelt song about chasing musical dreams on a “5 days out, 2 days back” schedule while trying to stay connected with family back home. The song also features Bryan Sutton, Stuart Duncan, Todd Phillips and Vickie Vaughn. With superb harmonies and musicianship caressing the song and melding with O’Brien’s unmistakable leading voice, it infuses this song with a timeless resonance. “5 Days Out, 2 Days Back” is part of a new collection of music from Brown and Martin, which will be released on Compass Records.
Something Out West, “You Better Run”
Chet Hanks and Drew Arthur’s musical duo, Something Out West, has issued the latest preview of their upcoming EP, Leaving Hollywood, which releases June 20. “You Better Run” leans more heavily into the rock arena, with a mashup of bristling, pounding rock guitars and Hanks’s urgent, grainy vocal interlaced with lyrics such as “You’re running out of time/ On a ticking clock, she’ll be comin’ for you/ There’s no time to walk” Meanwhile, the music video builds on that lyrical theme by featuring Chet Hanks recreating scenes from his father Tom Hanks’ famous role in the 1994 Oscar-winning film Forrest Gump (Tom Hanks also makes a lengthy cameo in the clip).
Miley Cyrus has released the first song and visual from her upcoming album Something Beautiful, unleashing the cinematic “Prelude” on Monday morning (March 31). As indicated by its title, “Prelude” finds the pop star setting up the themes of her May 30-slated LP. As bright shots of shadows dancing over flowers flash in and out […]
Julia Michaels hits the studio and chats with Muni Long ahead of Billboard Women in Music 2025 and introducing her as the recipient of the Rising Star Award presented by Honda Stage. Julia Michaels: I first discovered my love for music when I was a teenager, and then my mom got me a piano, then […]
Pophouse Entertainment, the Swedish catalog company behind the virtual live show ABBA Voyage, said on Monday it raised a total of 1.2 billion euros ($1.3 billion) to invest in acquiring catalogs and entertainment experiences around those music rights.
The fundraise consists of 1 billion euros raised through a private equity fund, and 200 million euros ($216 million) raised through dedicated co-investment vehicles, where outside investors put money to work alongside the Fund in certain transactions. Roughly 30% of the fund has already been deployed into partnerships related to the acquisition of rights to songs by KISS, Cyndi Lauper, Avicii and Swedish House Mafia.
Founded by by ABBA member Björn Ulvaeus and Conni Jonsson, of the Swedish global investment firm EQT AB, Pophouse has been acquiring the publishing, recording and name, image and likeness rights to iconic pop catalogs and then building entertainment experiences around them, through theatrical and virtual shows, museums and movies.
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Pophouse’s playbook has been at work through productions like The Avicii Experience, a tribute museum to the late dance music producer that opened in his hometown of Stockholm, Sweden, in 2021; Mamma Mia! The Party, an interactive dinner party set in London theater modeled after a taverna from the Greek island of Skopelos; ABBA Voyage, the band’s wildly successful virtual show that uses ABBA-tars to digitally depict the foursome as they looked in 1979, and ABBA The Museum, which opened in 2013.
KISS, which sold its name and likeness rights to Pophouse, has hinted that a virtual performance of its songs could launch in Las Vegas in 2027.
“By investing across publishing, recording, and brand rights, Pophouse has created a uniquely attractive prospect not only for investors but also for artists, empowering them to explore and amplify their legacy to new generations of fans,” Pophouse managing partner Johan Lagerlöf, said in a statement.
Pophouse’s CEO is Per Sundin, the first music industry label executive to partner with Spotify when he at Universal Music Sweden and president of the labe’s Nordic region business. Jonsson recruiting Sundin to helm Pophouse with the intention of taking advantage of the external business opportunities music rights present in the streaming era.
“Facing unprecedented disruption caused by streaming and technology, music intellectual property presents a differentiated, lifetime opportunity for investors,” Jonsson said in a statement. “We are reshaping the entertainment industry by applying an active, value-add approach that unlocks future generations for fandom.”
03/31/2025
For International Transgender Day of Visibility, Billboard asked trans and nonbinary stars about how they’re moving two steps forward while political progress takes one step back.
03/31/2025
This is partner content. Muni Long talks her process, her “bootcamp” come-up and the importance of “me” time. Learn more about her journey with Billboard andHonda. Watch Muni Long talk about how she first discovered her love for music, going viral during her early career and staying true to her instincts in a conversation with […]
Berlin-based music company BMG reported on Monday (March 31) that it generated 963 million euros ($1 billion USD) in revenue over the course of 2024, marking a 6.4% increase from the year-ago period, thanks to a double-digit jump in digital income streams a strong slate of major releases. The performance amounted to 8.1% in organic growth, the company said.
Digital revenue, which now accounts for 68% of BMG’s overall revenue, rose 16% in 2024, as BMG continues to see the fruits of moving oversight of its digital distribution business from WMG’s ADA to in-house in late 2023.
Operating earnings before interest, taxes, depreciation, and amortization (EBITDA) adjusted — BMG’s preferred metric for profit — rose 37% to 264 million euros ($274.2 million, based on the foreign exchange rate as of Dec. 31, 2024) compared to last year’s 194 million euros ($214 million, based on 2023’s year-end exchange rate).
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BMG CEO Thomas Coesfeld credited the “BMG Next” strategy — a localized yet globally scalable approach — for being pivotal in the company’s success in 2024, highlighting improvements in go-to-market strategies, digital distribution catalog acquisitions and technology. The company made significant changes to its global distribution strategy, including direct licensing agreements with Spotify and Apple Music and transitioning physical distribution management to Universal Music Group. BMG also invested around half a billion euros in catalog acquisitions — it counts 24 for the year — and signings, strengthening its rights portfolio through investment initiatives.
“Our BMG Next strategy has been instrumental in driving a successful 2024 with a step-change performance in a fast-evolving music market,” he said. “Building on the strong performance of our artists and songwriters, ongoing go-to-market improvements, such as insourcing digital distribution, and continued high investment into our people, catalog acquisitions and technology development, we achieved an incredible 2024.”
Notable successes in the recorded music sector included releases from George Harrison, Kylie Minogue, Bryan Ferry, Lainey Wilson, Sum 41, Travis, Crowded House, Rita Ora and others. The company signed new label deals with Blake Shelton, Mustard, YG, New Kids on the Block and K. Michelle, among others.
In music publishing, BMG songwriters such as Bruno Mars, D’Mile, Steve Miller, Trevor Horn, The-Dream, Roselilah and others achieved chart success, with contributions to major hits like Eminem’s “Houdini,” Beyoncé’s Cowboy Carter album, Kendrick Lamar and SZA’s “Luther” and Mars and Lady Gaga’s Hot 100 chart-topper “Die With a Smile.” BMG also signed or extended publishing agreements with artists, including Carly Pearce, KT Tunstall and Tyron Hapi, among others, and secured publishing agreements with Tomorrowland Music and Cirque du Soleil.
The company’s catalog division saw continued growth, with Mötley Crüe’s remastered ripper from 1989, Dr. Feelgood, driving a 10% increase in global streams and Australian garage rockers Jet (“Are You Gonna Be My Girl”) achieving milestones on streaming while selling out anniversary shows. Sync licensing also played a crucial role, securing placements in advertisements, trailers and TV series for artists like Lenny Kravitz, Jennifer Lopez, George Harrison, Pitbull and Rita Ora.
Here are some of BMG’s 2024 highlights:
Operating EBITDA adjusted jumped 37% to 264 million euros ($274 million) from the previous year of 194 million euros ($214 million).
EBITDA margin was 28% compared to the previous year of 21.4%.
BMG said it made 24 catalog acquisitions in 2024, compared to 30 the year before.
One of Kurt Cobain‘s most iconic instruments is about to go on display for the first time in Europe. The Royal College of Music London announced that its “Kurt Cobain Unplugged” exhibit — which opens on June 3 and runs through Nov. 18 — will feature the late Nirvana singer’s rare Martin D-18E guitar, which […]
Five-time Billboard Country Airplay chart-topper Jordan Davis will hit the road again this year, when his 18-city, headlining 2025 Ain’t Enough Road Tour, produced by Live Nation, launches Sept. 11 at Acrisure Arena in Greater Palm Springs, Calif. As the “I Ain’t Sayin’” hitmaker prepares for the tour later this year, he says he’s feeling the pressure — in the best way.
“The most pressure I feel as a touring artist is when you announce that new tour and now it’s a blank slate,” Davis tells Billboard, noting his focus is on giving his best to find new ways of bringing his music and live shows to fans who have supported him since the beginning, from his 2018 debut album, Home State.
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“We’re so blessed with an amazing fanbase, truly, the people that have been to 30+ shows and who continue to come and see us and support us,” Davis says. “When I think of a new tour, that’s who I immediately go to, the day one fans. It’s like, ‘How do I do something that they haven’t seen?’ If I can do something that feels new and feels cool to a fan that’s been there from day one, I think I’m going to cover the wide range of fans we’ve picked up along the way.”
The Ain’t Enough Road Tour will make stops in Los Angeles, Phoenix, New York, St. Louis and more, before concluding Oct. 25 in Estero, Florida’s Hertz Arena. Davis will welcome “Hell Is a Dance Floor” hitmaker Vincent Mason as an opener. Also joining him is “Truth About You” hitmaker Mitchell Tenpenny, who previously opened for Davis on his 2024 Damn Good Time World Tour and joined Davis on Luke Combs’ recent stadium shows in Australia.
“Mitchell is a superstar,” Davis says, adding, “Vincent had ‘Hell is a Dance Floor,’ and I could not stop listening to that song. I saw he signed with Universal, where I’m signed and the second I saw that, I was like, ‘I’ve got to get this kid on tour.’ Mitchell and me have a good time and Vincent looks like he’s down to have a good time, too. It’s going to be some great music.”
It was one of those recent Australia shows with Combs and Tenpenny in Brisbane, Australia, that presented Davis with one of his most memorable onstage moments to date.
“There were storms coming in,” Davis recalls. “We were about three-quarters of the way through our show and I kept seeing the lightning getting closer. I thought, ‘I don’t know if we will be able to finish this [set] or not,’ and just then my drummer came through in our in-ears and was like, ‘We have to cut two songs.’ I always end ‘Buy Dirt’ with an a cappella piece. I finished ‘Buy Dirt’ and I’m standing out there like, ‘Ah, I can’t not do this.’ So, I just started singing it a cappella and about that time, it starts pouring rain. I’ve never heard a crowd get that loud in my life, singing every word. It was truly one of the most special moments I’ve had onstage.”
Starting with his 2018 Country Airplay chart-topper “Singles You Up,” Davis has become a radio chart mainstay thanks to songs including “What My World Spins Around” and “Tucson Too Late.” Two of his hit singles have earned song of the year accolades: ACM song of the year winner “Next Thing You Know” and CMA/NSAI song of the year winner “Buy Dirt.” Those songs helped spur his 2023 album Bluebird Days to platinum-selling status, and earlier this year, he notched the No. 2 Country Airplay hit “I Ain’t Sayin’.”
With his new song “Bar None,” he could potentially extend his chart-topping tally. Though Davis is often a co-writer on many of his hits, such as “Tucson Too Late” and “Buy Dirt,” his new song “Bar None” is an outside cut, written by Hunter Phelps, Lydia Vaughn and Ben Johns, with production by Paul DiGiovanni.
“I fell in love with it from the first time I listened to it,” Davis says. “The second you hear the hook, you want to be like, all right, I bet you they’re going to do this. This one surprised me. I didn’t really see it going here. I think about the line, ‘If moving on had a scoreboard it’d say, ‘You and your memory one/ Me and this bar none.’ It gave me a smile, like ‘Well done.’”
He adds, “I’ve always loved being able to kind of twist a hook. That’s one of my favorite things about songwriting, to take an idea and go somewhere completely different with it. It’s something that feels like a song I haven’t done from a production standpoint, even instrumentation-wise, with the banjo part [at the beginning].”
While his new single centers on a vain attempt at drowning heartbreak in a barroom, Davis’ time is devoted to his career and his family — both of which continue expanding as he keeps piling up hit songs, while he and his wife Kristen are expecting their fourth child. Davis says his growing family is looking at moving into a larger home.
Jordan Davis
Courtesy Photo
“That was actually the first thing, when my wife told me she was expecting, I was like, ‘Well, where are we going to put the nursery?’ So, we’ve started the search for a place with another bedroom.” Davis says they don’t know if the baby is a boy or girl yet, and notes, “We’re just going to wait and find out. We’ve got a girl [daughter Eloise, born in 2019] and two boys [Locklan, born in 2021, and Elijah, born in 2023], which means it’ll probably be another boy, which will increase the gray hairs on my head,” he says with a chuckle. “My boys want another brother, and my daughter really wants a sister.”
Even as he focuses on family and work, that doesn’t mean Davis doesn’t have a favorite Nashville bar he’ll visit on occasion.
“I think my buddy Luke [Bryan]’s got a good [bar] downtown with Luke’s 32 Bridge. My dad loves to come in town and go honky tonk. If he’s in town, we’ll go. That’s one of the few times I’ll hit up Broadway, and we usually always find ourselves at Luke’s.”
See the tour announcement video for the Jordan Davis Ain’t Enough Road Tour, featuring Peyton Manning and Jim Nantz, below:
Pre-sale tickets for the Ain’t Enough Road Tour will be available beginning Wednesday at 10 a.m. through Davis’s fanclub The Parish, while tickets for the tour go on sale Friday at 10 a.m. See the list of tour dates for the Jordan Davis: Ain’t Enough Road Tour below:
Sept. 11 – Greater Palm Springs, CA @ Acrisure ArenaSept. 12 – Concord, CA @ Toyota Pavilion at ConcordSept.18 – Los Angeles, CA @ Greek TheatreSept. 19 – Phoenix, AZ @ Arizona Financial TheatreSept. 20 – Albuquerque, NM @ Isleta AmphitheaterSept. 26 – Independence, MO @ Cable Dahmer ArenaSept. 27 – St. Louis, MO @ Chaifetz ArenaOct. 2 – New York, NY @ Radio City Music HallOct. 3 – Boston, MA @ MGM Music Hall at FenwayOct. 9 – Lincoln, NE @ Pinnacle Bank ArenaOct. 10 – Rosemont, IL @ Allstate ArenaOct. 11 – Milwaukee, WI @ BMO PavilionOct. 16 – Dayton, OH @ Wright State University Nutter CenterOct. 17 – Hershey, PA @ Giant CenterOct. 23 – Duluth, GA @ Gas South ArenaOct. 24 – Savannah, GA @ Enmarket ArenaOct. 25 – Estero, FL @ Hertz Arena