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Luke Combs, Eric Church, James Taylor and Billy Strings have organized Concert for Carolina, a benefit for Hurricane Helene relief that will take place Oct. 26 at North Carolina’s Charlotte’s Bank of America Stadium.
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Combs, Church and Taylor all grew up in North Carolina, while Strings has spent considerable time performing in the Tarheel state. Concert for Carolina will be hosted by ESPN’s Marty Smith and Barstool Sports’ Caleb Pressley and presented by Explore Asheville and the Buncombe County Tourism Development Authority. More artists are expected to be added.
Tickets go on sale Thursday (Oct. 10) at 10 a.m. E.T. on the Concert for Carolina website. The website also says a raffle and auction are coming soon.
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Western North Carolina has been decimated by Hurricane Helene, which swept through Sept. 27 and destroyed multiple mountain towns. The death toll from the hurricane has surpassed 225 in North Carolina and the surrounding states, including Georgia, Tennessee, Florida and Virginia.
All proceeds from the event will be split evenly between Combs’ charitable endeavors and Church’s Chief Cares Foundation to administer to organizations they choose to support relief efforts across the Carolinas and the Southeast.
Combs’ portion will be distributed among Samaritan’s Purse, Manna Food Bank and Second Harvest Food Bank of Northwest NC, as well as one more organization still to be announced.
Church’s Chief Cares is focused on helping established charities and organizations that can expedite aid directly to the families affected by Hurricane Helene.
The event’s organizers called David Tepper — who owns the Carolina Panthers NFL team, Charlotte FC soccer team and Bank of America Stadium — and his wife Nicole, who immediately offered the venue for the concert, according to a press release.
Sponsors include T Mobile, Jack Daniel’s, Whatburger, Miller Lite and Blue Cross/Blue Shield North Carolina.
Taylor, one of North Carolina’s most famous native sons, moved to the state when he was three, while Combs was born outside of Charlotte and raised in Asheville. Church was born in Granite City. Both Combs and Church attended Appalachian State University in Boone, N.C. Although he is a Michigan native, Strings has performed at major venues across the state including an upcoming six-night run at Asheville’s ExploreAsheville.com Arena this winter.
Additionally, Church released new song “Darkest Hour” on Friday (Oct. 4) and is signing over all of his publishing royalties from the song to the people of North Carolina affected by the disaster.
At that time, Church said in a statement, “From Western North Carolina, East Tennessee, Upstate South Carolina, parts of Georgia and even Florida which took a direct hit, there are so many places that were impacted. Specifically in the area that I’m from, the mountains of Western North Carolina, were devastated. There are places that are just biblically gone. These are our family members, they’re our friends, they’re our neighbors – and they’re in dire need of help.”
Miranda Lambert brought a bevvy of musical friends — including Little Big Town, Dan+Shay, Lukas Nelson and HARDY — with her for the “Music For Mutts” benefit concert, which took place Saturday (Oct. 5) at Nashville’s Ascend Amphitheater.
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Presented by Tractor Supply, the concert is Lambert’s latest effort toward supporting a cause she has long championed: lifting up shelter pets who are all-too-often forgotten, and aiding pet shelters in need of supplies.
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“I’m so happy to be here,” Lambert told the crowd early in her set. “We’re singing for the dogs — all the dogs!”
The concert helped continue the work of the MuttNation Foundation, which Lambert and her mother Bev launched 15 years ago, and has raised more than $10 million to promote adoption, support shelters, aiding with the transport of animals during natural disasters and more. Prior to the show, there was a public dog adoption event held at Ascend Park, with pet shelters taking part, including Crossroads Campus, Nashville Humane, Old Friends Senior Dog Sanctuary, and Wags and Walks.
The concert opened with a double-shot of Texas country, as Jake Worthington served as the opening act, followed by Miranda’s headlining set. Worthington was raised in La Porte, Texas, just over an hour away from George Jones’ hometown, and his sound is steeped in much of the same honky-tonk forged, deep Texas twang, evidenced by his effortless vocal rendering of songs such as “Next New Thing,” or the earnest balladry in “The State You Left Me In.” Of course, there were plenty of nods to sawdust floors, neon lights and the Lone Star State in songs such as “Honkytonk Crowd” and “Honkytonks in Texas.”
From there, as a glittering saddle hung from above the stage, Lambert launched her “Miranda and Friends” portion of the show with a double-barrel of high-octane songs, “Fastest Girl in Town” and “Kerosene.”
She welcomed a string of guests, as the show toggled between Lambert solo performances and collaborative efforts with her musical cohorts including Worthington, HARDY, Lukas Nelson, Ashley Monroe, Riley Green, Dan + Shay and Little Big Town.
“I work and then I get a concert,” Lambert quipped of watching her fellow musicians perform.
Calling him “country as a biscuit,” Lambert invited Worthington back to the stage. Worthington, who recently shifted from Big Loud Records to Lambert’s label imprint Big Loud Texas, joined her on the pointed ballad “Hello S—ty Day.”
Throughout the evening, she performed many fan-favorites, including “If I Was a Cowboy,” “Mama’s Broken Heart,” “Gunpowder and Lead,” “The House That Built Me” and “Automatic” (with the screens showing several of Lambert’s childhood photos while also chronicling the early days of her musical journey).
Lambert wore a spangly black and neon pink outfit, which Lambert told the crowd was hand-embroidered and, appropriately, featured images of each of her dogs on the outfit. Throughout the evening, screens behind her filled with Images of fiery running horses, cacti, and star-filled skies over desert horizons.
Lambert also offered songs from her new album Postcards From Texas, including “Alimony.” Lambert nodded to MuttNation’s work to helping dog shelters and dogs in need of aid, before introducing another song from her new album, “Dammit Randy.” “Speaking of dogs, I wrote this one for my new record about a guy named Randy. So if you’ve got a Randy in your life and you have somebody you just need to flip the bird to, this is for you.”
She welcomed Nelson to help honor the late singer-songwriter Kris Kristofferson by singing a Mere Haggard classic, “Silver Wings,” with Lambert noting, “Because we know Kris loved Merle… we love you, Kris.”
Back in June, Lukas Nelson and his band The Promise of the Real announced they were going on hiatus, while many of the band members would pursue various creative endeavors. During the “Music For Mutts” show, Nelson gave a ferocious solo turn on the group’s “Find Yourself,” spearheaded by Nelson’s pulse-racing guitar riffs, and his gritty, soul-scraping voice.
From there, Lambert welcomed another guest, Riley Green. Lambert noted that after one of his recent concerts near the East Coast was nixed due to Hurricane Helene, Green called to see if he could help with the “Music For Mutts” Show. Green, who is riding high on the success of his collaboration with Ella Langley, “You Look Like You Love Me,” performed his 2019-released “I Wish Grandpas Never Died,” and the female-majority audience took notice, standing up, waving and filming the performance on their phones.
Lambert welcomed her frequent co-writer and Pistol Annies bandmate Ashley Monroe to join her for “Heart Like Mine.” Another of her frequent co-writers, Nashville songwriter luminary Natalie Hemby, joined for a songs they co-wrote, “Bluebird,” as well as a rendition of the Lambert/Jack Ingram/Jon Randal co-write “Geraldene.”
From there, Lambert welcomed Dan+Shay to the stage as they performed their hits “Tequila” and “Speechless,” spearheaded by Shay Mooney’s pitch-perfect vocal. Meanwhile, his bandmate Dan Smyers spoke of how proud they were to take part in the evening, given their shared passion for helping animals. Smyers and his wife Abby helped open a Nashville branch of the animal rescue group Wags & Walks.
One of the most impactful moments came from HARDY, who performed the exquisitely-crafted, unreleased song “Dog Years,” which is sung from the perspective of looking back on an elderly dog’s life and being thankful for the “Dog Years.” He noted that the song was one that helped him get a music publishing deal early in his career, and given how the song brought tears to some in the audience, it does make one wonder why it was never released.
The vocal power and camaraderie onstage continued to reach new heights, thanks to vocal group Little Big Town (whom Lambert previously toured with in 2022 on The Bandwagon Tour), who joined forces with Lambert to collaborate on a range of songs including Little Big Town’s “Boondocks” and “Little White Church,” as well as Lambert’s “White Liar” and “Little Red Wagon.” The evening ended with an “all-sing,” as the entire lineup returned to the stage to perform “(Drunk) And I Don’t Wanna Go Home.”
“Thank you for spending your hard-earned money on some country music and helping doggies,” Lambert said, waving to the crowd.
Dolly Parton is stepping up once again to help those in need. The Country Music Hall of Famer appeared at a press conference at a Walmart parking lot in Newport, Tennessee, on Friday (Oct. 4), and revealed that she is donating $1 million of her own money from her personal bank account to aid those impacted by the devastation of Hurricane Helene.
Also, she will add another $1 million donation to relief efforts through her various business enterprises, such as Dollywood and Dolly Parton’s Stampede.
“I’m sure a lot of you wondering where I’ve been,” Parton, 78, said during the event. “Everybody’s saying, ‘Where’s Dolly?’ Well, I’ve been like everybody else trying to absorb everything going on, trying to figure out all the best ways to do this.”
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She added, “I look around and I think, ‘These are my mountains, these are my valleys, these are my rivers…these are my people, and this is my home…I just want you to know, I am totally with you, I am part of you, I love you.”
The total of $2 million donation will be made to the Mountain Ways Foundation. ALso on hand during the event was Walmart U.S. president/CEO John Furner, who said that the company, as well as the Walmart Foundation and Sam’s Club, would be pledging upward of $10 million toward relief efforts.
Parton is no stranger to helping those in need. In 2021, she donated toward relief efforts for those impacted by the catastrophic flooding in Middle Tennessee. In 2020, she donated $1 million toward vaccine research at Vanderbilt University, which aided in funding Moderna’s COVID-19 vaccine. In 2016, she launched the My People Fund, aiding families in Gatlinburg and Pigeon Forge whose homes were destroyed wildfires.
In 1995, she launched the Imagination Library, which sends one book per month to children from birth through their first year of school (she founded the Imagination Library in honor of her father, who was unable to read).
Post Malone’s Blake Shelton-featuring “Pour Me a Drink” ascends two places to the top shelf of Billboard’s Country Airplay chart (dated Oct. 12). The collaboration advanced by 5% to 27.9 million audience impressions Sept. 27-Oct. 3, according to Luminate.
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The song, which Post Malone co-wrote, is his second Country Airplay No. 1, after “I Had Some Help,” featuring Morgan Wallen, dominated for four frames beginning in June. Both hits are from his introductory LP in the genre, F-1 Trillion, which motored in at No. 1 on the Aug. 31-dated Top Country Albums chart and the all-genre Billboard 200 with 250,000 equivalent album units earned in the United States. The set has earned 1.1 million units over its first six weeks of release.
Post Malone charts an additional song, and a third career top 40 entry, on Country Airplay: Fellow F-1 Trillion track “A Guy for That,” featuring Luke Combs, rebounds a spot to its No. 26 high (6.3 million, up 12%).
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Shelton hoists his 29th Country Airplay No. 1, a run that started with his initial appearance, “Austin,” in 2001. He nets his first leader since “Happy Anywhere,” featuring his then-future wife Gwen Stefani, in December 2020. Shelton ties Tim McGraw for the second-most chart-toppers since the survey began in 1990. Kenny Chesney leads all acts with 33 No. 1s.
Wallen, Parmalee Notch New Top 10s
Morgan Wallen earns his 17th Country Airplay top 10 as “Lies Lies Lies” climbs 11-9 (18 million, up 12%). It follows his “Cowgirls” (featuring ERNEST), which became his 14th No. 1 in July.
Plus, Parmalee’s “Gonna Love You” hops 13-10 on Country Airplay (16.6 million, up 6%). The group adds its seventh top 10, following “Girl in Mine,” which hit No. 3 last October, and “Take My Name,” which became the act’s third No. 1 in June 2022.
Eric Church is stepping up to help his home state of North Carolina after portions of the state were devastated by Hurricane Helene. Church just released the new song “Darkest Hour,” and is signing over all of his publishing royalties from the new song to the people of North Carolina affected by the disaster.
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Hurricane Helene has impacted communities across North Carolina, South Carolina, Tennessee, Georgia and Florida, with CNN reporting that the death toll has risen to more than 200 people across six states, with many people still unaccounted for.
“From Western North Carolina, East Tennessee, Upstate South Carolina, parts of Georgia and even Florida which took a direct hit, there are so many places that were impacted. Specifically in the area that I’m from, the mountains of Western North Carolina, were devastated. There are places that are just biblically gone. These are our family members, they’re our friends, they’re our neighbors – and they’re in dire need of help,” Church said in a statement.
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Church has already been working on new music for some time, but he says he didn’t want to hesitate to release a song that could help those impacted by the natural disaster.
“I’ve been in the studio for a while, trying some different things and exploring creativity,” he said. “I had this song that I’d written, and the line that struck me in light of the recent devastation was ‘I’ll come running,’ because there are a lot of people out there right now who are in their darkest hour and they need people to come running. We were going to wait to release music until next year, but it just didn’t feel right to wait with this song. Sometimes you give songs their moment and sometimes they find their own moment. “This song, ‘Darkest Hour,’ was the best way I could think to try to help. We’ve been helping with boots on the ground efforts, but this is something that will live beyond just the immediate recovery. This is not a quick thing to fix, so hopefully ‘Darkest Hour’ will be able to contribute to that for a long time to come. This song goes to my home, North Carolina, now and forever.” He continues, “‘Darkest Hour’ is a song dedicated to the unsung heroes, the people who show up when the world’s falling apart. This is for the folks who show up in the hardest times, offering a hand when it’s most needed, and standing tall when others can’t. Even in your darkest hour, they come running. When the night’s at its blackest, this is for those who are holding the light, guiding the lost and pulling us through. The message of the song specifically in this time is about Hurricane Helene and the people that need help, but in a broader view, it’s about any challenging times that we have in our life, which we’ll all have. And it’s always important to know that in your darkest hour, there are people that will come running, there are people that will help. And I think it’s also important to be one of the people that go running when other people need help.”
In addition to the proceeds from Church’s publishing on the song going toward helping those in his home state, Church’s Chief Cares Fund is also working to provide aid to those impacted by Hurricane Helene.
Other country artists are stepping up to help, as well. East Tennessee native Morgan Wallen, through his Morgan Wallen Foundation, previously donated $500,000 to the Red Cross to aid relief efforts. On Oct. 9, the Morgan Wallen Foundation will host a food drive in Knoxville, Tennessee, and is selling charity T-shirts, with proceeds going to aid those impacted by Hurricane Helene.
Church’s fellow North Carolina native Luke Combs also previously told fans that he is working on a project to aid those affected by the hurricane.
Hear Church’s “Darkest Hour” below.
Even with all the pop greats and breakout stars likely to be involved in the Grammys in February 2025, one icon seems certain to garner outsize attention: Beyoncé, who is both the winningest artist in the show’s history and a perennial cause célèbre for having never received the marquee Grammy, album of the year.
Bey’s presence on Music’s Biggest Night will be particularly fascinating, since her acclaimed country-Americana pivot set, Cowboy Carter, is at the center of a number of questions about genre — namely, who gets to decide what does and doesn’t constitute country music. Whether Cowboy Carter, its singles and its collaborators are recognized within the country categories will be a major subplot of the awards — one that got even thicker when Beyoncé was shut out entirely from the recently announced nominations for the Country Music Association (CMA) Awards.
But of course, the biggest Grammys question with Beyoncé remains: Will this finally be the year that she wins album of the year? The Recording Academy is under more pressure than ever over the answer, particularly after Jay-Z took the Grammys to task in a speech at the 2024 awards for having never bestowed its most prestigious honor upon his wife.
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Here, four Billboard staffers discuss the most pressing questions concerning Cowboy Carter and the Grammys it hopes to lasso in February.
Will there be a “Beyoncé effect” at the Grammys — recognition for the Black country artists she spotlights on Cowboy Carter?
Paul Grein (Awards Editor): “Blackbiird,” featuring Brittney Spencer, Reyna Roberts, Tanner Adell and Tiera Kennedy, and/or “Spaghettii,” featuring Linda Martell and Shaboozey, could be nominated for best country duo/group performance. The latter would give a nod to Martell, who in 1969 became the first Black woman to play the Grand Ole Opry. And Shaboozey is very likely to be nominated for best new artist and record of the year; “A Bar Song (Tipsy)” has done so phenomenally well, it stands on its own.
Gail Mitchell (Executive Director, R&B/Hip-Hop): With Shaboozey — who guests on two Cowboy Carter tracks — recently notching his 12th week at No. 1 on the Billboard Hot 100 with “A Bar Song (Tipsy),” we’re already seeing the Beyoncé effect. It’s no surprise that he’s poised to score a nomination or two in the country categories and perhaps a best new artist or song and/or record of the year nod. I’m not sure the effect will extend to Grammy recognition for Cowboy Carter’s other featured Black country artists. However, there’s no discounting the heightened visibility that comes with a Beyoncé co-sign: Featured artists Martell, Spencer, Adell, Roberts, Kennedy and Willie Jones all gained significant catalog boosts after the album’s March release.
Melinda Newman (Executive Editor, West Coast/Nashville): Is this like the butterfly effect, where the ripples caused by Cowboy Carter may reverberate and cause seismic shifts down the line? The only artist likely to see any recognition is Shaboozey — and he probably would have gotten it without his Cowboy Carter appearance, given the massive success of “A Bar Song (Tipsy),” though Beyoncé’s seal of approval certainly doesn’t hurt. Besides Spencer, whose January album didn’t get the attention it deserved, most of the wonderfully talented Black women on “Blackbiird” didn’t release anything that popped during this year’s Grammy eligibility period.
Andrew Unterberger (Deputy Editor): I think somewhat unquestionably we will see major recognition for Shaboozey, who was introduced to much of mainstream America through his pair of Cowboy Carter guest appearances — but who also went on to have a bigger solo hit than anything on Cowboy Carter this year with his double-digit-week Hot 100 No. 1, “A Bar Song (Tipsy).” The other guest artists on the album will likely not be major contenders in the same way — best new artist nominations for Spencer and Adell are certainly both possible, but it’s a crowded field there this year, and I wouldn’t be surprised to see both shut out.
At the last Grammys ceremony, Beyoncé’s husband, Jay-Z, accepted the Dr. Dre Global Impact Award with a speech in which he noted that she “has more Grammys than anyone and never won album of the year,” adding that “even by [the Recording Academy’s] own metrics… that doesn’t work.” Is it likely that academy members will remember his words when they vote — and will that help or hurt her chances?
Grein: Jay calling out the Grammys, right there on the Grammy stage, was a moment of high drama. It’ll be remembered — and I believe it will help her cause. Some context that Jay didn’t provide: Several other artists with large numbers of Grammys have never won album of the year, including Jay himself, with 24; Ye, also 24; Vince Gill, 22; and Bruce Springsteen, 20. And four other artists have equaled Bey’s 0-4 record as lead artists in album of the year — Ye; Kendrick Lamar; Lady Gaga, counting her second Tony Bennett collab; and Sting, counting one album with The Police. Also worth noting: The Grammys have gone out of their way to trumpet Bey’s record-setting accomplishments on the Grammy telecast, more than they have for any other artist. Bey is clearly due, even overdue, for an album of the year win. Jay’s comments put considerable pressure on voters to give her the award. Voters should be able to make these never-easy decisions without that kind of outside pressure, but here we are.
Mitchell: It’s been nearly a year since Jay-Z’s impactful comments, so I don’t think it’s likely they’ll be top of mind for most academy voters when they fill out their ballots. Voters are going to choose based on their perceptions of the project overall and its songs. Additionally, Cowboy Carter will be vying against a strong slate of contenders that will likely include Billie Eilish, Ariana Grande, Chappell Roan, Sabrina Carpenter and Taylor Swift.
Newman: While some folks probably didn’t like being chastised that they weren’t voting “correctly,” a lot of voters likely weren’t even aware that Beyoncé had never won album of the year. Country voters are unlikely to nominate her over a core country artist, given how hard it is for country artists to get any recognition in the Big Four categories other than best new artist. If she does get nominated for album of the year, it will be because noncountry voters nominate her.
Unterberger: It did put the squeeze on them a little bit. While pop fans — and the Beyhive in particular — are more than familiar with the narratives around Beyoncé and her history of AOTY snubbery, members of the Recording Academy are more likely to get the message when one of the biggest recording artists in history publicly calls them out over it. But I don’t know if it’ll be enough to get Cowboy Carter over the top.
Beyoncé
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Some of the discourse surrounding Cowboy Carter upon its release had to do with whether this really was Beyoncé’s “country album” in the first place. How is the album likely to be treated categorywise, and should we expect the Nashville/country community to show its support on the ballot?
Grein: When the album was released, Beyoncé said, “This ain’t a Country album. This is a ‘Beyoncé’ album.” There probably will be discussion in the screening committee room about which genre album category it should compete in — best country album or best pop vocal album. There was discussion about whether her last album, Renaissance, should be slotted in best pop vocal album or best dance/electronic album. It was classified as dance/electronic and won. I suspect the academy will again follow Beyoncé’s wishes — whatever they may be — in making that call.
It’s not a good sign that the CMA passed over Cowboy Carter in its recently announced nominations, but it’s not necessarily fatal, either. The Chicks’ Taking the Long Way and its single “Not Ready To Make Nice” were passed over for CMA nods in 2006, but went on to win Grammys for album, record and song of the year, as well as two country-specific awards. And even if the Nashville/country community is mixed on Bey’s album, she can garner enough support from other sectors of the academy to win album of the year.
Mitchell: Can Beyoncé earn her fifth album of the year nomination as well as a ninth record of the year nod — a category she’s also never won — and fifth song of the year nomination? Yes, given that these are among the six general-field categories in which all eligible members can vote. But if that comes to pass, can she finally win the coveted album of the year? The optimist in me hopes so, considering Cowboy Carter’s commercial success — it was Beyoncé’s eighth Billboard 200 No. 1 — and the chart inroads it made — she’s the first Black woman to lead Top Country Albums. But what are supposed to truly count are Beyoncé’s artistic and cultural accomplishments — and that’s when the cynical realist in me says, “Hold on.” The album scored zero nominations for the upcoming CMA Awards. And there’s also past history: The academy’s country committee rejected Bey’s “Daddy Lessons” in 2016. It’s not a slam dunk that she will earn nods in the country categories. Bey’s team might even be considering submissions in the Americana categories. Despite concerted efforts in Nashville to level the country playing field, it remains an uphill push for women artists, especially women of color.
Newman: Beyoncé receiving no CMA Award nominations in some ways gives the country community permission to continue to ignore her work in country categories. Plus, given that voters are only allowed to vote in three fields, most noncountry voters aren’t going to spend a vote for her in the country categories. However, plenty of country voters are upset she was not nominated for any CMAs and very well may put her forward. Beyoncé herself said this was not a country album — but whether it’s nominated for best country album feels like it could go either way. Still, Cowboy Carter tracks like “Texas Hold ’Em” or her remake of Dolly Parton’s “Jolene” have better shots at getting country nominations than the album itself.
Unterberger: If the CMA Awards are any indication, Bey might be in a little bit of trouble there. She didn’t receive a single nomination for this year’s awards, while Post Malone, another pop star interloper doing country this year — but one who promoted the set heavily in Nashville and recorded it with many of its biggest stars — secured four, which sent a pretty loud message about the embrace, or lack thereof, of Cowboy Carter in Music Row. I don’t necessarily see that message as racially motivated, but I think the country community has always been very insular and self-celebratory, and when an outsider comes along insistent on doing country their own way, without specifically enlisting the community’s active participation and support, they are quickly othered and often ultimately ignored. I wouldn’t be surprised if Zach Bryan gets shut out in the country categories this year, despite his consistent genre success, for similar reasons.
Cowboy Carter’s commercial performance and critical reception weren’t entirely parallel. How could both affect its nomination chances?
Grein: It did well enough both critically and commercially to be nominated. The album topped the Billboard 200 for two weeks and spawned three top 10 hits on the Hot 100 — the most from any of her albums since I Am… Sasha Fierce, which spawned four. If Cowboy Carter isn’t nominated, it won’t be because it didn’t do well enough.
Mitchell: Commercial performance isn’t supposed to be the main criteria for the peer-voted Grammys. And neither is critical reception, even though both undoubtedly factor somewhat in voter decisions. Cowboy Carter outpaced Renaissance commercially, 407,000 vs. 332,000 equivalent album units, according to Luminate, during their respective biggest streaming weeks. But those doing the streaming aren’t necessarily doing the voting. While some country die-hards didn’t heartily welcome her stepping across the aisle, Cowboy Carter garnered praise like Renaissance and Lemonade before it. Those albums won Grammys in the dance and R&B fields, but none of their general-field nominations — including album of the year. Perhaps the tides will shift perceptibly this year in the wake of the academy recently inviting more than 3,000 music professionals — many of them young, women and/or people of color — to become voting members.
Newman: In recent years, Grammy voters have leaned into commercial albums more than they used to, even though these are awards for artistic merit, not commercial success. That may hurt Cowboy Carter, which got off to a strong commercial start — topping the Billboard 200, as well as Billboard’s Top Country Albums and Americana/Folk Albums charts — before dropping off quickly. Still, Cowboy Carter is seen as a culturally significant album and one that is an important, yet very palatable, lesson about the essential role of Black artists in country music’s history — which may carry some weight among voters.
Unterberger: They might not have been exactly parallel, but I think they were close enough. Cowboy Carter debuted at No. 1 with the year’s biggest non-Taylor Swift first week, and it generated a legitimate No. 1 hit in the culture-capturing “Texas Hold ’Em.” Neither had quite the commercial longevity her fans and supporters might’ve hoped for — “Texas Hold ’Em” fell off the Hot 100 after 20 weeks, and Cowboy Carter failed to generate a real second hit and is currently ranking in the lower half of the Billboard 200 — but both were successful enough that I don’t think any voter could look at Cowboy Carter and go, “Yeah, sure, it got good reviews, but did anyone actually listen to it?” It’s still one of the year’s major pop releases by any measure.
Cowboy Carter isn’t the only foray into country by an ostensibly “noncountry” artist eligible for big Grammy wins this year — there’s also Post Malone’s F-1 Trillion. Are Post and Bey likely to get the kind of Big Four attention that has eluded core country artists in recent years — and who are the artists who could get the same kind of consideration this year?
Grein: I’d be shocked if Beyoncé wasn’t up for album of the year. Post also has a very good chance at a nod. He’s been nominated three times in the category, and F-1 Trillion was a very successful departure for him. The country community appreciated that he put in the time to get to know them and their ways. The academy has been aggressive in recent years about expanding and diversifying its membership, but it hasn’t put that same energy into expanding its Nashville membership. That reflects in the voting. The last country album to be nominated for album of the year was Kacey Musgraves’ Golden Hour six years ago, which won. As it happens, Musgraves is vying for an album of the year nod again with this year’s Deeper Well. Chris Stapleton, who was nominated in 2015 for Traveller, could also be nominated this year with Higher. Lainey Wilson — the reigning Grammy winner for best country album, for her Bell Bottom Country — is another possibility, for Whirlwind. But that would make five country albums in the mix. We’ve never had more than one country album nominated in any one year. They’re not all going to make it.
Mitchell: It will be interesting to see how Post — a fellow country outlier who partnered with Beyoncé on Cowboy Carter’s “Levii’s Jeans” — fares in the Grammy derby. Judging by the reception and success he’s lassoed with several F-1 Trillion singles, including “I Had Some Help” with country superstar Morgan Wallen, Post has made a smooth transition into this new genre. So it’s not far-fetched that he’ll be competing against Beyoncé and Swift, with whom he partnered on her hit “Fortnight,” in the album, song and record of the year categories that have eluded core country artists. And Wallen could possibly earn another nod and his first Grammy win with “I Had Some Help.” As the genre continues to enjoy its mainstream renaissance, perhaps Wilson, Stapleton and other country stars will find themselves breaking out of the genre-specific corral and charging into the big show.
Newman: F-1 Trillion is a lock for a best country album contender, as is Stapleton’s Higher, and both could land in the final eight for the all-genre album of the year category, even though mainstream voters tend to ignore country. Cowboy Carter’s fate feels a bit fuzzy only because Bey, who has been nominated in this category four times before, faces such strong competition from the likes of Carpenter, Swift, Eilish, Roan and Grande.
Unterberger: I would expect to see both Beyoncé and Post scattered across the major categories — though Post may be hurt a little by his set’s signature hit, “I Had Some Help,” being a collaboration with Morgan Wallen, whose recent history of being ignored by the Grammys indicates his presence still makes the Recording Academy a little squeamish. Aside from them, Zach Bryan’s new The Great American Bar Scene didn’t quite get the attention last year’s self-titled set did, but its “Pink Skies” single has done very well and could be a fringe song of the year contender. If the academy is still willing to treat Megan Moroney as a new artist, she could certainly be a nominee for best new artist. And while he might be a long shot, I’m holding out hope that Luke Combs can parlay the Grammy attention he got last year for his “Fast Car” performance — alongside original artist Tracy Chapman — into a song of the year nod for the thunderous “Ain’t No Love in Oklahoma” from the highly successful Twisters: The Album.
This story appears in the Oct. 5, 2024, issue of Billboard.
When “Ain’t No Love in Oklahoma” reached No. 1 on Billboard’s Country Airplay chart, it became Luke Combs’ 18th chart-topper on the tally. But this one was different from its 17 predecessors for the Sony Music Nashville artist. “Oklahoma” was the lead-off single from Atlantic Records’ Twisters soundtrack and his first hit spawned from a movie. Also, as the song spends its second week atop the chart, it brings Combs’ cumulative weeks spent at No. 1 on Country Airplay to 53, making him only the sixth artist in history to have spent more than a year at the summit.
Every one of those 18 No. 1s has been promoted to country radio by Sony Music Nashville senior vp of promotion Lauren Thomas, who oversees promotion for SMN’s RCA and Columbia imprints. And that feat earns the radio veteran, who joined SMN in 2009, the title of Billboard’s Executive of the Week.
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Here, Thomas explains how Sony Nashville and Atlantic worked together to promote both the song and the movie, how Combs’ previous No. 1, his remake of Tracy Chapman’s “Fast Car,” paved the way for a broader audience and how Combs integrated the song into his sold-out summer stadium tour. “Honestly, [‘Oklahoma’] is a Luke Combs song through and through and perfect for the live stage,” Thomas tells Billboard. “Luke did the perfect job of writing something for this massive film and soundtrack and making sure it was original to him as well.”
“Ain’t No Love in Oklahoma” is No. 1 for the second straight week on Billboard’s Country Airplay chart. What key decisions did you make to help that happen? We are fortunate to have a hit song along with an incredible track record with Luke at country radio. The team’s relationships paired with communication with our partners on our goals — and ultimately their support — drove this one home.
“Ain’t No Love in Oklahoma” is from the Twisters soundtrack, which Atlantic released. How did you and Atlantic work together to take “Oklahoma” to country radio, while also promoting the film? Working with Kevin [Weaver, Atlantic Records president, West Coast] and his team from the beginning was exciting. From the beginning, their team wanted to make some noise. With the teases of the trailer directly [to] moviegoers inside the theaters to the massive music video with Luke and all the film footage, we were given the ball to make this Luke’s next No. 1 single and their team trusted us to do so.
The song leans more into rock than Combs’ songs usually do. Did you receive any initial pushback from radio? Luke has a solid track record and his sound covers a wide range. Tempo from a superstar like Luke was embraced fairly quickly and given a real opportunity with immediate airplay from a world premiere across all chains.
Though written specifically for the soundtrack, what about the song do you think appealed to Combs’ existing fan base and did you work it as if it were a standard Combs’ single release or were there different elements that came into play because of the film?
Honestly, it’s a Luke Combs song through and through and perfect for the live stage. If you’ve never seen a Luke show before, it fits perfectly into his set. Whether a ballad or something more hard-hitting, they love Luke and are here for him and I think Luke did the perfect job of writing something for this massive film and soundtrack and making sure it was original to him as well.
How did you tie in with the success of the movie to help promote the song?
It was all Luke. Luke was on his massive sold out stadium tour at the time of the movie so there was an easy tie-in to have Luke talk about the song as well as what it was like to shoot the music video for such a big blockbuster — which, as Luke explained, was a very different process from a standard music video shoot, most notably having debris flying at him during filming. That, and of course the weekend the movie came out Luke invited Glen Powell and some of the cast up on stage for his shotgunning beer moments.
“Ain’t No Love in Oklahoma” is Combs’ 18th No. 1 on Billboard’s Country Airplay chart. What has been the strategy when taking him to radio in terms of picking singles and working with him and his manager, Chris Kappy? It is very much collaborative with Kappy, Sophia [Sansone] and our respective teams. Luke definitively knows his audience and speaks into the decisions we make — he leans in and always has with both his fans and our partners. It’s wild to think about the days of driving Luke around in a rental car to radio station shows and visits and now Kappy, Sophia and I get on bi-weekly calls to talk through things like multiple sold-out stadium dates. Wild.
Combs’ songs have now spent a cumulative 53 weeks at No. 1 on Country Airplay, making him only the sixth artist to have registered more than a year. Is there one thing you and your team have consistently done when taking Combs to radio that has resulted in such a huge number? It really is the perfect marriage of compelling music and communication to partners. Luke has done an incredible job of consistently delivering music that moves people in a variety of ways. The enthusiasm from Luke and his team is contagious and the Columbia promotion team carries that energy into the promotion of his music and the execution of our goals.
He took his cover of Tracy Chapman’s “Fast Car” to No. 1 in 2023 and that song also received some crossover play on pop formats. How did that increase his audience?
The whole collective team — management, marketing, press, promotion, etc. — came together to push this in front of new audiences. It really wasn’t one thing alone. The song and story behind it were everywhere and people who had never heard of Luke Combs now know who he is.
This might be a really silly example, but I have worked every Luke Combs number one. When “Fast Car” came out, it was the first time my dad spoke to me about Luke Combs’ music. He knew who Luke was but this song and story behind why Luke cut it was familiar and clearly spoke to him. In contrast, same story with my little brother. Working with [senior vp of pop promotion] Brady Bedard and the team at Columbia was a dream and opened the door for both Luke and that song to have another moment with audiences at the different formats.
The song also made history for Tracy Chapman and brought us one of the most memorable Grammy performances to date. They both just looked so happy. I will always be honored to have been a small part of that song.
What did you learn from this rollout that you can use with other songs from soundtracks, and do you think the Twisters’ soundtrack success will lead to more country artists having songs on soundtracks?
I think we always have to be open to different ways to promote music and this song helped our team do that. Having an extra bonus of a song being in a film and as the lead from the soundtrack just helps add the exposure of any song no matter the genre.
Country music is about storytelling so I think music supervisors should certainly pay more attention to the genre to help tell the stories of their films and shows. This soundtrack helped bring the genre to the forefront at a time when country music is shining. I can only hope that the music teams at these film companies realize the power a song can have to really amplify their story.
Ask Nate Smith what keeps him up at night and the list tumbles out of the rising country star’s mouth.
“Are we gonna get a No. 1 album debut? I slipped up on my diet today; let’s get back at it tomorrow. I think about my family [and] missing everybody. I think about am I calling my mom enough? I think about a lot of things at night.”
One thing he doesn’t have to worry about is making the record books. Smith’s first two singles, the high-octane kiss-off “Whiskey on You” and the searing, rock-edged “World on Fire,” both hit No. 1 on Billboard’s Country Airplay chart, with the latter tying Morgan Wallen’s “You Proof” for the most weeks at No. 1 (10) in the chart’s 34-year history this February.
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His success has helped him achieve a milestone: “I just bought a house in Nashville,” the California native tells Billboard. “I’ve got some acres, and I’ve got a nice private entry. It’s gonna be really good. I’m looking forward to the peace and quiet.”
There likely won’t be any peace and quiet any time soon. His new album, California Gold, out today on Sony Nashville, is a wide-ranging 18-song effort that makes great use of his husky, emotion-filled voice.
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There are stylistic nods to ‘90s bands like Lifehouse and Goo Goo Dolls on the set, acts that he says are “ingrained in my DNA,” especially on songs like the driving “Want Me Back” and percolating “Perfect,” while first single, “Bulletproof,” recalls Tom Petty.
Smith co-wrote six of the 18 songs — his road schedule kept him from writing more, but, as the Nashville dictum goes, the best song always wins. “I’m looking for the best song always, whether I write it or somebody else does,” he says. “But with that said, I would have loved to have been in the studio a little bit more writing with people and stuff, [but] I was way too busy this year and I was lucky enough to get songs that I loved just as much as if I had written them.”
The road to success has had a few bumps, as Smith expressed on Instagram in mid-September when he posted about the relentless pressure artists face to produce strong social media numbers and streams. “I don’t think people realize the amount of pressure us artists face,” he wrote. “Why isn’t my reel viral? Why didn’t my last release get 7.5 million streams…It’s a constant grind of feeding the machine. It shouldn’t be about any of this. It should be about the music. I am absolutely exhausting trying to be cool.”
Nate Smith
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The post resonated mightily with his fellow artists, triggering responses from HARDY, Breland, Carly Pearce and Bailey Zimmerman. “That was a really vulnerable moment,” Smith says, who adds he’s talking to his team about managing social media content better. “It was extremely relatable to the community, but it made me feel like, ‘Man, I’m not alone in this.’”
Smith, who is managed by The Core Entertainment and booked by The Neal Agency, talked to Billboard about creating California Gold, allowing himself to be vulnerable and why he may rock out on his next album.
How did the confidence from the success of songs like “Whiskey on You” and “World on Fire” fuel you going into making this album?
It made me trust my gut more. Here’s a perfect example: We didn’t know exactly what song we were gonna put out before, but it wasn’t gonna be “Whiskey on You,” but my gut was like, it’s gotta be “Whiskey on You.” And so, I went to the team. They trusted me. It went No. 1. And then “World on Fire” wasn’t even [initially] on the album. I was like, “Guys, you gotta put this one on the album.” And [they were like] ‘It’s too late. We already have a plan. We can’t put it on there.’” I had multiple meetings with the label. I was like, “Guys, we have to do this. There’s no way around it. We will fail.” They got on there, and then that one became the biggest song of my career.
Your instincts were right again with “Bulletproof,” the first single from California Gold, which went to No. 3.
I knew “Bulletproof” was the one. I’ve learned to trust my gut. And if it doesn’t feel right at all, I don’t do it. It’s got to be like this is an undeniable smash that people are going to connect with on a mass level.
If there’s anything I’m scared of it’s putting a song out on radio. I want to make sure there’s zero doubt in my mind whatsoever before I put it out. I’m not going to take a gamble on radio.
Was there something for sure that you knew you wanted to do differently this time from your first album?
Oh yeah. “Name Storms After” on the first album, love that song so much, doesn’t rock hard enough. I listen to it every single time, I’m like, “F—k, we should have added more guitar.” It needed to have more umph underneath it and it didn’t have it. And it bothers me every time I hear it. So, I swore to myself I will make sure that everything that’s on this album, I’m obsessed with every part of the songs in every single way.
Though it’s not an official single, last week you released your duet with Avril Lavigne, “Can You Die From a Broken Heart.”
We just filmed the music video for it in Toronto and it was really fun. I actually got to be a zombie. I’ve got in white contacts, and I got to freak everybody out. It’s really emotional. It was my highest- budget video we’ve ever been a part of. It was probably six figures to do it,
You’ve called the track the saddest song you’ve ever been a part of.
I’ve been in that place before during the heartbreak [when] it feels like nothing’s gonna fix it, nothing can make you feel better, nothing can take you out of that mindset. I remember feeling so desperate. That song is so desperate. It’s like begging to have that person back, I think the song could be life changing. It feels like “I’m With You” that was my favorite one of Avril’s, like a nod to that.
Is it hard to be that vulnerable in a song?
It’s not. It’s really freeing to be yourself completely all the time like that. That’s the most powerful thing that I’ve noticed in my life — getting to this place where I’m fully embracing who I am in every way is the most freeing thing and that’s the good, the bad and the ugly. And then no one can ever call you out on your shit because you’re yourself all the time. I love that that’s the place that I’ve gotten to in my life. I’m so thankful for that as an as an artist.
Were you scared to do that when you started?
It’s been a slow burn because that happened to me in my personal life, where I’ve gotten more unapologetic about who I am and not afraid to speak up or set boundaries with people or tell somebody, “Hey, I really love you, but that really hurt my feelings, man.” I would have been scared to do that before because I cared so much about what people thought about me, but I think that has bled into my artistry over time.
“World on Fire” was No. 1 for 10 weeks, which is thrilling. Was there any part of you that was bummed you didn’t break the tie?
Oh gosh, man, I think it’s funny because I don’t think people realize that ours was consecutive, Morgan’s was not consecutive. So technically, I know and he knows how it really went down (laughs). I’m really thrilled. I can’t even believe that it beat songs, like “Amazed” by Lone Star. That feels wrong, but I’m just grateful for what it did. It means so much.
We’re seeing your dad pop up on your social media where you’re hanging with him on the porch or he’s riding with you in your car. Is your dad getting recognized as shows?
A little bit. It’s funny. My mom’s getting really jealous, too. She’s getting super, super jelly. I’m like, “Mom, take some time off from work and come out!” She’s like, “I can’t, I can’t take it off.” My mom is a hoot, she’s the funniest person you’ll ever meet in your life, but dad’s retired, so he’s got a lot of free time. I’m like, “Come out for a week or two.” He’s like “cool dude, will do.”
You’re now headlining your own tour, after being out with acts like Morgan Wallen, Thomas Rhett and Cole Swindell. What did you learn from them about holding on to an audience?
It is really thinking about the flow of the set, like if you’re going to do a piano song, make it a moment. Don’t do four in a row. You got to pace it right? I kind of look at it like a roller coaster, so you’ve got, , a high energy song, then you kind of bring them down a little bit, but you got to come right back up. I think the other thing was always telling my story on stage.
How hard has it been to learn to be a boss of your band and crew?
Heavy is the crown (laughs). My managers, from the get-go, they made me always have the tough conversations with people, and I kind of hated that at first like “Aren’t you guys supposed to do that or something?” And they were like, “nope.” I feel like I do a good job of having a conversation in respect and love and never, ever, ever making somebody feel bad, but I can still get the truth out. That was scary at first because you’re like, “I don’t want to hurt anybody’s feelings. I want everybody to like me.”
You play Foo Fighters’ “My Hero” in your shows but haven’t recorded it. Is that next?
I’ve tossed around doing an EP where I do all my favorite rock songs, like “Heart-Shaped Box” [and] “My Hero,” but I’ve also thought about my next album just being a full rock album.
It feels like we’re at a time when no artist has to limit themselves, when you look at HARDY topping both the country and rock charts, Post Malone and Beyoncé coming into country.
I don’t ever want to depart country; country is what I’m here for. I’m here for authentic, heartbreaking songs and storytelling. That’s why I’m in country music. It’s the best fans in the world. I love country radio. I love everything that is country music, but, yes, I want to dabble in all the things that I like and whether that takes it into a direction, and we get on pop radio or rock radio, I’m good with all that, but I’m always going to stay true to myself.
After Garth Brooks was accused of rape and other sexual misconduct in a lawsuit filed in Los Angeles on Thursday (Oct. 3), the country star has responded and insists he is “not the man they have painted me to be.” The allegations come from an unnamed woman who claims Brooks sexually assaulted her while she […]
Country music star Garth Brooks is facing a lawsuit over allegations that he sexually assaulted an unnamed woman while she worked for him as a hairstylist and makeup artist.
In a lawsuit filed Thursday (Oct. 3) in Los Angeles court, attorneys for the anonymous Jane Roe accuser claim Brooks raped her during a May 2019 stay in a Los Angeles hotel room and also exposed her to “other appalling sexual conduct” during that same year.
The lawsuit claims that the singer took advantage of the accuser’s mounting financial troubles to subject her to “a side of Brooks that he conceals from the public.”
“This side of Brooks believes he is entitled to sexual gratification when he wants it, and using a female employee to get it is fair game,” Roe’s attorneys write.
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Notably, the accuser also alleges that Brooks was behind a mysterious lawsuit filed last month, obtained by Billboard, in which an anonymous “celebrity” plaintiff sued in Mississippi federal court over an an unnamed accuser’s sexual abuse allegations. Calling the accusations false and an “ongoing attempted extortion,” the earlier case asked a judge to stop her from further publicizing them.
“The abusive Mississippi action by Brooks is a blatant attempt to further control and bully his sexual assault victims by utilizing his multimillionaire resources to game the legal system,” Roe’s lawyers write in Thursday’s complaint. “Brooks is desperate to prevent his millions of fans from learning about the horrific things he has said and done to a junior female employee who did nothing to deserve such treatment.”
A representative for Brooks did not immediately return a request for comment.
In her lawsuit, the plaintiff claims she began working in 1999 for Brooks’ wife, Trisha Yearwood, but started to work for Brooks in 2017. When she experienced financial difficulties in 2019, she says Brooks offered to help her by giving her more work.
The first alleged incident occurred earlier in 2019, when Brooks allegedly emerged from the shower naked and forced the accuser to touch his erect penis and said he had fantasized about her performing oral sex on him. She says she denied his advances but continued to work for him.
Months later, in May, Roe claims that when she and Brooks stayed together in a Los Angeles hotel, he booked only a single room for both of them. She claims that during their stay, he violently raped her in the room.
During the months that followed, the plaintiff claims Brooks repeatedly acted inappropriately toward her in other ways, including sending sexually explicit text messages, physically groping her breasts, and making sexually charged remarks toward her.
“We applaud our client’s courage in moving forward with her complaint against Garth Brooks,” said the accuser’s attorneys, from the prominent plaintiff’s firm Wigdor LLP. “The complaint filed today demonstrates that sexual predators exist not only in corporate America, Hollywood and in the rap and rock and roll industries but also in the world of country music.”
Though Brooks has not yet responded to Thursday’s lawsuit, documents filed in the earlier mystery case in Mississippi tell what appears to be his side of the story.
After a former professional associate “encountered financial difficulties” and asked for financial assistance in 2020, the lawsuit says that the unnamed celebrity plaintiff “complied out of loyalty” and offered help. But when he eventually refused her increasing demands, inclduing for salaried employment and medical benefits, the lawsuit says the woman responded with “false and outrageous allegations of sexual misconduct.”
Later, the unnamed woman allegedly “offered to refrain from publicly filing her false and defamatory lawsuit against plaintiff in exchange for a multi-million dollar payment” — a demand that the lawsuit called “extortion.”
“Defendant’s allegations are not true,” the unnamed celebrity wrote in last month’s lawsuit. “Defendant is well aware, however, of the substantial, irreparable damage such false allegations would do to Plaintiff’s well-earned reputation as a decent and caring person, along with the unavoidable damage to his family and the irreparable damage to his career and livelihood that would result if she made good on herthreat to ‘publicly file’ her fabricated lawsuit.”