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06/15/2023
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06/15/2023
Thursday’s (June 15) “Can’t Cancel Pride 2023 — The Future Starts Now” concert will feature Brandi Carlile, Adam Lambert, Ciara, Big Freedia, Kesha and more. The fourth annual concert, hosted by JoJo Siwa “will focus on the LGBTQ+ community’s past achievements, the urgency of the present moment and hope for our future,” according to a statement on the event’s site.
Other acts slated to perform or appear at the show that will take place at 8 p.m. ET include: Billy Porter, Kayley Kioko, Fletcher and Kelsea Ballerini. In addition, Carlile will be presented with the 2023 Elton John Impact Award for her humanitarian work with the Looking Out Foundation, which amplifies the impact of music by funding and empowering frequently overlooked organizations.
The one-hour concert, which will stream on iHeartRadio’s YouTube and Facebook pages, will also be available on demand through June 30 on iHeartRadio’s Facebook and YouTube pages, Revry, the Roku Channel and the Advocate Channel.
“This year we shine a spotlight on how far we’ve come and how much more there is to do to fuel equality and inclusion in support of these important organizations making the world better for the LGBTQ+ community everyday around the nation,” said Gayle Troberman, chief marketing officer for iHeartMedia, according to The Hollywood Reporter.
The event began during the COVID-19 pandemic and has raised more than $11 million to date for the six participating charitable organizations: GLAAD, The Trevor Project, National Black Justice Coalition, SAGE, Centerlink and OtRight International.
“I’m proud that Can’t Cancel Pride has raised over $11 million dollars to help fund organizations that offer critical support, from youth services to elderly care, and to continue to partner with some of the world’s best and brightest LGBTQ+ and ally performers to support and celebrate the LGBTQ+ community,” said Brent Miller, Can’t Cancel Pride co-founder and P&G senior director, global LGBTQ equality & inclusion.
See the event poster below.
Tracy Chapman rises from No. 3 to No. 1 on Billboard’s Country Songwriters chart (dated June 17), leading for the first time, thanks to Luke Combs’ cover of her classic hit “Fast Car.”
Combs’ version of the song, on which Chapman is the sole credited writer, holds at its No. 2 high on the Hot Country Songs chart and jumps 8-4 on the Billboard Hot 100 – out-peaking Chapman’s original recording, which reached No. 6 on the Hot 100 in 1988.
Combs’ cover hits new heights with 34.2 million radio airplay audience impressions (up 30%), as it surges at country, pop and adult formats; 20.2 million U.S. streams (up 1%); and 9,000 downloads sold (up 4%) June 2-8, according to Luminate.
Chapman has tallied five entries on the Hot 100 as a billed recording artist: “Fast Car” (No. 6 peak in 1988), “Talkin’ Bout a Revolution” (No. 75, 1988), “Baby Can I Hold You” (No. 48, 1988), “Crossroads” (No. 90, 1989) and “Give Me One Reason” (No. 3, 1996).
Combs’ “Fast Car” is the third version of Chapman’s breakthrough song to chart on the Hot 100. It follows Chapman’s original and Jonas Blue’s dance cover, featuring Dakota (No. 98 peak, 2016).
Notably, as Chapman crowns Country Songwriters, she earns her first No. 1 placement on a Billboard chart since 2000, when her single “Telling Stories (There Is Fiction in the Space Between)” topped the Adult Alternative Airplay chart for eight weeks. Before that, she ruled the Billboard 200 with her debut self-titled album in August 1988, as well as Adult Pop Airplay for eight weeks in 1996 with “Give Me One Reason.”
Chapman’s eponymous debut album marked her first chart appearance when it entered the Billboard 200 chart dated April 30, 1988. “Fast Car” followed on Adult Contemporary and Mainstream Rock Airplay that May, and then the Hot 100 that June. She has won four Grammy Awards, including best female pop vocal performance for “Fast Car” and best rock song for “Give Me One Reason.”
Billboard launched the Hot 100 Songwriters and Hot 100 Producers charts, as well as genre-specific rankings for country, rock & alternative, R&B/hip-hop, R&B, rap, Latin, Christian, gospel and dance/electronic, in June 2019, while alternative and hard rock joined in 2020, along with seasonal holiday rankings in 2022. The charts are based on total points accrued by a songwriter and producer, respectively, for each attributed song that appears on the Hot 100. The genre-based songwriter and producer charts follow the same methodology based on corresponding “Hot”-named genre charts. As with Billboard’s yearly recaps, multiple writers or producers split points for each song equally (and the dividing of points will lead to occasional ties on rankings).
The full Hot 100 Songwriters and Hot 100 Producers charts and genre-specific rankings can be found on Billboard.com.
Jelly Roll’s Whitsitt Chapel blasts onto Billboard’s Top Rock & Alternative Albums chart (dated June 17) at No. 1 and the Top Country Albums tally at No. 2. Released June 2, the set earned 90,000 equivalent album units in the United States, with 63,000 in album sales, in the week ending June 8, according to Luminate.
Whitsitt Chapel also arrives at No. 3 on the all-genre Billboard 200, giving the Nashville-born artist, named Jason Bradley DeFord, his first top 10 on the ranking.
Thanks to his first country album, Jelly Roll earns the largest week for an initial entry on Top Country Albums since the chart transitioned to a consumption-based methodology (from one based on pure sales) in February 2017. It surpasses The Highwomen, whose lone Top Country Albums entry (a self-titled set) started at No. 1 in September 2019 with 34,000 units. (The group comprises Brandi Carlile, Natalie Hemby, Maren Morris and Amanda Shires.) The previous best first week on the chart for a solo male belonged to Bailey Zimmerman’s Leave the Light On (32,000 units, October 2022).
Whitsitt Chapel becomes Jelly Roll’s first No. 1 on Top Rock & Alternative Albums in his second appearance on the tally. Previously, Ballads of the Broken peaked at No. 35 in September 2022.
Notably, the new set follows multiple albums in reaching the top two of both Top Rock & Alternative Albums and Top Country Albums. Those have included, this decade: HARDY’s The Mockingbird & the Crow (No. 1 on both charts, this February), Zach Bryan’s American Heartbreak (No. 1 on both, June 2022), and Jason Isbell and the 400 Unit’s Reunions (No. 1 on both, May 2020).
Whitsitt Chapel’s album sales were helped by three vinyl LPs (including a color-variant exclusive for Walmart), a standard CD, a signed CD sold through Jelly Roll’s webstore, a deeply discounted digital album (only $4.20 for a limited time during the tracking week in his webstore), nine deluxe CD boxed sets that included branded merch and a copy of the CD, and a “hymnal” zine/CD package.
The album sports 13 tracks, including collaborations with Brantley Gilbert, Struggle Jennings, Lainey Wilson and Yelawolf.
Meanwhile, the LP’s lead single, “Need a Favor,” holds at its No. 2 high on Hot Rock & Alternative Songs and pushes 7-4 on Hot Country Songs, with 20.2 million in airplay audience, 11.2 million official streams and 3,000 sold. The track keeps at its No. 3 high on Mainstream Rock Airplay and ascends 14-12 on Country Airplay. On the former, Jelly Roll reigned for a week in May 2022 with “Dead Man Walking.” On the latter list, he led for a week in January with “Son of a Sinner.”
It’s one thing if you and your wife get caught on a Kiss Cam at the stadium. But it’s a whole other thing if your video accidentally outs a not-yet-official fellow celebrity couple. That’s the situation Keith Urban apologized for after the singer’s May 15 TikTok video — in which he was dancing with wife […]
Last week, Garth Brooks took the stage at Billboard Country Live, where he had a wide-ranging discussion with Billboard’s executive editor, West Coast and Nashville, Melinda Newman.
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“I know this sounds corny,” the country superstar said of his upcoming Friends In Low Places Bar & Honky Tonk in Nashville. “I want it to be the Chick-fil-A of honky-tonks … I want it to be a place you feel safe in, I want it to be a place where you feel like there are manners and people like one another. And yes, we’re going to serve every brand of beer. We just are. It’s not our decision to make. Our thing is this, if you [are let] into this house, love one another. If you’re an a–hole, there are plenty of other places on lower Broadway.”
Brooks’ comments come following Kid Rock, Ted Nugent and Travis Tritt all calling for a boycott of Bud Light and Anheuser-Busch products following their partnership with transgender activist Dylan Mulvaney.
After Billboard Country Live, a number of public figures had thoughts on Brooks’ opinion, including Republican Congressman Matt Gaetz. “I’m sure glad we have Garth Brooks to tell us who is and isn’t an a–hole,” he tweeted on Saturday (June 10). “Question, tho: Does it make someone an asshole if they cheat on their spouse, write a song about it with their paramour, and then publish the duet with THAT VERY paramour? Or does that make for a good person, righteous in their moral preening?”
He posted an accompanying photo of Brooks’ wife Trisha Yearwood’s 1997 track, “In Another’s Eyes,” implying that the country star cheated on his ex-wife Sandy Mahl — whom he divorced from in 2001 — with Yearwood. Billboard has reached out to Brooks’ reps for more information.
I’m sure glad we have Garth Brooks to tell us who is and isn’t an asshole. Question, tho: Does it make someone an asshole if they cheat on their spouse, write a song about it with their paramour, and then publish the duet with THAT VERY paramour? Or does that make for a good… https://t.co/Qjs5JGS5Oa pic.twitter.com/ELMoUCBCiL— Matt Gaetz (@mattgaetz) June 10, 2023
While not as aggressive as Gaetz, country singer John Rich also weighed in about the topic to Fox News Digital. “Garth Brooks has always been the guy that that said, ‘everybody come to my show,’” he said. “It’s something that we love about Garth. You know, he makes his music for everybody. And that really is what music is about. You’re making your music for everybody. Beer’s for everybody, too.”
Rich continued, “If Garth is serving Bud Light in his bar, that’s fine. Garth can do that. Garth might find out not many people are going to order it and at the end of the day, you have to put things in your establishment that people are going to purchase if you’re going to run a successful business. So, he might find that out.”
He concluded that Brooks “probably sees the pain and division that’s going on in the country and wants to try to help that.”
Women lead the way on Billboard‘s roundup of the best new country music this week, including tracks from Carrie Underwood, Gabby Barrett, and a collab between Lainey Wilson and Lauren Alaina.
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Carrie Underwood, “Take Me Out”
“Sometimes love gets covered up in life,” Underwood sings on her latest track, carrying on with the ’80s-infused synth-pop jams that filled her 2022 album Denim & Rhinestones. On this swirling, atmospheric track, she yearns for a night focused on heart connections rather than daily routines. Underwood is known for her ceiling-scraping, dynamic vocals, but here, she again demonstrates her superb vocal dexterity, lending her voice more to sultry purrs than rafter-rocking belts.
“Take Me Out” is included on the upcoming deluxe version of Denim & Rhinestones, out Sept. 22.
Lainey Wilson with Lauren Alaina, “Thicc as Thieves”
Lauren Alaina welcomes recent ACM Awards victor Lainey Wilson to join her on this body-affirming, friendship-cementing track.
“We’re thicker than our accents, thicker than our hair/ Thicker than the Georgia and Louisiana air,” they sing on this certified banger of a track, while nodding to recent deluge of attention they have each received online recently for their backsides. Alaina and Wilson have fun with the whole situation, even throwing in a line from Luke Bryan’s 2011 hit “Country Girl (Shake It For Me),” but the ferocity in their intertwined voices reclaim the booty-shaking command as their own. Full-throttle, empowering and hilarious, this track feels like a summer smash.
Gabby Barrett, “Glory Days”
Dreamy, sleek and groove-soaked, Gabby Barrett’s new release looks to extend the country radio chart-topping success of her previous work, including “The Good Ones” and “I Hope.” Barrett wrote the track with Emily Weisband, Seth Mosley and James McNair. Here, she finds the sacred in the mundane, spilling with gratitude for simple, family-focused moments — watching children playing in the backyard and catching fireflies, or enjoying a quiet morning moment with a good cup of coffee. As usual, her supple voice sings the fire out of this.
Kaylin Roberson, “Fish to Fry”
“The only thing blue is the water,” Roberson sings on this breezy track, making it clear that a fizzled relationship equals more time to spend at the lake — rather than wallowing in heartbreak. Roberson wrote this laid-back, summer-ready gem with Clara Park and Chase McDaniel.
Lewis Brice feat. Lee Brice, “Product Of”
Lewis Brice teams with his brother and fellow singer-songwriter for this Father’s Day-appropriate track, paying homage to their parents’ tender love story. This marks the first collaboration between the musically talented siblings, and their trenchant harmonies elevate the detailed story song. “Product Of” is the title track to Lewis Brice’s upcoming full-length project, out July 28.
When Catie Offerman performed for programmers during Country Radio Seminar on March 14, she provided the Ryman Auditorium audience a mystery worth unwrapping.
Offerman announced her first radio single would be “I Just Killed a Man,” then launched into a slowly unfolding storyline full of dark imagery and phrases: Cops, chalk outlines, a getaway car and a guy begging for mercy in the driveway. The story was spellbinding; Offerman delivered it with a clear, inviting tone; and it was easy to ponder even as she performed it: “Really? Her first radio single is going to be a murder ballad?”
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But after two full verses and two choruses, the bridge shook up the plot: “Just because it ain’t a crime/Don’t mean I won’t be doing time.” More pondering: “How can a murder not be a crime? Oh, it’s not a murder. This song is awesome!”
That’s generally the way people react to “I Just Killed a Man,” though not everybody needs two minutes or so to figure out that the song isn’t quite what the title implies. “I say the name of it, all the women think it’s about killing their ex-boyfriend — I think they get all giddy about it for a second,” Offerman says. “It ain’t about murder, but I’ve never heard heartbreak talked about this way before.”
Circumstances lined up nicely for “I Just Killed a Man,” a title that emerged before the final day of a songwriting camp in Nashville last August that had a handful of composers focused specifically on material for Offerman. At the end of the day’s work on Aug. 9, two of the writers — Ryan Beaver (“Party Mode”) and Joe Clemmons (“Rose Needs a Jack”) — hung out at Beaver’s place to brainstorm for the next day. They flipped on the TV, and the Netflix menu fortuitously promoted a series that debuted that same day: I Just Killed My Dad. A couple of word changes and “I Just Killed a Man” led them down a creative road that compares a breakup to a murder.
“We just started throwing lines back and forth, not co-writing, but just nonchalant,” recalls Clemmons. “You know — ‘They won’t lock me up for this one’ – playing with the metaphor.”
Beaver called his neighbor — songwriter Jessie Jo Dillon (“Memory Lane,” “Break Up in the End”), who was also part of the Offerman camp – and clued her in. And when they arrived the next morning, it wasn’t long before they shared the concept with Offerman and songwriter Benjy Davis (“Made for You”). Clemmons broke into a progression on guitar with and came up with a signature instrumental lick at the same time, and everyone pitched in.
“Catie started singing the chorus melody,” Beaver remembers. “It was such a collaborative effort. Benjy was such a great editor and writer that day; Joe was great. I mean, it’s really rare to feel that way because you sort of feel like you need a leader, or somebody has a better vision, and then the others are helping fulfill that. But not that day. This was a day where everybody was firing.”
“It was one of those days,” adds Dillon, “where you feel like you’re almost getting it from somewhere else.”
They wrote it in 6/8, an alternative to the typical 4/4 time signature. While it’s not the usual framework, it has undergirded such stalwart titles as Keith Urban’s “Blue Ain’t Your Color,” Chris Stapleton’s “Tennessee Whiskey” and Jason Aldean’s “You Make It Easy.”
“I Just Killed a Man” “reminds me of [Little Big Town’s] ‘Girl Crush’ in a way,” Offerman says, citing another 6/8 predecessor. “The subject matter, you’re kind of like, ‘Whoa, what’s going on here?’ And then you just can’t help but being soaked up in the feeling of the tune.”
The metaphor in “I Just Killed a Man” works in great part because songs typically treat the person who ended a relationship as a villain. But verse two cast both people in the breakup as victims of the situation. Still, it’s easy to picture the stanza as a confession in an interrogation room. “Jessie pretty much wrote the whole second verse by herself,” says Clemmons. “Obviously we’re all helping and everything, but she had that line, ‘Tonight it’s just whiskey and guilt on the rocks.’ And that is such a Jessie Jo Dillon line. I’m pretty sure she spit that whole thing out.”
As fluid as the writing session was, “I Just Killed a Man” ended up running long. Davis was key in trimming the excess. “At some point, we were messing with some kind of pre-chorus, and I remember really liking what it said,” Dillon notes. “But it was one of those things that I think happens in songs sometimes where you kind of have to — no pun intended — kill off your favorite character, because it just felt so good to go into the chorus as quick as we did.”
Beaver and Clemmons wasted no time working up a demo that night at Beaver’s home. The recording laid out a strong map for the final product, kept musically lean. “I’m in a two-bedroom, two-bath, little condo, and one of the rooms is just set up for music gear and recording,” says Beaver. “Joe and I kept it really simple. I was like, ‘Man, this just needs to be about this story. It needs to be about this vocal.’ ”
That made it a difficult piece to get right when Offerman and producer Dann Huff (Kane Brown, Brantley Gilbert) cut it at Nashville’s Blackbird Studios. Two electric guitars played the instrumental signature lick in unison an octave apart, but even as they tried to minimize distractions from the melody and plot, the track was still too busy. “This kind of song, you can screw it up just because it’s a whisper,” Huff says. “There’s no grandstanding.”
They later went through a couple rounds of cuts in the production, muting instruments to give space for the story to fully resonate. Offerman recorded her final vocal at Huff’s home studio, singing it several days in a row among a batch of songs. Each day, she became a little more relaxed with the process and a little more in touch with the piece’s emotional subtleties.
“Some singers try to over-emote, overtell a story, overact,” says Huff. “In this one, I vaguely remember us speaking about the fact that there needs to be an air of desperation, a quiet desperation. Not overly dramatic — that spoils the story. It’s just that ache and the resolve to the emotional part of the lyric.”
Offerman and her creative associates were all pleasantly surprised when MCA Nashville chose the 6/8 ballad with murderous allusions as her first radio single, releasing it via PlayMPE on May 8. Based on the reaction she received at the Country Radio Seminar show, she’s bound at the very least to grab programmers’ attention.
“When you send them a text, or a message in their inbox, that says ‘I Just Killed a Man,’ you know at least they’re going to listen,” she reasons. “That is a cool thing about this title. I think it intrigues people, and I think it makes them want to listen because what other song have you ever heard called, ‘I Just Killed a Man’?”
Country singer Bailey Zimmerman plays a game of Never Have I Ever at the Billboard Country Live event.
Bailey Zimmerman:What’s up, y’all? I’m Bailey Zimmerman, and this is Never Have I Ever.
Producer:Never have I ever lied to get out of a speeding ticket.
Bailey Zimmerman:I have, my first one. And it didn’t go good. I got a bigger ticket for lying.
Producer:Never have I ever made a fake social media account.
Bailey Zimmerman:Never. I’ve made a private one, but not a fake one.
Producer:Never have I ever dumped someone over text.
Bailey Zimmerman:I def have. I definitely have dumped somebody over text. And if it was you, I’m so sorry.
Producer:Never have I ever forgotten lyrics on stage.
Bailey Zimmerman:I have, almost every night. I get so into the music that I get so into just seeing people just cry and scream and I’m having so much fun that I sometimes forget what I’m singing. But it’s fine. It’s a good time.
Producer:Never have I ever dated two people at one time.
Bailey Zimmerman:Never. I’ve never done that — and I will never do that. That sounds awful. Could you imagine trying to keep, oh my gosh, that’d be awful. I don’t do that.
Producer:Never have I ever seen a ghost.
Bailey Zimmerman:I want to say I have never seen a ghost, but man, that makes me so scared because what if I do see one now because I said I haven’t?
Producer:Never have I ever overdrafted my bank account.
Bailey Zimmerman:Oh, I’m sure I have. I’m sure I have. My bank was just so small town that they never told me about it. They just let it kind of slide, but I’m sure I’ve been over before. Oh yeah. Everybody has! Who hasn’t been red in the bank account? Of course!
Watch Bailey Zimmerman play Never Have I Ever in the video above!
CMA Fest 2023 came to a close Sunday night (June 11) at Nissan Stadium in Nashville, celebrating its milestone 50th anniversary with a stacked lineup of some of country music’s brightest stars across multiple decades, demonstrating the enduring impact of the genre on generations of fans. The lineup featured one of the best-selling groups in […]