Country
Page: 206
Congratulations are in order for Kimberly Perry and her husband, Johnny Costello, as the singer announced that they are expecting their first child together. The country singer, formerly of The Band Perry, shared the news via Instagram on Thursday (April 13).
The 39-year-old posted a maternity photoshoot with Costello taken for People on her Instagram feed and captioned the post, “The best news of all the good news lately: I’m OVERFLOWING WITH JOY to share that Johnny and I are expecting our first baby in late August!! We’re absolutely beside ourselves with happiness and in awe of the Creator’s plan.”
“Building my own family is something I’ve dreamed about for as long as I can remember. As a woman and as an artist, I’ve always felt like I had to make a choice between growing my career and growing life. But YALL – I’m doin’ em both at the SAME TIME!! Here we go!” the country singer added, noting that she will keep fans updated on all news regarding “BB Costello.”
Costello also updated his Instagram followers with the news, writing, “Yall!!!!! We’ve got some fun fun fun family news!!! WE ARE HAVING A BABY IN AUGUST!! We are so excited to be parents and can’t wait for little Harper Lee to have a sibling!!!”
The Band Perry singer additionally expressed her excitement at becoming a mother for the first time in a statement to People. “Johnny and I are overflowing with joy to announce this beautiful bundle of love,” she told the outlet. “This is a brand new season for us — new love, new life, new baby, nothing better!”
Perry and Costello’s baby news comes on the heels of their second wedding anniversary; the pair quietly tied the knot in June 2021 and revealed their marriage in a six-month anniversary post that December. The baby announcement also arrives after The Band Perry announced its hiatus in March, and the singer’s recent signing to RECORDS Nashville/Columbia as a solo artist.
See Perry’s pregnancy announcement below:
Reigning CMA entertainer of the year winner Luke Combs and Ryman Hospitality Properties’ Opry Entertainment Group have joined forces to reimagine Nashville’s Wildhorse Saloon, located at 120 2nd Ave. N., as a Combs-inspired multi-level entertainment venue; it’s set to open in 2024.
The yet-to-be-named complex will total 69,000 square feet, including an outdoor-indoor capacity of nearly 3,200 people, and will reflect Combs’ passions for music, songwriting, whiskey and sports. Specifically, the venue will take inspiration from Combs’ debut hit “Hurricane,” which went 8x multi-Platinum and spent two weeks at the pinnacle of Billboard‘s Country Airplay chart in 2017.
Speaking with Billboard at the Wildhorse Saloon in downtown Nashville, Combs said that watching Opry Entertainment’s work on Blake Shelton’s Ole Red venues was inspiring.
“I’ve had other offers for venues, but I always thought if I had the chance one day to do a venue, I would want to work with them. Working in hospitality the way they do, they bring something unique to the table.”
Combs added, “I talked with Blake about it this January, when we were talking about working with the Opry folks. He had so many great things to say about them and was like, ‘You should absolutely do this,’ and he was excited for me. It was great to get that affirmation.”
The entertainment complex will include a 1,500-person capacity concert venue for ticketed events. Meanwhile, a proposed rooftop bar (720-person capacity) with views of the Cumberland River and Nissan Stadium will add 9,000 square feet of entertainment space to the existing 60,000-square-foot venue.
The three interior levels will convey Combs’ songs, lifestyle and connection to his Bootlegger fans.
Colin Reed, Ryman Hospitality Properties’ executive chairman, told Billboard that he estimates the project will cost in the “tens of millions,” though he declined to offer specific financials.
Reed described the venue as containing a “250-seater honky-tonk at the front that can open up into the concert hall behind it.” He adds that the concert hall will include a “Beautiful Crazy” area designed for groups and bachelorette parties, as well as a bourbon bar and an area dedicated and inspired by Combs’ Bootleggers fanclub.
“We’ve definitely tried to prove over the years that we always think about the fans first,” Combs told Billboard. “I wanted to continue to do that with this spot, too. I didn’t just want to slap y name on something and wash my hands of it. I’ve been very hands-on with this. I wanted it to be something where my fans felt like they could come to. Obviously, if they are in the fanclub, there will be special things and special places for them to come to and unique opportunities.”
“With the honky-tonk, when I say 250 people, it will be two stories,” Reed tells Billboard. “It will be a small, intimate 250-capacity, where people will be on the second floor, looking down onto a stage and on the ground floor it will have a great bar behind it.”
Reed adds that the third floor is include a “new-generation sorts bar, to provide people who come to Nashville, who want not only to drink good bourbon, good beer, but also listen to music and watch their favorite sports team play.”
In the meantime, the venue will continue to operate as the Wildhorse Saloon until the new venue opens in 2024.
The Wildhorse Saloon opened in downtown Nashville in 1994 and has since been home to more than 4,000 television show episodes and tapings, as well as a destination for corporate events. The venue previously hosted The Wildhorse Saloon Dance Show on The Nashville Network in the 1990s and served as a base for the CMT show Can You Duet.
Combs says fans can absolutely expect to see some surprise appearances and performances from him at the venue.
“Any opportunity or any time I do something in town, I can do it here, because this is a spot that is large and versatile. It will be a really unique spot,” Combs says.
Combs is currently on his world tour, will will visit Nashville this weekend, for two shows at Nissan Stadium.
Songwriter Ashley Gorley has three ACM Awards nominations for song of the year. He’s only the third songwriter to achieve that feat in the show’s 58-year history. (The category was introduced in the show’s second year.)
Gorley co-wrote Chris Stapleton’s “You Should Probably Leave” with Stapleton and Chris DuBois; Cole Swindell’s “She Had Me at Heads Carolina” with Swindell, Jesse Frasure, Mark D. Sanders, Thomas Rhett and Tim Nichols; and Morgan Wallen’s “Sand in My Boots” with Josh Osborne and Michael Hardy.
The only other songwriters to notch three nominations in one year are Merle Haggard and Kris Kristofferson, each more than 50 years ago.
Hag was the sole writer of all three of his 1968 nominees – “The Legend of Bonnie and Clyde,” “Mama Tried” and “I Take a Lot of Pride in What I Am.” He was also the artist on all three songs. The first two reached No. 1 on Hot Country Singles – now called Hot Country Songs. “I Take a Lot of Pride” peaked at No. 3. Jimmy Webb won the award that year for writing the Glen Campbell classic “Wichita Lineman.”
Kristofferson was the sole writer of all three of his 1970 nominees – “Help Me Make It Through the Night,” a No. 1 hit for Sammi Smith; “Sunday Morning Coming Down,” a No. 1 hit for Johnny Cash; and “For the Good Times,” a No. 1 hit for Ray Price. (All three chart references are to Hot Country Singles.) Kristofferson won the award for the sublime “For the Good Times.”
Hag, who died in 2016 at age 79, and Kristofferson, 86, have long been country music royalty.
Haggard was voted into the Songwriters Hall of Fame in 2007 and the Country Music Hall of Fame in 1994. He received a lifetime achievement award from the Recording Academy in 2006 and the Kennedy Center Honors in 2010.
Kristofferson was voted into the Songwriters Hall of Fame in 1985 and received that organization’s highest honor, the Johnny Mercer Award, in 2006. He was voted into the Country Music Hall of Fame in 2004 and received a lifetime achievement award from the Recording Academy in 2006.
Gorley, 45, has written hits for a raft of country artists, as well as such non-country artists as Bon Jovi and Jason Derulo. He has topped Billboard’s Country Songwriters chart for 33 weeks and has headed Hot 100 Songwriters for three weeks.
As the final nominees for the 58th Academy of Country Music Awards were announced Thursday (April 13), there were the usual number of expected names, as well as a handful of surprises and snubs.
The eligibility period for nominations ran Nov. 16, 2021-Dec. 31, 2022. The ceremony will stream live on Amazon’s Prime Video from Frisco, Texas, on May 11.
Here is a look at some of the year’s notable surprises and snubs.
Snub: Jelly Roll swept the CMT Music Awards earlier this month, and given how ascendent his star seems to be, it was shocking that he didn’t nab a single nomination — not even for new male artist of the year, which is overstuffed with six acts. Jelly Roll, who broke Billboard’s record for number of weeks at No. 1 on the Emerging Artists chart in February when he hit 25 weeks, also seemed like a contender for a song of the year nod after his confessional “Son of a Sinner” hit No. 1 on the Country Airplay chart.
Surprise: Jason Aldean is no stranger to the winner’s circle, having taken home 15 ACM Awards, including artist of the decade in 2018. He’s even won entertainer of the year before three consecutive years, 2015-17. However, he had fallen out of the category after 2018 and makes a return for the first time in five years this year for his only nomination.
Snub: Maren Morris had a solid six-year run of female artist of the year nominations — including winning at the 2020 ceremony — but her streak is broken this year, perhaps because she is off album cycle. The ACMs have shown her plenty of love in the past, as she’s taken home six trophies over the last several years in a number of categories.
Surprise: Prolific songwriter Ashley Gorley has more than 50 No. 1s to his credit, so his inclusion for penning a song of the year entry is no surprise. However, he pulls off a hat trick, capturing three nominations in the category for co-writing Chris Stapleton’s “You Should Probably Leave,” Cole Swindell’s “She Had Me at Heads Carolina” and Morgan Wallen’s “Sand in My Boots.” He is the only non-performing songwriter to ever land a trio of songs in the category in one year. Songwriter/artists Merle Haggard and Kris Kristofferson achieved the feat in 1968 and 1971, respectively.
Surprise: Cole Swindell has received only two ACM nominations in his career, including for new artist in 2015, which he won. He’s making up for lost time this year with five nominations, including song and single of the year for “She Had Me at Heads Carolina.”
Snub: Similar to Maren Morris, Thomas Rhett has been a contender for six years running — in this case for male artist of the year — but he drops off the list this year. He’s not completely shut out, however, as he earns a nomination for song of the year as a co-writer on “She Had Me at Heads Carolina.”
Surprise: Not only is Kane Brown one of the leading nominees with five nods, but a very pleasant surprise is that he scores two nominations for the first time — including the prestigious entertainer of the year. It marks the first time in 50 years that a biracial or Black artist has been nominated in the category since Charley Pride in 1972. Brown, who previously won video of the year for “Worldwide Beautiful,” also snags his first male artist of the year nomination.
Singer-songwriter Granger Smith‘s upcoming summer tour will be his last. Smith recently took to social media to announce that following the tour, he will be leaving his country music career behind to pursue a career in ministry.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
“I have felt a strong desire to pursue ministry,” he told fans via social media on Tuesday. “This doesn’t mean I’m going to start a church or a crusade, or a revival. It means me and my family are going to serve our local church. We’re going to pour into that church as members, and have my pastors and elders pour into me and disciple me and teach me, as I sit under their wise teaching. Hopefully one day they can affirm me into the next steps of what that might look like, to glorify God best from my platform.”
Smith added that he has been pursuing a master’s degree at Southern Baptist Theological Seminary. “This is a time of growing and learning for me…that may explain to some of you why I may have seemed distant, especially to music, lately,” he said.
In the caption for the video, Smith wrote, “I am so encouraged and hopeful and excited and joyful about the next chapter, but to a large extent, I have no idea what it will look like. I just want to glorify God the best way that I can.”
Smith earned a No. 1 hit on Billboard‘s Country Airplay chart in 2016 with “Backroad Song” and a top 10 hit on the same chart in 2017 with “If the Boot Fits.” “Backroad Song” was also honored with a BMI Award in 2016.
On Aug. 1, Smith will release the book Like a River: Finding the Faith and Strength to Move Forward After Loss and Heartache, which offers a look into how Smith and his family relied on their faith as they navigated grief and healing after the death of his 3-year-old son River, who drowned in a swimming pool accident in 2019. Granger and his wife, Amber, are also parents to daughter London and sons Lincoln and Maverick.
Smith’s farewell Like a River Tour will launch April 13 in Wisconsin and will run through Aug. 26 in Texas.
Luke Combs covers one song on his new LP, Gettin’ Old: Tracy Chapman’s “Fast Car.” The 1988 original, which Chapman wrote solely, won the Grammy Award for best female pop vocal performance and sparked her coronation as best new artist.
Combs is clearly getting fans up to speed on “Fast Car,” as his version cruises from No. 14 to No. 10 in its second week on Billboard’s streaming-, airplay- and sales-based Hot Country Songs chart (dated April 15), becoming his 19th top 10.
On the Billboard Hot 100, it zooms 44-32 in its second frame.
Combs’ interpretation drew 11.1 million official streams (up 27%) and sold 6,000 downloads in the United States March 31-April 6, according to Luminate.
(Chapman’s original was up 22% to 3 million in radio airplay audience and 5% to 2.5 million streams in that span.)
Gettin’ Old spends a second week at No. 2 on Top Country Albums, with 54,000 equivalent album units, after launching with 101,000 units.
Combs supporters who have been to his live shows won’t be surprised about his update of “Fast Car,” as it’s been a fan favorite among his setlists.
While the song isn’t a radio single, some country stations are giving it airplay, one being Audacy’s WPAW Greensboro-Winston Salem, N.C. “Luke’s take on ‘Fast Car’ is a gift to the original fans – the ones that instantly fell in love with him early on,” program director Clay Walker tells Billboard. “No doubt if you paid to see him in the clubs around North and South Carolina, you know that. Even though his version stays true to the Tracy Chapman original, he really is thanking his foundational fans with this.”
The song’s crossover appeal is also evident in SiriusXM’s support: Country channel The Highway is playing Combs’ cover, as is pop-focused TikTok Radio.
Combs isn’t the first artist to gas up a charted rendition of “Fast Car.” Jonas Blue’s version, featuring Dakota, hit No. 7 on Hot Dance/Electronic Songs, as well as No. 98 on the Hot 100, in 2016.
Those remakes mark the two that have hit the Hot 100 since Chapman took the original to No. 6 in August-September 1988. Until this week, the composition last ranked in the chart’s top 40 (at No. 39) on the list dated that Oct. 1 (as Bobby McFerrin’s “Don’t Worry, Be Happy” breezed to a second week at No. 1).
While country artists aren’t exactly known for redoing pop hits, a few have charted highly since the late ‘80s. Rascal Flatts’ repaved “Life is a Highway” reached No. 18 on Hot Country Songs in 2006, after Tom Cochrane’s original hit No. 6 on the Hot 100 in 1992.
Mark Chesnutt scored his most recent of eight Hot Country Songs leaders with his version of Aerosmith’s “I Don’t Want to Miss a Thing” in 1999. Aerosmith’s recording of the Diane Warren-penned ballad debuted atop the Hot 100 and dominated for four frames in 1998.
In the mid-‘90s, country artist John Michael Montgomery and pop/R&B vocal group All-4-One shared hits simultaneously: In 1994, “I Swear” was a Hot Country Songs No. 1 for the former and an 11-week No. 1 Hot 100 smash for the former. A year later, “I Can Love You Like That” became another Hot Country Songs No. 1 for Montgomery and a No. 5 Hot 100 hit for All-4-One.
Back to the late ‘80s, Rosanne Cash’s update of The Beatles’ “I Don’t Want to Spoil the Party” became her most recent of 11 Hot Country Songs No. 1s, in 1989. The Lennon-McCartney original reached No. 39 on the Hot 100 for the Fab Four in 1965 (as the B-side of “Eight Days a Week,” which hit No. 1).
Stephen Colbert took aim at Kid Rock‘s transphobic response to trans activist Dylan Mulvaney’s team-up with Anheuser-Bush’s Easy Carry Contest in the cold open to Tuesday night’s (April 11) The Late Show in a parody ad for “Shaft Beer.”
The piece began with a brief bit of news footage of the backlash against the beer giant issuing a personalized, commemorative gift can for influencer Mulvaney. It then cut to the now-infamous video posted by Rock in which he attempted to obliterate 12-packs of Bud Light with a semi-automatic rifle.
“Are you tired of woke beer that blurs gender lines?” a manly voiceover asks amid images of a rainbow Bud Light float at a gay pride event in the Colbert video. “Want to drink the beer that you were assigned at birth? Then reach for Shaft Beer, the only brew that comes in a can shaped like a penis so you know just who it’s for,” it continues as manly men grab a hold of the cans and raise the hyper-masculine brew to their lips.
“Pop one open and put it in your mouth,” the narrator encourages amid an image of two dudes hanging out around a grill with their fingers wrapped tightly around the phallic cans. “Shaft harkens back to a golden time when men knew how to do man stuff, like grab-a–ing in the shower. So tug on a Shaft today.”
And, if that’s too much for your beer gut, the fake promo adds another option: Shaft Light. “It’s the same beer, but in a can the size of Kid Rock’s penis,” it promises of the two-inch mini version.
Though Rock never mentions Mulvaney (or the word “trans”) in his video, the brew-ha-ha appears to have been kicked off earlier this month when transgender TikTok star and social media influencer Mulvaney shared a video of herself participating in Bud Light’s Easy Carry Contest for the end of the NCAA’s March Madness. In the clip, she revealed that the company helped her celebrate her “365th day of womanhood” with “possibly the best gift ever” — a commemorative can of Bud Light with Mulvaney’s face on the side.
Bud Light parent company Anheuser-Busch told Billboard in a statement that the commemorative cans bearing Mulvaney’s face are “not for sale.” That didn’t stop right-wing commentators and country stars including Travis Tritt and John Rich from saying that they would boycott the many products from the world’s leading beer seller, which also include the brands Busch, Stella Artois, Michelob Ultra, Hoegarden and dozens of others.
Colbert also hit on the topic in his monologue, alluding to the raft of “toilet stuff” Republican lawmakers have been laser focused on lately as conservative politicians in Iowa, Arkansas, Oklahoma and Tennessee have passed bills addressing bathroom use for trans people amid other attacks on the rights of trans people.
He also mentioned a recent anti-trans bill in Florida, noting that Republican lawmaker Webster Barnaby referred to living in a society with trans people as akin to watching an X-Men movie earlier this week. “It’s like we have mutants living among us on planet Earth,” Barnaby said in a hearing. “We have people that live among us today on Planet Earth that are happy to display to display themselves as if they were mutants from another planet. This is the planet Earth!”
Colbert noted that the X-Men are from planet Earth. “Second, if you are against trans people, why would you compare them to incredibly cool superheroes with laser eyes, indestructible skeletons or who control the weather with sexiness?” he wondered. “Most importantly, the entire message of all these movies is that society should accept everyone, no matter their differences.”
Colbert also said that late Marvel genius Stan Lee said that he created the X-Men characters as a metaphor for civil rights, and that the franchise is explicitly a “gay-rights parable.” The host, who played a clueless conservative blowhard for a decade on The Colbert Report, then reported that “right-wing nutjobs” are not just focused on bathrooms, but also on beer.
He ran a headline showing some conservatives calling for a boycott of Bud Light over its celebration of Mulvaney, then doubled down on Rock’s video. “The charge was led by conservative thought leader Kid Rock,” he said before playing the video again and adding that Texas congressman Dan Crenshaw also tried to “get in on the dumb” with his own viral video attempt.
In Crenshaw’s case, though, the video didn’t mean what he thought it meant. The former Navy SEAL tried to prove his anti-Bud bona fides by saying that he was going to throw out every Bud Light in the house. After fumbling around and failing to find a Bud in his mini fridge, though, Crenshaw mumbled, “Well, I guess that was easy.” Colbert then cited some internet sleuths who saw some Karbach beers front and center in the shot — like Bud and Bud Light, Karbach is made by Anheuser-Busch.
Check out the Late Show videos below.
The late Kenny Rogers‘ first posthumous album, Life Is Like a Song, is set to release June 2 via UMe.
Rogers, who notched a successful career in pop music with the band First Edition in the 1960s and then transitioned into a solo country music career that ultimately earned him membership into the Country Music Hall of Fame in 2013, died on March 20, 2020, from natural causes at the age of 81.
Life Is Like a Song marks the first non-holiday studio album from Rogers in a decade, and his only non-compilation/non-reissued full-length album to be released on vinyl since 1991. The project will include songs that were deeply personal to the late singer-songwriter, and will be available digitally as well as on CD and vinyl.
Explore
See latest videos, charts and news
See latest videos, charts and news
Curated and executive produced by Rogers’ widow, Wanda Rogers, the album includes eight never-before-heard recordings, spanning from 2008 to 2011. A digital deluxe version of the project will include two bonus tracks: a cover of the classic “At Last,” and the Buddy Hyatt-penned original “Say Hello to Heaven.”
“I think the record is fabulous, and it is going to make Kenny so proud,” said Wanda Rogers via a statement. “These songs are such a beautiful reminder of his love ‘for the feelings a song can make’ for a person. He would often say that he wanted his songs to be ‘what every man wants to say, and every woman wants to hear.’ I think there are a lot of those moments on this album. This is a very special record to me and our family because it really tells the story of our life together, and I feel his fans will also relate to it in a big way because it walks the listener through the seasons of life that we all experience in one way or another. There is joy, there is love, there is family, there is uncertainty, there is pain, there is faith … it’s emotional and real. This is the kind of music Kenny loved to make.”
Two songs from the album are available now for streaming: “Love Is a Drug,” co-written by Rogers’ longtime musical partner and former New Christy Minstrels bandmate Kim Carnes, as well as Rogers’ rendition of The Temptations’ hit “I Wish It Would Rain.”
The album also features a collaboration between Rogers and his longtime friend and collaborator Dolly Parton, who together notched the enduring hit “Islands in the Stream.” In the mid-aughts, they teamed up again for “Tell Me That You Love Me,” produced by Tony Brown. The song originally appeared on a 2009 compilation.
The album also includes Rogers’ rendition of the Lionel Richie-penned song “Goodbye,” which also previously appeared on the same 2009 compilation. The album also features Rogers’ rendition of Eric Clapton’s “Wonderful Tonight,” while “Am I Too Late,” originally recorded for Rogers’ 1977 album, Daytime Friends, gets reimagined as a duet with Kim Keyes.
Perhaps the fulcrum of the album is the previously unreleased “Catchin’ Grasshoppers,” a tribute to Rogers’ twin sons with his wife, Justin and Jordan. Written by Laura McCall Torno and Earl Torno, with production work from Rogers and Randy Dorman, the song honors Rogers’ children and the memories he made with them.
See the tracklist for Life Is Like a Song below:
“Love Is a Drug”
“I Wish It Would Rain”
“Am I Too Late” (with Kim Keyes)
“Tell Me That You Love Me” (with Dolly Parton)
“Straight Into Love” (with Jamie O’Neal)
“Wonderful Tonight”
“Catchin’ Grasshoppers”
“That’s Love to Me”
“I Will Wait for You”
“Goodbye”
Amazon Music will serve as the exclusive streaming home for this year’s Stagecoach Festival, which takes place April 28-30 in at the Empire Polo Club in Indio, Calif.
The livestream will be available on the Amazon Music channel on Twitch and Prime Video, starting at 3 p.m. PDT each day, courtesy of sponsors T-Mobile, Magnum Ice Cream and finance company SoFi.
As part of the build-up to the Goldenvoice-presented festival, Amazon will release Amazon Originals from a number of artists preforming at the event, including BRELAND’s reimaging of his track “Happy Song” featuring Danielle Bradbery, and Luke Grimes’ cover of Blaze Foley’s “Clay Pigeons.”
Among the other acts playing the 15th edition of Stagecoach are Chris Stapleton, Jon Pardi, Kane Brown, Lainey Wilson, Luke Bryan, Old Dominion, Gabby Barrett, Brooks & Dunn, Diplo, Bryan Adams, Jackson Dean, Priscilla Block, Keb’ Mo’ and Bailey Zimmerman.
Once on site, Kelly Sutton and Amber Anderson, hosts of Amazon Music’s Country Heat Weekly podcast, will interview participating artists from the Amazon Music backstage set.
Amazon Music will also host the Amazon Music Live lounge, located in the vendor area. The air-conditioned lounge will include charging stations and behind-the-scenes content broadcast on a jumbo screen.
In addition to seeing Yellowstone star Grimes perform, Stagecoach will provide an ever bigger Yellowstone tie in as the Dutton Ranch from the Paramount Network’s hit show will be transported to the desert. Fans will be able to play in a Yellowstone cornhold competition, as well as purchase items from a Yellowstone Airsteam pop-up shop.
Morgan Wallen simultaneously tops the Billboard Artist 100, Billboard Hot 100 and Billboard 200 charts (dated April 15), ruling as the top musical act with both the No. 1 song and album in the United States for the second time in his career.
Wallen is now the eighth artist to spend multiple weeks leading the Artist 100, Hot 100 and Billboard 200 charts at the same time.
Wallen first tripled up atop the three tallies dated March 18, as his LP One Thing at a Time launched atop the Billboard 200 and its single “Last Night” hit No. 1 on the Hot 100. The set scores a fifth week at No. 1 on the latest Billboard 200 with 173,000 equivalent album units earned (March 31-April 6), according to Luminate, while “Last Night” rebounds for a second week atop the Hot 100.
Most Weeks Simultaneously Leading the Artist 100, Hot 100 & Billboard 200 Charts
16, Drake
15, Taylor Swift
9, Adele
5, The Weeknd
2, Ariana Grande
2, Ed Sheeran
2, Harry Styles
2, Morgan Wallen
1, Beyoncé
1, Justin Bieber
1, BTS
1, Camila Cabello
1, Future
1, Kendrick Lamar
As Wallen’s “Last Night” returns to No. 1 on the Hot 100 for a second total week on top, it becomes the first song by a male artist and no accompanying acts to have notched multiple weeks at No. 1 on the Hot 100 and the Hot Country Songs chart, where it claims a ninth week on top, since Glen Campbell’s “Rhinestone Cowboy” in 1975. Wallen places 12 songs on the latest Hot 100, after simultaneously charting a new one-week record 36 songs on the survey dated March 18, all from One Thing at a Time.
Wallen has now spent 11 total weeks at No. 1 on the Artist 100, extending his record for the most among core country acts.
The Artist 100 measures artist activity across key metrics of music consumption, blending album and track sales, radio airplay and streaming to provide a weekly multidimensional ranking of artist popularity.