State Champ Radio Executive of the Week
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Few artists have had as big a year as Sombr. The 20 year old New York native broke out in a big way in 2025, with two top 20 Billboard Hot 100 hits — “Back To Friends,” which peaked this week at No. 12, and “Undressed,” which reached No. 16 in October — and the release of his debut album, I Barely Know Her, which reached No. 10 on the Billboard 200 in September.
This week, things are getting even better: the singer/songwriter is set to make his debut on Saturday Night Live this weekend, and just today (Nov. 7) received a Grammy nomination in the coveted best new artist category. To add on to that, last night he finished the sold out North American leg of his first-ever headlining tour in his hometown, across 31 dates in which every single venue had to be upgraded to accommodate demand, with several cities adding dates as well. All told, according to UTA data, Sombr has sold more than 100,000 tickets across two dozen countries, including his first-ever sold-out arena show at the 3Arena in Dublin, with more shows in Australia and Europe to come later this year into next. And that victory earns UTA agent John “JT” Taylor the title of Billboard’s Executive of the Week.
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Taylor, who is Sombr’s co-agent alongside UTA partner Matt Meyer, also has a long relationship with the Jonas Brothers, for whom he played guitar and served as musical director in their early days, before joining their management team at Philymack from 2014 to 2022. He is now their agent as well, as the group is in the midst of a tour that has sold 442,000 tickets and grossed $42.4 million from shows between Aug. 10 and Sept. 29, according to figures reported to Billboard Boxscore. Here, Taylor discusses Sombr’s remarkable rise, the logistics of having to upgrade so many venues on a tour while an artist is blowing up and more. “I haven’t ever seen it this quickly, personally,” Taylor says of Sombr’s rise. “It’s indicative of the way artists are able to effectively engage and reach audiences far and wide through smart digital strategy and great partnership with DSPs and social media platforms.”
Sombr broke out in a big way this year with two top 10 Hot 100 hits, and this week, he wrapped the North American leg of his Late Nights & Young Romance Tour, having sold out the entire run, according to UTA figures. How did you approach the booking and routing for someone who was actively making a name for themselves at the time, and what key decisions did you make to help make that happen?
To begin with, we are so fortunate to be working with a very special artist who is particularly attuned to his fan base. Shane’s fans are the most important thing in the world to him, so he has been incredibly focused on the fan experience throughout every step of this incredibly rapid growth trajectory. As for the strategy, we have an incredible IQ department at UTA that helped us as we determined our strongest markets and how to best estimate demand as we determined venue size. We worked with individual local promoters, who we are proud to have great relationships with, to ensure we could keep ticket prices accessible, the venues open to all ages, and to make sure we had Shane playing in iconic places that his fans would be excited about.
As things continued to explode for Shane online, on the airwaves and beyond, it became evident that the rooms we had initially booked, which were the right rooms at the time, were simply too small. With the awareness we might leave too many fans unable to see a show, we pivoted quickly in real time to upgrade wherever we could.
sombr in his home studio.
Bryce Glenn
Each venue on the North American tour was upgraded, and multiple dates were added in several cities. How do you make the call to do that and how difficult is it, logistically to pull off the switch, and overall to assess the correct venue size for an artist without much touring history?
Throughout this process, Shane has prioritized the fans and their experience. That mandate definitely brought with it some challenges, but was ultimately rewarding in the end. Shane wanted to upgrade wherever possible, but with the caveat that he didn’t want to change dates, didn’t want to refund tickets or cancel any of the shows. He was admirably adamant that we honor all of the original tickets sold at face value. This meant that our team — Matt Meyer, Jess Braunstein and myself — had to work with the promoters to find what larger rooms were available and able to accommodate those who already purchased tickets in the same seating configuration. We had to navigate this while renegotiating our current deals, all while considering the additional expenses associated with the larger rooms, and continuing to keep ticket prices fair and accessible throughout. We are very proud to say we were able to accomplish this in almost every market, which felt almost like a miracle once we had pulled it off.
He’s also performed in Europe and is about to go to Australia, with more European dates planned for next year, and has sold over 100,000 tickets across more than a dozen countries. How rare is that for an artist so relatively new, and how did you approach each territory?
Some markets still really depend on the artist showing up and doing the leg work to build the audience, such as Japan, but even there Shane played Summer Sonic in August as his first-ever festival appearances and first time in the country, and already has amassed strong offers to return to a rapidly growing base. In Europe, we played a few headline shows in key markets, where the data was overwhelmingly convincing to test the waters. Shane was quick to alert us to the incredible numbers he was seeing in Ireland, for example. Again, we moved quickly and did everything we could to stay ahead of the explosive growth as we plotted out our 2026 headline run, which sold out clean on the on-sale, including highlights of three nights at Brixton in London and capping off with a show at the legendary 3Arena in Dublin.
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How do you continue to grow an artist over the years into a real touring heavyweight?
By always prioritizing and supporting the artist’s vision and always putting the fan experience first. We are so fortunate to have an incredible team to support that vision with care and expert level strategy. We work closely across all departments at UTA to ensure we are not leaving any opportunity overlooked. Beyond the walls of our buildings, we have amazing partners at Warner Records, High Rise PR and of course with Shane’s team at The System — Andy Boose and Ann Perkins.
What’s next for Sombr?
SNL! His first ever Australian shows, the aforementioned headline European/U.K. run and some amazing festival looks in 2026.
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Olivia Dean’s sophomore album The Art of Loving, released in late September, is an intimate portrait of matters of the heart, and the highs and lows of romance in your 20s. Now the world loves her back and U.K. industry insiders are blown away as a fresh outpouring of affection gives her a rare shot of breaking America.
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Released via Capitol Records U.K. in partnership with Island Records U.S., The Art of Loving recently peaked at No. 6 on the Billboard 200, and currently remains in the top 10. And this week, its breakout hit “Man I Need” continues to rise on the Hot 100 and is up to No. 8 — Dean’s first-ever Hot 100 top 10 hit — while two other tracks, “So Easy (To Fall In Love)” and “Nice to Each Other,” appear at No. 44 and No. 88, respectively.
Records have tumbled on the U.K’s Official Charts. On release week, The Art of Loving and “Man I Need” concurrently hit No. 1 on the Albums and Singles chart, with Dean becoming the first British female solo artist to achieve the feat since Adele in 2021. This week, Dean has broken a new U.K. chart record with four songs inside the top 10, the first time any female solo artist has achieved the feat and buoyed by her appearance on Sam Fender’s “Rein Me In.”
Dean is no overnight sensation. The BRIT School graduate first appeared as a backing singer with dance group Rudimental, and landed a record deal with AMF (a subsidiary of EMI) in 2019 for OK Love You Bye, her debut EP. Her debut album Messy (2023) scored a Mercury Prize nomination, and alongside an appearance on the BBC’s Sound Of poll the following year, she earned nominations in three categories at the BRIT Awards in 2024.
Now that steady build has exploded into potential global stardom. Next spring, the 26-year-old will headline six nights at London’s 20,000-capacity O2 Arena as part of her sold-out U.K. and Ireland tour, but the campaign is smartly positioned to break across the pond, too. She’s currently the lead support for Sabrina Carpenter’s ongoing arena tour, including five nights at New York’s Madison Square Garden this week. A performance on Saturday Night Live is scheduled for Nov. 15.
Now, with the campaign going from strength to strength, Tom Paul, managing director of Capitol Records U.K., earns the title of Billboard’s Executive of the Week. Here he discusses the canny A&R decisions that supported Dean’s artistry, why she stands out in a world “increasingly shaped by AI” and keeping her well-fed with her favorite snack: chocolate raisins.
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This week, Olivia Dean’s “Man I Need” became her first top 10 hit on the Billboard Hot 100, soaring to No. 8 in its ninth week on the chart. What key decisio did you make to help make that happen?
Partnering with Island U.S. in 2023 was absolutely key — that team is world-class. They completely understand and support Olivia’s artistry, and we’ve been working in lockstep since the release of Messy. We built an ambitious plan for The Art of Loving rollout in late 2024 and really stuck to it. “Man I Need” was quickly chosen as the focus single by Olivia and the team — and when she started performing it across her U.S. headline shows before release, the response was undeniable. You could feel it connecting in the room. Her being back in market now, supporting Sabrina Carpenter, has only amplified that momentum — and honestly, given the commercial and radio plans Island have put in place, it feels like this track still has plenty more room to grow.
Olivia released four EPs and her debut album, 2023’s Messy, before breaking through with The Art of Loving. How have you worked to build her career steadily through the years?
From the start, we’ve always focused on Olivia as an artist with longevity. We’ve been consistent with music releases since 2019, including live albums from the Jazz Café and Hammersmith Apollo, standout sync moments with Bridget Jones and Heartstopper, her work with brands such as Burberry and Adidas, and extensive global touring.
She’s one of the hardest-working artists I’ve ever seen — she’s travelled the world several times over, supported brilliantly by Nickie Owen and the Universal Music U.K. International team. Olivia knows exactly who she is, and we’re all completely aligned on her ambitions. The key is making smart decisions every day and avoiding shortcuts. She’s in this for the long run, and everything we do is built around that.
What specific decisions did the A&R team and Olivia make during the process of writing and recording The Art of Loving?
Willem Ward’s decision to turn an east London house into a recording studio — complete with Olivia’s own piano — was a key part of the alchemy behind the album’s magic. Olivia lived in the space for three weeks, inviting both longterm collaborators and new writers to join her. Having that creative home base in London, in a space that felt completely her own, made a huge difference.
We kept the core team that’s been integral to her journey while bringing in new creative energy from producers like Zack Nahome. And through it all, we followed Olivia’s lead — she set the tone, the pace and the emotional compass for the record.
Over in the U.K., Olivia currently has three songs in the Top 10, plus a collaboration with Sam Fender. How much planning goes into making sure that each single has the push it deserves when they’re all big simultaneously?
The U.K. chart success is an astounding achievement and absolutely one to be celebrated, but we’ve always said it doesn’t matter which song brings you into Olivia’s world — and we’ve always looked at the bigger, global picture before local chart metrics. We’ve had “Reason to Stay” going viral in Southeast Asia while “It Isn’t Perfect” was peaking in the U.K., and “Dive” [from debut LP Messy] was charting in Australia. She’s a true artist in that respect — every one of her songs forms part of the Olivia Dean story. When “Man I Need” was released, we suddenly had 12 songs in the U.K. Spotify Top 200, spanning her entire catalogue from 2019’s OK Love You Bye right through to The Art of Loving.
While meticulous planning goes into every rollout, there’s no accounting for those unexpected moments. Constant communication with the team — and the willingness to pivot, or sometimes to simply let things grow organically — is crucial. Olivia is an incredibly intuitive artist; she just knows when a song needs attention. Her COLORS session shining a light on “A Couple Minutes” was a perfect example of that instinct at work.
Olivia first broke in the U.K. and is now seeing gains in the U.S. How did you work with your counterparts in the U.S. to set her up for success in the market?
It really comes down to forward planning, consistent communication and talking through every decision with a global perspective. We’re always looking at each move through that lens — understanding the importance of Olivia being in market, aligning on our ambitions, but also making sure we enjoy the process. At the end of the day, we’re a team that genuinely gets on, loves music, and loves working together.
Breaking British acts in the U.S. and globally has been something of a concern for the industry lately, but the trend appears to be bucking. Why do you think audiences have connected with Olivia?
Audiences are craving honesty and authenticity. In a world increasingly shaped by AI, Olivia’s music feels deeply human — soulful, witty and emotional. She represents a new generation of artists redefining British music through intimacy and integrity. Her live performances are truly exceptional; she connects in person the same way she does online. There’s an element of old-school glamor and timelessness in her presentation, but always with her own modern, individual twist. And, of course, the pure quality of her songwriting is second to none.
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How have you been able to leverage TikTok for The Art of Loving’s singles?
TikTok has been a huge part of Olivia’s discovery — not through trends or gimmicks, but through people being genuinely transfixed by the joy of her performances or using her lyrics to soundtrack their own lives. We’ve built every key promo moment around authenticity rather than virality.
The best part is that her biggest moments on the platform have always come from fans, not marketing — and that’s exactly how you know you’ve got a special artist. One of our current trending sounds is simply Olivia explaining the concept behind The Art of Loving — I’ve honestly never seen something like that before, and it’s a perfect example of how her storytelling drives discovery.
Between chatter for a Grammy nomination, an upcoming SNL performance and a massive tour in 2026, how do you position Capitol U.K. to support Olivia on this next phase of the campaign?
Although Olivia’s trajectory this year has been nothing short of explosive, it’s important that we keep the momentum going — there are still so many people yet to discover her and such a rich catalog for them to explore. We have ambitious longterm plans in place, but our job is to make sure Olivia can scale globally without losing the intimacy that defines her.
Keeping our small, focused team at Capitol U.K., led by Jo Charrington, allows us to make every decision intentionally and with care. And, of course, making sure Olivia has a steady supply of chocolate raisins — an absolute essential.
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Bryan Andrews’ vitriol is going viral. The up-and-coming country artist’s song, “The Older I Get,” contains lyrics in its verses that take on big pharma, corporate greed and un-Christ-like Christians. But it’s the bridge that has drawn the most attention, as he makes references to the Jeffrey Epstein files (“Raise your right hand / plead the Fifth / Tryna cover up names on a list / lie and say that it doesn’t exist”), ICE (“Heaven help you if you’ve got brown skin”) and the Israeli/Palestinian conflict (“Watch ‘em starve on Gaza Strip”).
“The Older I Get” originally came out in June. But in mid-October, a tirade Andrews delivered on social media propelled the song into virality: this week, it debuts at No. 3 on Billboard’s Country Digital Song Sales and No. 8 on the overall Digital Song Sales chart while Andrews debuts at No. 16 on the Emerging Artists chart.
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His outburst, which he titled “Crash Out,” features a camo-wearing Andrews seated in his truck, ranting about ICE agents “carting them off in the back of U-Hauls…and the worst part is I have to watch some of you cheering it on like you’re watching a f-cking football game,” saving his ire for people who call themselves Christians who applaud these actions. “I started writing songs about this sh-t because I’m not oblivious to the platform I have,” the Carrollton, Missouri native continues, adding he knows it’s risky for his career to be so outspoken, especially in the often conservative country community, but he feels he has no choice but show “what side of history he’s on.” The reel has garnered more than 7.5 million views on Instagram alone, and proved an effective — if unintended — marketing tactic for the song. And that success earns Andrews’ manager, 10 and 8 Management owner Nicholas Mishko, the title of Billboard’s Executive of the Week.
Here, Mishko, who began managing Andrews almost two years ago after one of the former pipe welder’s songs popped up in his TikTok feed, discusses the song’s success, and gives some context to Andrews’ rise and his signing with Disruptor/Sony five months ago. “Bryan has been creating music for about five years,” Mishko says. “TikTok proved to be a pivotal moment in his career, allowing his music to reach a national audience, open new doors and pursue music full time.” A number of high-profile music executives liked Andrews’ post, which Mishko says, “has opened doors for conversations and opportunities that weren’t possible before.”
The song originally came out in June, but exploded around two weeks ago after Andrews’ “Crash Out” social media post. How were you building the song the past four months until then?
We were building the song through TikTok and Instagram, steadily gaining momentum with each viral moment. We also shared the track with key influencers early on, which helped generate press and expand its reach.
How has it helped spread the word given the celebrities like Mark Ruffalo have liked and commented on Andrews’ post? How are you tying that back to the music?
The attention from high-profile celebrities has helped bring Bryan’s music to audiences who might not have discovered it otherwise. Each repost, share, like or comment generates conversation and drives new listeners to the song and his other work.
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It’s not until two-thirds through “The Older I Get” that Andrews gets overtly political with the bridge that alludes to the Epstein list, “brown skin” and Gaza. Was there any thought to making a version without those references?
The song was largely complete before Bryan wrote that bridge. He added those verses after seeing current events unfold. Those experiences inspired him to address issues and bring awareness.
Andrews posted that people were upset by “Crash Out,” “especially in the country music space.” Was it mainly country music fans or did you hear from people in the country music industry?
The backlash mostly came from fans who felt the song challenged their expectations of country music. We also heard from a few people within the industry, though it was never overwhelming. Overall, the reaction showed that the song was sparking conversation and engaging people with the issues Bryan wanted to highlight.
Andrews signed with Disruptor/Sony in April and you led with “Blue,” which was a much more traditional, though biting, country song about a broken heart, as opposed to something political. Why?
The song highlights Bryan’s songwriting and storytelling, making it a strong introduction for a wider audience. Disruptor’s team, especially Adam Alpert and Julie Leff, has been fantastic to work with, emphasizing from day one that their artists should feel in control of their art. They were fully on board with this first release.
What are your radio plans for “The Older I Get?”
Right now, our focus is on building strong momentum online, letting Bryan’s songs gain traction with fans and influencers. From there, we’ll evaluate whether and how to approach radio, using the buzz as a foundation for any future push.
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On YouTube, so many of the comments are from people who say they hate country music, but they love this song. How are you capitalizing on those new fans?
One of the top comments we’ve seen across platforms is, “I don’t listen to country, but I do now because of you.” We are engaging those new fans by highlighting the song across social platforms and encouraging them to explore more of Bryan’s music. By sharing behind-the-scenes content, stories about the songs and interactive posts, we’re turning casual listeners into loyal fans. It’s exciting to see new fans coming into country music and discovering a side of the genre they haven’t experienced before.
Does he follow “The Older I Get” with another political song or something more traditional?
Bryan has been country his entire life. I have been to his hometown and seen the small-town, blue-collar farming community he grew up in. He is living that life, and with this next song, he is showing listeners that he truly is a country artist and that his authenticity is undeniable.
Are you waiting for the White House to take notice and comment, as they have on Zach Bryan’s song, “Bad News?”
I’m always curious to see who is commenting and what they’re saying, and it’s clear the song has sparked meaningful conversation across a wide audience.
On June 13, the rain was coming down on the farm in Manchester, Tenn., where Bonnaroo is held — and things weren’t looking great for the 2025 edition of the festival.
Hours after sending out an evacuation order to its tens of thousands of attendees, Bonnaroo canceled the rest of its 2025 edition entirely due to a weather forecast that — as the festival said in its announcement — called for “significant and steady precipitation that will produce deteriorating camping and egress conditions in the coming days.”
It was a heartbreaking situation for all involved, from the event’s producers — who in their announcement said they were “beyond gutted” — to the fans who’d trekked to Tennessee to the many artists who were slated to play.
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Among the latter group was Remi Wolf, who had been selected to perform at Bonnaroo’s fabled Superjam — an annual set that brings a fleet of artists together on stage. (Past Superjam leads include Preservation Hall Jazz Band and Skrillex.) Wolf had spent nearly a year preparing for the Saturday night show, formally titled “Remi Wolf’s Insanely Fire 1970s Pool Party Superjam,” recruiting fellow artists including Paramore’s Hayley Williams and Mt. Joy.
With the festival canceled, Wolf and her team were committed to making the show happen elsewhere. So on the night of June 13, Josh Mulder, the director of A&R at talent agency TBA, which represents Wolf, jumped into action, getting on the phone to secure another venue for the concert. After many phone calls, Mulder and the team locked in Nashville’s Brooklyn Bowl, where Wolf performed the following day alongside Williams and a host of other guests, performing songs like Chaka Khan’s “Sweet Thing” and “Tell Me Something Good” with Rufus, Bonnie Raitt’s “I Can’t Make You Love Me” and Hall and Oates’ “Rich Girl.”
Here, Mulder talks about pivoting from the farm to the Bowl.
When did it become clear that the Superjam at Bonnaroo wasn’t going to happen?
Looking at the weather all week going into the festival, we all knew we were in for a wet weekend. All day Friday, we were in close contact with [AC Entertainment’s] Steve Greene and his team on what was happening. He called me while I was at dinner in Nashville on Friday night, saying the show was coming down and explained the situation. I then spent the next hour outside of the restaurant on the phone gathering information and updating our teams to make our next moves.Did you and the team even make it on-site? If so, how was it looking?
Remi and her band made their way through rehearsal in Manchester with the guests on the show on Friday. TBA had people on the ground at the festival on Thursday and Friday, sending constant reports that it was absolutely dumping rain on site, and it wasn’t looking great. We were actively working through an initial wave of weather-related cancellations on Friday afternoon, with the Live Nation team trying to figure out the best course of action for those artists to make the most of their time in Tennessee for the fans.What do you recall about the moment the festival was canceled and how you and the team responded? Was it immediately obvious that a relocation would be possible?
My first call was to Remi’s management team. The word was getting out, and the consensus from us and directly from Remi out of the gate was that we had an obligation to save the Superjam. It was an important moment for Remi, but equally such an important moment for the guests who we have been working with for months. It was a tornado of information being shared as quickly as possible regarding what was happening on site and how the fans were affected as well, which informed how we responded.How did you pivot to Brooklyn Bowl? What calls had to be made, and was it the first venue you sought out?
Immediately on one of those first calls, we started exploring options to relocate the show in Nashville. Through that conversation, we asked about a handful of rooms, and after clicking through a few options, we all came to the conclusion that Brooklyn Bowl was the best space available. Before pushing the go button and officially confirming the venue, we needed to figure out how many of our guests were actually able to join, so we knew if we had a show or not. Hats off to Josh Roth from the Bonnaroo team, as well as Remi’s management. It was a tag team effort to circle the wagons and reconfirm these amazing artists to round out the show with Remi.
Remi Wolf
Patrick Maciel
How did ticketing work? Do you have any sense of how many attendees were people who’d had to leave Bonnaroo?
Right from the start, we were all aligned on making this an affordable option for fans and realized the level of devastation that everyone was feeling, given the news of the festival canceling. We landed on a $35 ticket, which just felt right given the scenario. We announced the show with no guests around 11 p.m. on Friday night, with an on-sale time of Saturday morning at 9 a.m. The show sold out in about one minute, which we anticipated happening but was also a big relief.
From my understanding, there were many fans who were able to make it off the site before the show and ended up coming to Brooklyn Bowl. The crowd was electric and brought that Bonnaroo flair with them to the room. All night long, the conversation was about how amazing it was to see their spirit continue there, which was complete with many pool floaties and more usual ‘roo style.
Did all of the special guests slated for Bonnaroo make it to the Nashville show?
Naturally, given the situation, we were prepared for a few acts to not be able to make it. But we held most of the lineup together with Hayley Williams, Mt. Joy, Gigi Perez, Grace Bowers and Brian Robert Jones. Then we were able to add Grouplove and Medium Build at the last minute, which of course ended up being incredible moments in the show.
What were the highlights of the event for you?
Anyone who knows me knows I am personally such a huge Paramore fan, so I’d have to say Hayley Williams. Seeing Remi and Hayley on stage brought some tears of joy to my eyes. Just such a special moment.
How did you and the team celebrate after it was finished?
There were many hugs and beverages shared in the green room after the show. Spirits were very high, and it was just such a special moment to share with everyone there.
This week, almost the entirety of the independent music community descended upon New York City for A2IM’s annual Indie Week conference, which kicked off Monday night (June 9) with the Libera Awards, celebrating the best of independent music in the past year. Held at Manhattan’s Gotham Hall, the awards, presented by Merlin, honored records, songs, artists and labels across a slew of genres, with performances by Top Shelf Records’ Ekko Astral, Secretly Canadian’s serpentwithfeet and Oh Boy Records’ Swamp Dogg and a posthumous lifetime achievement award for !K7 founder Horst Weidenmüller.
But the biggest winner of the evening was Mexican Summer artist Jessica Pratt, who took home record of the year for her album Here In the Pitch, as well as best folk record and best singer-songwriter record. For Mexican Summer — which itself also won label of the year (6-14 employees) — it was a big achievement, one forged in the partnership they made with Pratt ahead of her 2019 album Quiet Signs. And those achievements help Mexican Summer’s co-founder, co-president and director of A&R Keith Abrahamsson earn the title of Billboard’s Executive of the Week.
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Here, Abrahamsson talks about the making of Pratt’s award-winning album, the different marketing tactics the label took this time around, his approach to A&R and what comes next. “We’ve got a lot on the horizon — new music from Cate Le Bon, Sessa, Connan Mockasin, L’Rain, Zsela, Iceage, Robert Lester Folsom and more,” Abrahamsson says. “The rest of ‘25 and ‘26 will be incredibly busy!”
This week, Mexican Summer artist Jessica Pratt won three awards, including record of the year, at the 2025 Libera Awards. What key decisions did you make to help make that happen?
I had been a huge fan of Jessica’s music when we first started discussing working together several years ago. My goal was to give her a creative environment that had freedom and flexibility, and most importantly, trust in her artistic vision over everything else. Logistically, we were able to offer her access to our studio and connect her with her now long time collaborator, Al Carlson, our in-house producer at Gary’s Electric. We also took this same approach to the creative buildout and overall marketing of the record, making sure that her exacting artistic vision was always the priority and never compromised.
This is the second record you’ve done with Jessica. What was different this time around for you guys?
Jessica is a perfectionist and it took a moment — years! — to hone the sound on this one. More than anything, I would say that was one of the main differences time — granted, there was also a pandemic thrown in there. She wrote and recorded this album between Los Angeles and New York again, again working with Al Carlson in and out of our studio. This time around, there was a goal to carefully and subtly expand the sonic palette. Achieving this required a lot of experimentation and for Jessica to bring in new instrumental elements and players. I don’t want to give too much of a peek behind the curtain, though!
It was also her first album in five years, a lifetime in today’s music era. How did you guys work to present this album to her fans in a new way?
As soon as we heard Here in the Pitch, we knew we had a future classic on our hands, truly, so we were banking on the idea that Jessica’s fans would feel it was more than worth the wait. It certainly helped that in the five years leading up to HITP, the mythology around JP and her music only seemed to grow — we saw a couple of key syncs, Troye Sivan sampled “Back, Baby,” etc. — and… absence makes the heart grow fonder. In presenting the record and its first single, “Life Is,” we created a suite of creative assets that supported Jessica’s vision and carefully rebooted her socials, mailing list, etc., teasing out the moment the past five years had been building to and letting JP speak directly to her fans. We ran a tight ship logistics-wise, but really the strength of the launch was rooted in the brilliance of the song.
Mexican Summer also won label of the year (6-14 employees) at the Libera Awards. How have you guys worked to set yourselves apart and succeed these days?
As a label, we definitely take a “head and heart” approach — working from our gut when it comes to identifying our partners and developing the music and creative, but also closely following the data to help inform our campaign strategy. Overall, we’re blessed to work with incredible talent on the artist side, and really amazing and knowledgeable people and partners on the label side. Our ethos always has been and always will be artist-first.
You started the label in 2009, a tough time economically both in general and specifically for the music business, and have kept things running through the industry’s streaming resurgence and the volume tsunami of content that has unleashed. How have you kept the label going and flourishing through the years?
I started the label with my business partner, Andres Santo Domingo, off the back of our previous label, Kemado. Mexican Summer was able to start without many expectations — it actually began as a record club — and carefully scaled as our releases and label footprint grew. And importantly, as there have been industry shifts with formats, content, etc., we’ve tried to approach scale in a realistic way without pressuring our artists, but arming them with options and best practices to reach new and existing fans.
What’s your approach to A&R, and how has that changed through your career?
The writing is always what it comes down to for me, and whether or not I’m compelled to revisit something multiple times. Discovery is still what motivates me the most; the thrill of hearing a song for the first time that really cuts deep never seems to get old.
The Morgan Wallen juggernaut soared even higher this week as his new album, I’m the Problem, only proved problematic for its chart competitors.
The Big Loud/Mercury set debuted at No. 1 on the Billboard 200 with 493,000 equivalent album units, according to Luminate, making it the biggest week for any release this year. Additionally, Wallen broke his own record with 37 songs on The Hot 100, taking up more than a third of the chart with his titles alone and claiming the Nos. 1, 2 and 3 spots, the first for a country artist.
The album, which has already logged three No. 1s on the Country Airplay chart, also debuts at No. 1 on Top Country Albums, knocking Wallen’s 2023 set, One Thing at a Time, out of the top spot and his 2021 album, Dangerous: The Double Album, down from No. 2 to No. 3.
Internationally, Wallen scores his first No. 1 on the U.K. Albums chart, besting One Thing at a Time, which debuted at No. 40. And all that activity helps earn Kolby Vetter, Wallen’s day-to-day manager at Sticks Management, the title of Billboard’s Executive of the Week.
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Here, Vetter — who previously worked at Wallen’s booking agency, the Neal Agency, as well as Red Light Management and CAA — details the album’s rollout and how Wallen is leading the way domestically and internationally. “For the country genre as a whole, there has always been this myth that country music has a cap globally,” he says. “That glass ceiling is being shattered, and I think Morgan is leading the charge on that.”
I’m The Problem debuted at No. 1 on the Billboard 200 and Top Country Albums. What decisions did you make leading up to the release that you felt would increase its chances for a No. 1 debut?
You can do all the planning and strategizing in the world, but at the end of the day it comes down to the music and how it resonates with people. I think everyone knew from the get-go the songs that Morgan was putting on this record were going to be strong and relatable. He spent a lot of time writing and crafting every detail of this project, and I think it shows.
The album is a joint project between Big Loud and Mercury. What was the division of duties between the labels?
There were a lot of different perspectives from a whole lot of smart people in a room together. Some of the best ideas for this album rollout came from the time spent sitting in a conference room together, bouncing ideas off of each other, each of us being unafraid to dream big. This whole project was a total team effort. Working with Seth England and his team at Big Loud was great; they’ve been with Morgan from the very beginning, which is a huge asset. Then you bring in guys like [Mercury’s] Tyler Arnold and Alex Coslov, who are responsible for building the careers of so many artists outside of the country format, and it becomes obvious why they are so successful.
I’m the Problem also debuted at No. 1 on the U.K. Albums chart, marking Wallen’s first No. 1 on that chart and a huge leap after One Thing at a Time debuted at No. 40 there. How did playing London’s Hyde Park last summer play into the plan for the U.K. and what other steps did you take to land such a high debut?
[Hyde Park] was a massive moment that really cemented Morgan’s status as a superstar in the U.K. and beyond. It was also a time for us as his team to sit there and think, “What’s possible here?” It’s really a testament to [Wallen’s manager and booking agent] Austin Neal and the strategy he has put in place from a touring perspective. The sky is the limit. And just for the country genre as a whole, there has always been this myth that country music has a cap globally. That glass ceiling is being shattered, and I think Morgan is leading the charge on that.
The album also debuted at No. 1 in New Zealand, Australia, Norway, Scotland and Canada. How will you continue to support the album and build his international career? When will his next global tour be?
We have an insanely talented international team with the folks at Big Loud/UMG and our internal team at Sticks Management. They are always combing through data and finding areas where growth is happening and where the next pop off could be. We’re able to draw from that data to formulate unique ways to break the market. Interesting enough, Morgan is seeing real growth in China. The tour is being worked on currently, but plans are coming together for an international run in 2026.
Wallen played an intimate show at London’s Roundhouse on Wednesday (May 28). How is that furthering his U.K. base or was that show mainly for the U.K. industry?
The idea for this show started way back in January. Last album cycle Morgan played a free show in Nashville at Bridgestone Arena, and it was a massive success. I don’t think I have ever seen a longer line. This time we thought it would be cool to go play a stripped-back set in an intimate setting where fans could get up close and personal. Morgan hasn’t played a room of this size in years, so I think it’s a cool moment for him as well to go back to where he started, and to be in a room where he can see the face of every fan.
Wallen is the first country artist to claim the Nos. 1, 2 and 3 spots on the Hot 100 with his duet with Tate McRae, “What I Want,” at No. 1. He told Billboard that he found out about Tate from his sister. What were the next steps after that with her camp to have the duet happen?
That one was all Morgan. They have known each other for a couple years and have been discussing a collab when the right song presented itself. As Morgan has said, “What I Want” wasn’t written as a duet but rose to the forefront and felt like the perfect match for them. Vocally it’s powerful, and they complement each other very well. We’re really excited to see what this song will do.
Was there any discussion that 37 tracks may be too many, or given that One Thing at A Time had 36 tracks and was still at the top of the charts, has the belief always been bigger is better?
I think we all knew this album would have a good number just by what we were hearing coming out of the writing rooms. So many great songs. They went into the studio and cut 50 tracks and worked back from there. If there is one thing I’ve learned about Morgan since working together, it’s that he is extremely tuned in. If there was any song that he didn’t feel totally great about or it didn’t feel like the right time for the song, it didn’t make the cut. Morgan has earned the right to that creative freedom. He had a lot of things to say on this album, and I think the 37 songs he chose to include reflect that.
California-based regional Mexican music band Fuerza Regida made history this week with the debut of their new album, 111XPANTIA, at No. 2 on the Billboard 200. It’s the highest debut ever for a Mexican artist on the chart — and, had Bad Bunny not released the vinyl edition of his Debí Tirar Más Fotos the same week, 111XPANTIA would have debuted at No. 1, making the group only the third act in history to top the chart with an album in Spanish.
As it was, 111XPANTIA made double history, as it allowed two Spanish-language albums to place at Nos. 1 and No. 2 on the chart, also a first.
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While the name Fuerza Regida may still not ring bells for many in the mainstream, the group has been making serious waves since they launched in 2018, led by singer, composer and businessman Jesus Ortiz Paz, better known as JOP.
Part of a new wave of homegrown talent that’s doing a more contemporary, urban-leaning version of regional Mexican music, or música mexicana, the quintet has positioned itself as bold disruptors, delighting in making music that defies convention, veering into genres like dance and trap. Fuerza are also known for their unusual marketing strategies, from an impromptu concert on the 210 freeway near Los Angeles to a performance alongside street musicians on the Tijuana border to pop up murals to promote their album, Pero No Te Enamores, last year.
Those kinds of actions have yielded fruit. Fuerza has won Top Duo/Group of the year at the Billboard Latin Music Awards for two consecutive years already (2023 and 2024) and has placed six albums, going back to 2023, on the Billboard 200. On the Billboard Top Latin Albums chart, they’ve placed an impressive 12 albums dating back to 2019, and including nine top 10s and one No. 1, 2023’s Pa’ Las Baby’s y Belikeada. On Hot Latin Songs, they boast two No. 1s and 12 Top 10s.
But the Billboard 200 debut is their most impressive achievement to date. Fuerza is signed to a joint venture on their own Street Mob Records with indie Rancho Humilde, and is distributed by Sony Music Latin. But behind their marketing is Jesús Amezcua (aka Moska), the group’s manager (and friend), who is also head of marketing and strategy for Street Mob Records. Although “we’re synced with Sony for data and distribution, all creative direction and frontline marketing is led by us at Street Mob,” Amezcua says. “That independence is what gives us our edge and velocity.”
For pushing Fuerza to make history on the Billboard 200, Amezcua is Billboard’s Executive of the Week.
What exactly is your role with Fuerza Regida?
I manage and lead all strategic marketing, rollout execution and brand partnerships for Fuerza Regida. That covers everything from pre-release positioning and digital strategy to street-level activations, PR and long-term brand development. I work directly with JOP and the team to ensure every campaign feels authentic to the culture while breaking through in the mainstream.
The group has had many major releases, but never something of this magnitude. What made this one different?
This album was a perfect storm of timing, vision and intentionality. We knew the fans were ready for a bigger moment — and we built the campaign with that in mind from day one. What made the difference was the shift in scale: we elevated everything, from the sound to the visuals to the media approach. It was about crossing over without losing our identity.
One major turning point was this was Fuerza Regida’s first time ever releasing a physical album. Not only did we enter that market for the first time, we broke records, surpassing legendary acts like Selena and Maná for the most physical copies sold by a Mexican artist or any Latin duo or group. That milestone sent a loud message about the group’s growing cultural weight and the power of our fan base.
Was there one single action or moment that really moved the needle?
Yes — the pre-release digital campaign combined with JOP’s hands-on promotional push. We executed teaser drops, voice-of-the-streets-style content, and surprise fan moments that went viral, like a Paris Fashion Week performance, for example. Paired with a targeted mainstream media push, it became the perfect one-two punch.
Fuerza Regida is known for bold marketing stunts. Last time it was murals. What was the centerpiece this time?
We focused on emotional proximity and regional pride. Surprise activations in key markets, custom merch drops and physical memorabilia made fans feel seen. We also planted narrative Easter eggs in visuals and lyrics to spark fan theories. It wasn’t about shock — it was about depth.
What was the goal with this album release?
To make a statement: Fuerza Regida isn’t just a top-tier música mexicana act — we’re a cultural force. Yes, we wanted the numbers, but we also wanted to redefine what this genre looks like on a global stage.
How important is it to debut at No. 2 on the Billboard 200, especially as an all-genre chart?
It’s monumental. The Billboard 200 rarely reflects regional Mexican music. To be in the top two, competing with global pop giants, proves this movement is no longer niche — it’s mainstream. It feels incredible to break records and debut as the highest-charting Mexican duo or group in Billboard 200 history. We were going up against legends — and held our ground.
What makes Fuerza Regida different from other groups in música mexicana?
They’re fearless. From raw lyrics to unfiltered visuals and fan engagement, they bring a punk-rock edge. That energy has built a ride-or-die fanbase. They’re not following the blueprint — they’re rewriting it.
JOP was everywhere during this release. How intentional was the promo run?
Very intentional. We built a full content and press calendar around JOP as a brand. National TV, local media, viral content — it was all high-volume, high-authenticity. He delivered across the board.
I see Street Mob is growing and staffing up. You recently hired Gustavo López as president, for example, and he comes with longstanding label experience.
Absolutely. This is a family effort. Our president, Gustavo López, is an industry legend who leads with integrity and vision. Our COO and Street Mob partner is Cristian Primera, aka Toro, along with Cindy Gaxiola, our head of commercial affairs. Last but not least is our CFO Luis Lopez, aka Walks. They are all relentless execution machines. Every win is a reflection of this powerhouse team. Fuerza Regida is just getting started. We’re here to shift culture, not just drop records.
So far in 2025, the No. 1 slot on the Billboard 200 albums chart has regularly been filled with some familiar faces: SZA, Lil Baby, Bad Bunny, The Weeknd, Kendrick Lamar, Drake, Lady Gaga, Ariana Grande. So this week’s chart — with Swedish hard rock band Ghost, as shadowy and mysterious as its name implies, coming in at No. 1 with its latest album Skeletá — may seem like an anomaly to most casual music fans in the U.S.
But it’s not a surprise to Ghost’s longtime fans, nor to its label, Loma Vista. And for those paying attention to the group’s growing lore over the years, it seems like it may have been a long time coming. Since first debuting on the Billboard 200 in 2013 with Infestissumam (No. 28), the group has steadily climbed up the chart with each subsequent full-length studio album: 2015’s Meliora (No. 8) was its first top 10, followed by 2018’s Prequelle (No. 3), 2022’s Impera (No. 2) and now, Skeletá’s chart-topping debut, which marked the group’s biggest sales, streaming and equivalent album unit mark in its career so far. And with that steady growth, not to mention the big album week, Loma Vista director of marketing Todd Netter is Billboard’s Executive of the Week.
Here, Netter breaks down the band’s growing fan base, the clever marketing tactics that went into Skeletá’s rollout and what this could mean for the band, and the hard rock genre, overall. “There are a ton of decisions, small and large, that go into a successful marketing campaign,” Netter explains. “A successful album marketing campaign really is a series of interconnected decisions, tied together by strategy, creativity and execution.”
This week, Ghost landed its first-ever No. 1 album on the Billboard 200 with Skeletá. What key decisions did you make to help make that happen?
With Ghost, our goal is to always make creative decisions with clear intent at very pointed moments, like which songs to lead with and what the vehicle is for rolling those songs out and when; how to eventize the album announcement to generate maximum attention and enthusiasm amongst their large global fan base; and how to rev up that fan base going into release day. An example of such a decision was committing to creating “The Satanizer” — a first-of-its-kind music video experience for fans who wished to be “Satanized” — which was the title of Ghost’s first single, launched alongside the album announcement. “The Satanizer” morphed its users into characters featured in the song’s melodramatic music video.
With a quick upload of their photo, “The Satanizer” sent out a personalized music video clip featuring the participant, who in turn could share via social media that they too had been “Satanized.” Strategically, it was a decision to create a moment at the launch of the campaign that personalized the experience of new Ghost music while simultaneously encouraging fans to create UGC on their socials. A powerful one-two punch that drew die-hard fans in while inviting other more casual music fans to pay attention. And, most important, it was a decision to have fun with this album campaign from its very launch.
This is the band’s fourth full-length top 10 album in the past decade, with each release achieving a higher position each time. What has gone into helping them build their career to get to this point?
We at Loma Vista fundamentally believe Ghost’s music and their vibrant fan community is for everyone. They have a sound and general appeal that draws people in. So we’ve made a very concerted effort at developing their passionate and creative fan community. It’s an immersive fan experience, rewarding for the most committed of fans and welcoming to the curious. An experience rich in storyline — we call it “lore” — chock full of creative content, loaded with call-to-action drivers for the fan base, and all culminating in real-world activity for the fans to attend, be it pop-up events, concerts — aka “rituals” — or feature film cinema screenings. It’s a fan-focused experience that is constantly evolving, mysterious, fun and always centered around the music of Ghost. And this has proven great for attracting more fans, be it by word-of-mouth, or simply by being a beacon to those who feel misunderstood but are proud of their creative and unconventional points of view in terms of music and culture. Focusing on Ghost’s fan community has allowed us to expand their audience size and the impact of the band, album over album, for the last decade.
The album also made a global impact, debuting at No. 1 not just in the U.S. and in Ghost’s native Sweden, but also in countries like Australia, Germany, Belgium and Switzerland, and at No. 2 in the U.K. How did you set it up to make such a big debut worldwide?
It starts with our unwavering belief that Ghost’s music is universal. We’ve always seen our marketing campaigns for Ghost albums as worldwide endeavors. As a label, we have a global footprint with label marketing teams located in key cities across the globe including London, Berlin, Toronto, Mexico City, Sydney and Tokyo, allowing us to strategize, prep and execute globally. So any time we cook up an initiative or fan activation, we have teams positioned around the world to help us ensure the idea is executed properly in local territories, be that via social media, real-world events, or via hybrid experiences where we blend the two things.
A great recent example of that in our Skeletá album campaign were the Midnight Sales and the complimentary online album countdown event that we staged to celebrate the release of the new album. I knew we had a global fan base, one that loves to dress up and participate with other fans. I also knew Ghost’s sound and aura can harken back to previous eras of rock’n’roll, and that the album’s release was heavily anticipated by the band’s passionate fan base. We created Skeletá-Eve Midnight Sales, a series of events at 150 independent record stores around the globe, where fans could gather, listen to the album together for the first time and purchase it the minute the clock struck midnight. And for fans not near one of these many stores, we created Skeletá Rockin Eve, a global live stream event where fans tuned in at midnight locally to count down together the release of Ghost’s new album and hear new music. Coordinated timing-wise, thematically complementary, and global in scope. An example of how our strategy and execution allow us to cultivate a global fan base and have a major impact with Ghost’s music around the world.
Ghost has a very particular aesthetic and look. How did the marketing campaign for this album differ from prior releases, and from other acts on the label?
Ghost are the most unique-looking band in music. They stand out, and the way they look is an instant attention-grabber for any onlooker. But it’s not just sensational — their appearance has a very strong creative point of view and a sophisticated design intent. They challenge norms and push boundaries in terms of rock’n’roll presentation, and music fans gravitate toward that.
That said, I’m not sure our approach on this album cycle differed so much as it evolved. Their photos, wardrobe, stage design and overall aesthetic continue to elevate, album over album, and so our marketing campaigns aim to match that elevation. We look at every visual facet of our marketing campaign, be it vinyl jacket materials, music videos, band photos, band store merch, social media platforms, magazine covers, out-of-home billboards, etc., as an opportunity to establish Ghost’s creative point of view, to leave a meaningful impression on their fans and the public in general. As the band’s growing popularity collides with loftier opportunities coming their way, it enhances our ability to enrich the band’s overall aesthetic, music presentation and visual world. Our marketing campaigns have always been heavily integrated with the band’s aesthetic, so it was an evolution on Skeletá, not a different approach.
The album represented Ghost’s biggest sales week ever, but also its biggest streaming week ever. How did you balance each to get such a big debut?
The easiest explanation is the band’s audience grew a ton. Following a very successful IMPERA album campaign, viral TikTok moment for “Mary On A Cross,” and a No. 1 feature film, Rite Here Rite Now, the band simply had a lot more fans. That said, the Ghost fan base is not a monolith, nor is the music consumption landscape these days. I knew we needed a comprehensive plan to tackle all the different ways people listen and consume music these days, to best understand what motivates people to listen and how they choose to do so.
We had specific marketing plans for each streaming service, with specific platform targets and goals so that we could best position the band and their music. We took a similar approach with physical formats, creating 30 vinyl formats worldwide, as well as multiple CD and cassette formats, working with specific retailers from independent record stores to big box stores to boutique online retailers. The final component was creating a really rich and rewarding experience on the band’s webstore, offering special formats and early access to drive home the connection between the band and their fans. The music consumption landscape is fractured these days. We understood we’d never be able to funnel fans to one place, so instead we dug in and really catered to every platform and retailer’s strengths and customer base, to reach Ghost fans where they were.
This is also the first time in four years that a hard rock album has reached No. 1 on the Billboard 200, since AC/DC’s Power Up in 2020. What is the significance of that for the genre, and what can you take away from that?
I’m a little hesitant to wax poetic about knowing exactly what Ghost’s accomplishment can mean for a whole genre of music. Nor do I think of Ghost as simply a rock band. I do think their music, presentation and overall appeal transcend genre — they’re simply Ghost in my mind. But so far as I can offer a little professional and personal insight into what this means for hard rock, it never hurts when a band achieves something big like this for other bands in their genre. It shines a light on a sound and puts the genre in the zeitgeist alongside arguably more popular genres and artists. The spotlight should open doors for other bands and labels looking for opportunities, as it’s “proof,” in an industry validation sort of way, that the sound and genre have some cultural cachet.
I think with real people, average music fans and listeners, genres are becoming less and less important. Most people’s tastes bounce all over the place and artists are constantly crossing genres and audiences. More anecdotally speaking, and where my optimistic side takes over, maybe Ghost hitting No. 1 on the album charts inspires some young kids to pick up a guitar or learn to play the drums, instead of opening up a laptop, and a whole new generation of bands are formed.
This is Loma Vista’s first-ever No. 1 album on the Billboard 200. What does that mean for the label?
It’s terrific! We made a promise to our roster of artists that we’d match their vision and aspirations for their music and their careers. And this might sound cliche, but this team of people wakes up every morning with that artist commitment front of mind. None of us are personally motivated by accolades or awards. Instead, Ghost debuting at No. 1 drives home what we believe as a label: that with great music, strong creative vision, a commitment to collaboration, hard work, and an unwavering belief that anything is possible, special things will happen. A No. 1 album on the Billboard 200 reinforces that we’re right about the philosophy we take when signing and working with artists. And if I’m honest, it’s also just a really fun week for a record label when one of their artists goes No. 1.
Within Christian music, few artists of the past decade have made as many waves as Brandon Lake. The singer, songwriter and guitarist, who got his start by crowdfunding his first album, 2016’s Closer, has emerged as one of the genre’s leading lights in recent years, having racked up six Billboard Hot Christian Songs No. 1s, five Christian Airplay No. 1s and one Christian Albums chart-topper, 2023’s Coat of Many Colors.
It was that last album, his first for Provident Entertainment, that really kicked his career into high gear — even beyond the traditional confines of Christian music. As COMC was still producing charting singles, Lake began teasing new music on tour and on TikTok, which started connecting with an audience broader than what he was used to. “With each release, Brandon, his team, and Provident kept raising the ceiling on what was possible and setting a new floor of success for where we could go,” Provident’s president Holly Zabka tells Billboard. By last July, that led to the release of the song “That’s Who I Praise,” which tied the record for longest run at No. 1 on Christian Airplay this decade. But it was his next release that would catapult him into the mainstream.
After teasing the song on TikTok and at shows, Provident released “Hard Fought Hallelujah” in November, months before they had planned, due to fan demand. The response sent the song to No. 1 on Hot Christian Songs, and this week, it not only spends its 20th week at the summit of that chart — making Lake the only artist with three 20-week No. 1s there — but reaches No. 40 on the Hot 100, his first entry on the mainstream chart and the marker of a bonafide crossover smash. And as “Hallelujah” — which also got a high-profile remix from Jelly Roll — continues to gain steam, Provident’s Zabka is Billboard’s Executive of the Week.
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Here, Zabka talks about building into the success of “Hallelujah,” the effects of the Jelly Roll remix and TikTok on the song’s upward trajectory, and why Christian music is growing in popularity right now. “There’s a quote from Moneyball that says, ‘The first one through the wall always gets bloody, always,’” Zabka says. “At Provident, we operate from the perspective of being the first ones through the wall, leading the way for our creators and the genre.”
This week, Brandon Lake’s “Hard Fought Hallelujah” spends its 20th week at No. 1 on Hot Christian Songs, making him the only artist with three songs to lead that chart for that amount of time. What key decisions did you make to help make that happen?
From the moment we signed Brandon, our goal has been to throw out the “rulebook” of how we historically would release music and, as a team, challenge ourselves to think differently at every turn.
Last year, we were roughly seven months into working Brandon’s first release on Provident, Coat of Many Colors, when he started teasing new songs on socials and the road. At that time, we were successfully working two different songs to Christian radio, with DSPs focusing on a third single. Conventional wisdom would say we shouldn’t move on to new music; there was still a lot of gas left in the tank on COMC. We watched and learned that Brandon’s audience had the capacity and hunger to consume the current release while also making room for what was coming next. While the data showed a growing appetite for more music, we also had to listen and watch how his fans engaged, and then trust our instincts, because ultimately, the fans indicate how artists should release content.
By July, we released a new single called “That’s Who I Praise” that doubled our biggest single from the previous record. With each release, Brandon, his team, and Provident kept raising the ceiling on what was possible and setting a new floor of success for where we could go. “Hard Fought Hallelujah” was the second single to be teased way back in the spring. Before there was a plan for a record, we were two singles in, and “HFH” released in late fall, again doubling anything Brandon had previously released. Not only was the current record holding its activity, but everything new kept exceeding expectations.
The song also got a remix with Jelly Roll. How did that help boost its traction?
Obviously, we recognized that adding an incredible artist like Jelly Roll would attract a new audience to the song. Brandon’s solo version of “Hard Fought Hallelujah,” released in November of ’24, exceeded every goal and demonstrated that his audience was already expanding. Before a collaboration was possible, Jelly had heard and been affected by the song, making the request for a potential collaboration feel organic and natural. The combination of Jelly, who is very open about his faith, and Brandon, whose artistry had already begun to transcend the genre, created broader access and opportunities for discovery in new spaces.
How did TikTok play a role in the song’s success?
In early 2024, Brandon began playing the verse and chorus of “Hard Fought Hallelujah” at a few shows and then each night of his summer arena tour. Even in fragments, you could feel people connecting to the message and posting videos of their experiences with the song, proving that something special and unique was happening; people were asking for it. All of this occurred before a release date was scheduled, but everything indicated that this song had already ignited a deep connection.
He officially began teasing it across all social media in August, and we had planned for a January 2025 release, given the success he was already enjoying with his previous releases. However, demand for the song was undeniable, amassing over 10 million views and 35,000 short-form creations before it was released in November.
“Hard Fought Hallelujah” hit No. 40 on the Hot 100 this week, Lake’s first-ever Hot 100 entry, suggesting it has major mainstream appeal. It’s also one of just three songs to chart on both the Hot 100 and Hot Christian Songs since 2020. What’s behind that surge, and how have you helped fuel it?
Brandon and his co-writers have written a song that beautifully captures the authentic experiences many people have in their faith journeys. Life is hard, and maintaining faith during those difficult seasons can be challenging. Everyone can relate to the idea of struggling through something, holding onto hope, and emerging on the other side. That’s what has sparked the surge. The song resonates with people right where they are.
We fueled that surge by not allowing the artist’s past to dictate or limit the song’s potential. We focused on the connection the song was making across various audiences and leaned into that in every possible direction. We have had Jelly Roll on Christian radio, Brandon at country radio, and featured on country playlists, faith playlists, and worship playlists; the song has been sung in churches and now at Stagecoach, breaking through typical genre barriers. Regardless of how successful a song or artist becomes, we consistently ask what we can do to help it reach more people. This mindset, shared by everyone on Brandon’s team, continues to drive the growth of the song and the artist.
Christian music in general has been surging lately. What is behind that, and how has Provident been able to benefit from it?
When songs like Lauren Daigle’s “You Say” or Brandon’s “Hard Fought Hallelujah” impact culture beyond the Christian music genre, they inspire the creative community to elevate songwriting, artist development and expression. They attract fans who may not have previously explored an artist or a song in our genre, primarily because the song or artist connects to something deeper.
Provident has seen remarkable growth over the last two years with artists like Brandon, Elevation Worship, Seph Schlueter and Leanna Crawford. These artists have contributed to the genre’s expansion and are shaping the future of Christian music.
The Christian genre has experienced double-digit growth in the past two years, during which time Provident has gained eight frontline market share points. We’ve outpaced the growth of the genre because, instead of merely benefiting from the increasing interest in Christian music, we’ve aimed to be the driving force behind it. We will continue to foster growth by remaining curious, continuing to learn and maintaining our willingness to break down genre barriers for every artist signed and yet to be signed to the roster.
How do you see Christian music continuing to grow moving forward?
There’s a quote from Moneyball that says, “The first one through the wall always gets bloody, always.” At Provident, we operate from the perspective of being the first ones through the wall, leading the way for our creators and the genre.
We must be willing to try, fail, take risks, push boundaries and explore new spaces with our music. In the past, for a song in the Christian genre to cross over, we had to take the best our genre had to offer and give it to the mainstream. This surge in Christian music is proving we can attract that audience to us. As the genre walls continue to disappear, more and more “mainstream” audiences are discovering that Christian music authentically represents a part of their life, faith and daily experience that can be supported through our music. The growth of the genre isn’t slowing down, and we will continue to lead the way and challenge perceptions of Christian music through the quality, diversity, and authenticity of our songs and artists.
Texas rapper BigXthaPlug has carved out a nice career for himself over the past half-decade, amassing 16 hits and three top 20s on the Hot R&B/Hip-Hop Songs chart, a handful of appearances on the back half of the Hot 100 and a successful touring base, emerging as one of the more distinctive voices of his generation of hip-hop artists. But he was always more than just a rapper, and his multi-genre Southern roots first came to the fore with his 2022 song “Texas,” the video for which saw him decked out in full cowboy regalia as he rapped about his home state over a country-inflected acoustic slide guitar.
The song, among other things, proved BigX’s versatility. But it also opened the door to something else: the country music community. And now, as his latest single “All The Way” featuring Bailey Zimmerman spends its second week in the top 10 of the Hot 100 after zooming in with a No. 4 debut last week, BigX has a bonafide smash hit country single, with a full country-infused project on the way.
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It’s a huge moment for BigX as he explores his country interests, and also a big pop moment for the Texas MC as well, representing far and away the biggest hit of his career so far. But it’s also a big moment for UnitedMasters, the company founded in 2017 by veteran record executive Steve Stoute that releases his music — and scored its own biggest hit so far with “All The Way,” too. (The song is officially credited as BigXthaPlug/UnitedMasters/Atlantic.) And it helps UnitedMasters vp of music/head of A&R Mike Weiss earn the title of Billboard’s Executive of the Week.
Here, Weiss talks about what went into making the record, BigX’s country “side quest,” the crowded distribution space of the music business and how UM has helped develop BigX by following his vision. “The plan is simple: stay true to BigX, lean into organic collaborations and let the music speak,” Weiss says. “We’re not mashing together genres for the sake of it. We’re building something that reflects all sides of who he is as an artist and a person.”
This week, BigXthaPlug and Bailey Zimmerman’s “All The Way” spends its second week in the top 10 of the Hot 100, at number eight. What key decisions did you make to help make that happen?
This record didn’t happen overnight. It took a complete team effort to get us here with a vision for an overarching artist plan, rather than one single. My partner David Melhado and I sat down a year ago with the idea to start mapping out a course for a country-inspired BigX project. We knew from the start that authenticity had to be the foundation. If BigX didn’t feel it, it wasn’t going to happen and that filter guided every decision we made.
Around that time, BigX started spending time with a number of country artists who had become fans after his breakout single “Texas.” We knew there was an opportunity here. We have an amazing team of core producers in Charley Cooks, Tony Coles and Bandplay. They started working on ideas for a country direction that stayed true to BigX’s roots. The initial demo to “All the Way” was Ben Johnson’s vocals over a guitar that hinted at something special. We knew it needed to be “BigX-ified,” so Bandplay built a sound that was unmistakably BigX. We have an amazing A&R team that played it for BigX. He loved the record, and cut it immediately. BigX has some of the best instincts. He trusts his gut and doesn’t miss.
The song exploded out of the gate, debuting last week at No. 4 on the Hot 100 and soaring in at No. 1 on the Streaming Songs, Digital Song Sales and Hot Country Songs charts and at No. 3 on Hot Rap Songs. Why did the song have such a huge immediate impact?
Back in February, BigX teased an early version of the record on Instagram. There was no set release date at the time, but the response was immediate and explosive. Within days, fans ripped the sound from the Instagram post and flooded TikTok with tens of thousands of videos. It was clear we had something special on our hands.
Even with that momentum, we resisted the urge to drop the record prematurely. There was external pressure to release it fast and not “lose the heat,” but we knew that a moment this big deserved a proper runway. We took the time to create the right content, shoot the music video and prepare a full rollout that matched the energy we were seeing online. We were also mindful that this was the first single off the project, and once we launched, we needed to be ready to move with full force.
That patience and discipline paid off. By the time the song dropped, there was such pent up demand that the record exploded.
With a song like that with so much immediate interest, what can you guys do to keep the momentum going?
Our priority is building sustained momentum for BigX as an artist, not just capitalizing on a single moment. From the beginning, our focus has been longterm artist development, and this moment is just one chapter in a much bigger story that BigX is telling with this country-inspired project.
We have an incredible body of work lined up, and we’re deep in the process of mapping out the next singles and the full rollout. Consistency is everything. With BigX, we take the approach of always being on cycle. We’re keeping our foot on the gas and continuing to invest in the music, visuals and storytelling that got us here, while building towards the next big moment.
After landing 16 songs on the Hot R&B/Hip-Hop Songs chart, this is BigX’s first song that touches the country genre. What are your plans to make sure that his crossover there works?
Our intention isn’t to fully cross BigX into country. This project is more of a creative “side quest” that allows him to showcase his versatility and explore new territory without abandoning his core. It’s about expanding, not switching lanes.
This isn’t a trend-chasing move, it’s rooted in who BigX is. Back in 2022, we released “Texas,” a country-inspired hip-hop record where he was literally in cowboy boots and a cowboy hat in the video. That record sparked early interest from the country community and planted the seed for what we’re doing now. This moment is a natural evolution of that foundation, not a sudden shift.
The plan is simple: stay true to BigX, lean into organic collaborations and let the music speak. We’re not mashing together genres for the sake of it. We’re building something that reflects all sides of who he is as an artist and a person.
This is the biggest song in UnitedMasters’ history so far. What does that mean for the company?
This is an exciting moment for the company and for our team. We’ve been a partner to BigX for four years with a deep belief in artist development and doing what’s best for our artists. This shows that we can compete with anyone. We touched every aspect of the A&R process, rollout, marketing, digital and overarching strategy. This win further affirms that our model works. That independent artists with the right support can not only compete, but lead.
Just last year, we had a major global success with FloyyMenor’s “Gata Only,” the fastest Latin song in Spotify history to hit a billion streams. That was a global moment. But with “All The Way,” we’ve shown we can dominate domestically, too, and drive immediate, culture-shifting impact in the U.S. market. Delivering on both fronts shows that our approach scales. The exciting part is we’re still just getting started.
The distribution space is getting crowded. How do you make sure UnitedMasters stands apart from the competition?
We don’t see ourselves as just a distribution company, and we don’t operate like one. At UnitedMasters, we’re aiming to reimagine what a modern music company can be. Our mission is to reshape the industry by building something that lives at the intersection of a forward-thinking label, a tech-driven platform and a premium distributor.
What sets us apart is the ability to support artists at every stage of their journey, from emerging creators to global superstars, with a tiered system that scales alongside their growth. We’ve invested in world-class technology and paired it with an elite label services team that delivers across A&R, marketing, strategy and beyond. We’re not focused on just getting music to DSPs, we’re focused on building careers.
