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How does a rock band that scored enormous hit singles in the pre-streaming era approach the process of selecting a single in 2024? For Kings of Leon, the answer is: they don’t.
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“We don’t know what we’re doing,” bassist Jared Followill declares, then lets out a laugh, when speaking to Billboard about the modern hit-making process. The Tennessee quartet has been steadily releasing albums every three to five years since bursting into the mainstream in the late 2000s with crossover smashes “Use Somebody” and “Sex on Fire,” both from 2008’s Only By the Night; the former song won the Grammy for record of the year in 2010, while the latter’s official U.S. streams top 650 million, according to Luminate.
Those hits helped balloon Kings of Leon’s listenership during a very different iteration of the music industry; 15 years later, Followill admits that he and his bandmates (brothers Caleb and Nathan Followill, plus cousin Matthew Followill) wouldn’t even know how to attempt to replicate that crossover success of those songs.
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For new album Can We Please Have Fun, out tomorrow (May 10), the band went with the shaggy rocker “Mustang” as the lead single due to their team’s recommendation, and the song has reached No. 3 on Adult Alternative Airplay and climbs to No. 5 on Alternative Airplay. But Followill says that they could have easily gone with the mid-tempo sway of “Actual Daydream,” or the spry sing-along “Nowhere to Run,” if that had been the feedback they received.
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“Our only rule is to not have any songs on the album that we would be embarrassed if they were a single — so we try to make the album great, because we don’t know anything about the business side of things or algorithms or which song will do well,” he explains. “Now, it seems like you just need a great 15-second piece of a song to make it big on TikTok — slow it down, reverb it, make it huge. But we don’t know what works anymore, and I don’t think anybody knows … You just have to play ball a little bit, and hope that you’re with the right people who know what they’re doing.”
Kings of Leon surrounded themselves with a new cast of characters for their ninth studio album: after working with Markus Dravs on their last two full-lengths, the quartet tapped Kid Harpoon last year to helm the follow-up to 2021’s When You See Yourself. Kid Harpoon was in the middle of a red-hot streak when Kings of Leon came calling, after co-producing smashes like Miley Cyrus’ “Flowers” and Harry Styles’ “As It Was”; in fact, a recommendation from Styles helped steer the band toward the veteran pop-rock producer, after they had started the writing process for the album at the top of 2023.
“We’re buddies with Harry, and he had worked with [Kid Harpoon] a ton and had great success,” Followill says. “We met him and it was just the right vibe. He’s almost childlike in the studio — so happy, trying anything, no negativity. He’s not judgmental at all, so it was just like having a buddy in there.”
Meanwhile, Can We Please Have Fun is Kings of Leon’s first album with new label home Capitol Records, after spending nearly the first two decades of their career on RCA’s roster. The band played the new album for prospective labels at Kid Harpoon’s L.A. home last year, and it was the pitch by Tom March, recently named Capitol Music Group’s chairman and CEO, that they found most appealing. “He just seemed on board, and bought in really quickly,” Followill says. “We’re very hands-on, which can be weird for a new label who’s excited to bring their own stuff to the table. But it’s been perfect — they’ve been super supportive, and it’s been a great relationship so far.”
Kings of Leon will head out on the road in August for a 26-city North American tour, and will be releasing visual components for every song on Can We Please Have Fun along the way. More than anything, however, Followill hopes that listeners can identify the new album as a progression for the band — a looser, more playful entry in their catalog, at a moment when Kings of Leon could have stuck to a tried-and-true formula.
“We’re not completely reinventing ourselves, but this is definitely a refresh,” Followill says. “It was a gradual thing, but we’ve evolved and changed ourselves. We’ve put a lot of effort into letting people know that we’re still here, and we’re not phoning it in 20 years down the road, just trying to squeeze a few dollars out at the end. We’re still trying.”
The dog days are not that far away, and we already have some summer-song competitors. Here are the singles and artists we think you need to watch.
It may be Cowboy Carter week, but the silvery disco ball strobe lights of Renaissance — the first act of Beyoncé’s presently unfolding trilogy — continue to illuminate the world. On Monday (March 26), the Human Rights Campaign debuted Renaissance: A Queer Syllabus, a sprawling collection of academic articles, essays, films and other pieces of media rooted in Black queer and feminist studies and directly inspired by each track on Queen Bey’s Billboard 200-topping dance album.
Curated by Justin Calhoun, Leslie Hall and Chauna Lawson of the HRC’s HBCU program, the syllabus will serve as an educational resource designed to honor, analyze and celebrate the joy, resilience, innovation and legacy of the Black queer community. The syllabus will be shared with nearly 30 historically Black colleges and universities, including Howard University, North Carolina A&T University, Prairie View A&M University and Shaw University.
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Released in the summer of 2022, Renaissance was and continues to be a bonafide cultural phenomenon. A lovingly researched ode to the Black queer roots of dance music filtered through her intensely personal relationship with her late Uncle Johnny, the album captivated fans around the world and shined a much-needed light on the unsung movers and shakers of Black queer art and culture. The album won four Grammys — including a historic win for best dance/electronic album — housed a pair of Billboard Hot 100 top 10 hits in “Break My Soul” (No. 1) and “Cuff It” (No. 6) and spawned a record-breaking stadium tour and accompanying box office-topping documentary concert film.
From the economic impact of Beyoncé’s silver fashion aesthetic to career boosts given to Black queer icons such as Kevin Aviance, Ts Madison and Honey Dijon, Renaissance proved itself to be much more than a standard LP. The HRC understood that there was a chance to make a real impact across education and activism through the lens of the record.
“There are ways that we can embed the impact of her lyrics into real life. It was serendipitous for this to happen,” said Hall, director of the HRC’s HBCU Program. “All the anti-DEI [diversity, equity and inclusion] laws were being introduced in the same states that she was doing concerts in. So, what would it look like for us to put our best thinking together to put articles, books, and movies to all of the songs on her album?”
On May 15, 2023 — just three shows into the Renaissance World Tour — Florida Gov. Ron DeSantis signed a bill banning DEI initiatives in public colleges. A month later (June 14, 2023), the governor of Beyoncé’s home state of Texas, Greg Abbott, signed a bill prohibiting DEI offices and the hiring of DEI staff at public higher education institutions.
The juxtaposition of rising anti-queer sentiments and Beyoncé’s Renaissance era anchors the syllabus’ arrangement. The syllabus begins with a brief statement summarizing and reiterating the HRC’s June 2023 LGBTQ+ State of Emergency statement, which they declared “for the first time following an unprecedented and dangerous spike in anti-LGBTQ+ legislative assaults sweeping state houses.” The final pages of the syllabus contain both a reprint of Beyoncé’s statement in memory of O’Shea Sibley — a young Black queer man who was murdered in Brooklyn back in July 2023 for simply voguing to Renaissance -—and an additional statement from the HRC denouncing hate crimes.
“I think when you preface something [with] a state of emergency, you get the lay of the land and how important [the] syllabus is,” said Calhoun, an HBCU program manager at HRC. “It brings a sense of urgency and realness to what’s actually happening to queer youth, especially black Queer Youth.”
Calhoun — alongside Hall and Lawson — began work on the syllabus in October 2023, dividing the album’s 16-song tracklist into different themes and building hubs of additional secondary resources that expound on said themes. Despite Calhoun’s initial concerns that breaking up the tracklist would “lose the flow” of the album — Renaissance is intentionally mixed and sequenced to emulate a seamless DJ set — he ultimately agreed that the approach helped the syllabus feel more like a lesson plan.
Six themes anchor the syllabus, ranging from “intersectionality and inclusivity” to “social justice and activism.” Fan favorite tracks like “Alien Superstar” and “Thique” rope in the origins of the body positivity moment and iconic speeches from Barbara Ann Teer (including the one sampled on “Superstar”) under the umbrella of “empowerment and self-acceptance.” “Energy,” the song behind the infamous “mute challenge,” gets new readings by interloping essays from bell hooks and Patricia Hill Collins. Even less-famed tracks like “Move” (with Grace Jones & Tems) — which is paired with fascinating readings on the effects of colonialism on pre-colonial Africa and African perspectives on trans identity — get in on the scholarly fun.
Naturally, “Heated,” a song that had an intense, immediate impact on Renaissance listeners with deep ties to the ballroom scene, served as the crux of the syllabus, according to Calhoun. “It was the model child for how a section of the syllabus should look,” he explains. “There was so much to unpack in ‘Heated.’ You have Beyoncé’s Uncle Johnny, a Black gay man [living] during the AIDS epidemic — that lead to us [compiling different resources] about how we lost a generation of black gay men who were visionaries and people who paved the culture.”
The syllabus is a thorough resource, one that continues the HRC’s connection with Beyoncé’s Renaissance era. On Aug. 27, 2023, the HRC, with support from Beyoncé’s BeyGOOD Foundation, mounted the Equality Ball in Las Vegas, NV – an event that doubled as actual ball complete with a “Bring It Like Beyoncé” category and an educational resource pushing voter registration and sexual health awareness.
Although Parkwood Entertainment, Beyoncé’s production company, did not authorize or give “direct sign off” on the syllabus (Billboard reached out to representatives at Parkwood for comment), creating the resource was “a seamless process,” according to Calhoun. “We knew amongst the team which authors and which folks to go to for certain things, I don’t think any of us did many Google searches,” said Hall. “We knew where to go to connect the right [resources] to one of her songs [and] build a course out of it. It is really a testament to well-read, well-learned people. I feel obligated to say that because we don’t talk about ourselves like that. We’re smart. It would take folks with Howard degrees to put something like this together.”
From Pauli Murray and C. Riley Snorton to Audre Lorde and Sonya Renee Taylor, HRC’s new syllabus continues Renaissance’s mission of highlighting, amplifying and re-centering Black and queer voices. Of course, this syllabus is far from the first piece of Beyoncé-inspired coursework in higher education. Following the release of the Grammy winner’s culture-shifting album Lemonade in 2016, a slew of Beyoncé-themed classes debuted across higher education institutions — including the University of Copenhagen, Rutgers University, Arizona State University and the University of Texas at San Antonio.
For Hall, the rise of courses tackling social constructs through the lens of pop culture is only a good thing. “We’re in a powder keg right now, and it’s gonna pop around election time,” he says. “We have to get information to folks in younger generations. We need them to be connected to what’s really happening and a way to do that is through music and culture.”
Nonetheless, Hall and his colleagues aren’t oblivious to the fact that Renaissance exists in an intrinsically capitalistic context. “[It’s] something I grapple with so much,” notes Calhoun. “I had a teacher who once said that capitalism is the current structure and we have to live under it. This is how life operates. What is Beyoncé going to do to stop a capitalist structure? I just don’t feel like we’re at a point in the movement where we know what we want [people like her] to do.”
While there may be no current plans for a Cowboy Carter syllabus — “being from the Mississippi Delta, that would be dope, but it depends on Beyoncé,” quipped Calhoun — the HRC’s Renaissance syllabus is the ultimate proof that the Renaissance is, in fact, not over.
“We’ve made a course that adds to scholarship about Black queer futures and specifically ballroom and uplifting history that’s not as popular in academia,” says Calhoun. “It really adds to the academic cannon of Black queer scholarship in a way we haven’t seen before.”
“Man, it’s an incredible year,” Scott Stapp tells Billboard, despite not being even one-quarter of the way through 2024. His sentiment is understandable, though: after a decade of inactivity, Stapp’s mega-selling hard rock group Creed has roared back to life this year with a slate of reunion shows that keeps growing due to overwhelming ticket demand.
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One four-night reunion-show cruise in April — first announced last July as Stapp, guitarist Mark Tremonti, bassist Brian Marshall and drummer Scott Phillips’ first shows together since 2012 — led to a second cruise, and both quickly sold out. Then a months-long summer reunion trek, amphitheater shows that will kick off in July, wasn’t enough to meet consumer demand, so Creed plotted an arena run for the fall, too. And ahead of those reunion shows, Creed experienced an online revival, thanks to viral remixes, TikTok clips, World Series sing-alongs and an appearance in a Super Bowl commercial.
Over two decades after their commercial peak (1999’s Human Clay and 2001’s Weathered have sold a combined 19.9 million copies, according to Luminate) and 10 years since they disbanded amid waning sales and audiences, Creed has suddenly never been cooler. A band that was once a critical punching bag now has no less a barometer for contemporary cool than SZA declaring, “I will be a Creed fan forever.”
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“So many positive things have already happened that are just mind-blowing, in terms of the level of Creed’s resurgence,” Stapp says.
Meanwhile, the wins have extended to Stapp’s solo career: Higher Power, his fourth album on his own, will be released through Napalm Records this Friday (Mar. 15) and is being preceded by the highest-charting single of his non-Creed career, the hard-charging title track, which has climbed to No. 12 on Mainstream Rock Airplay and earned 1.4 million streams to date, according to Luminate. Higher Power is Stapp’s most complete solo offering to date — growling and energetic, but also admirably reflective, particularly on “If These Walls Could Talk,” a powerful meditation on his well-documented past substance abuse issues, created as a duet with Dorothy Martin of the hard rock band Dorothy.
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Stapp, who kicked off a solo tour last night (Mar. 10) ahead of the release of Higher Power, says that the support for the solo album and Creed reunion has “already exceeded all expectations.” He spoke to Billboard about what that encouragement means for him, personally and professionally. [Ed. note — this interview has been condensed for clarity.]
You’ve sold millions of albums and scored a ton of hits, and yet I have to imagine that the excitement around this comeback represents a special sort of achievement for you.
I’m still trying to process it, to be honest with you. It’s so profound of a resurgence that it’s an anomaly. But when I look back, I could see the build — you know, Creed was going viral online during COVID, and then it just intensified in 2021 and kept happening in 2022. And so you could see the swell of our music just connecting with an entire generation — some of whom weren’t even alive when we broke up — and then reconnecting with those that were a part of the ride back in the day.
And then to see it move from social media, to the World Series, to the Super Bowl — and then to see the overwhelming response in the ticket sales? It’s just a lot to take in. It’s all positive stuff, and so now, it’s just making sure that we’re all in a good place, we can ride on this positivity, and give the fans what they want.
You’re putting out your fourth solo album before any of the Creed reunion shows. When did Higher Power start coming together?
I went in the studio and first started writing for this record in January 2021. I had no timeline, and the whole Creed conversation wasn’t even happening — I was solely going in to write a record and then turn it in when I was done. So I began writing then and just went in when I felt inspired, when I felt like I needed to go get something off my chest, or I needed to escape and use the creative process as a form of therapy.
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The album came together as a direct reflection of my life — I was living it during the period of time that I was writing it. And I was capturing the vocal performance right when the song was born, in the heat of feeling that emotion that birthed the song. A lot of times, you’ll go back and you’ll re-track vocals, and do things over again. And it’s really hard, I’ve found, to recapture some of that spirit that comes out when you’re really living it. And so with this record, I didn’t attempt to do that: I captured it, kept it, and would continue to build the music around it. And I think it really had a dynamic impact on the vibe of the record, because we captured lightning in a bottle with each song.
That certainly extends to “If These Walls Could Talk,” your duet with Dorothy Martin and one of the rare duets in your catalog.
The duet itself came together after the song was written. I recorded the vocals initially thinking that it was just another song on my record, but after I listened back, I knew immediately this needed a female vocal, it needed to be a duet. So I went on my search, looking for the right female vocalist, [and being in Nashville now seven years, I thought that this song would possibly be my entry point into country music.
I did a weekend gig in Montana with Daughtry, and I was unfamiliar with Dorothy, who happened to be opening that show. We watched her perform, and I knew two or three songs in that that was the voice that needed to be on the song. She happened to be recording in Los Angeles with the same producer that I used on this record, Scott Stevens. I reached out to Scott for something about my record, and he said, “I’ll have to get back to you, I’m in the studio with Dorothy.” And I said, “Oh, dude, I just met her in Montana! Play her ‘If These Walls Could Talk’ and see if she’s interested!” He played her the song, and he wrote me back and said, “She’s in tears. She’s in.”
A couple of weeks later, I got the email with her performance on it, and when I listened to it, I knew instantly that my gut was right. Her performance just blew me away, and I think it really took the song next level. I think it’s really going to do what I had hoped for this song — help it reach more people, and connect with more people who can identify with that message, and let them know they’re not alone in the world.
You’re squeezing in a solo tour in March to support the album. Was that always the plan before the Creed shows?
There was no Creed reunion on the table when I was making this record — the only thing that I had on my radar was making a solo record and going on a solo tour. When the cruise conversations came up, I was still in the mindset of, “I’m doing a solo record.” But then the excitement kept building, and more conversations began to happen, and the next thing you know, we’ve announced two tours, an [amphitheater] tour and an arena tour.
I remember having conversations with my team about this, and they just kept communicating to me, “Hey, this is a good thing, man. The vibes are so positive with you and the guys in Creed, and a rising tide raises all ships.” Everyone in Creed is supportive of everyone’s projects outside of the band, so I just look at it as a win all the way around — a win for Creed, and a win for for my solo record.
It’s a nonstop year, between the solo tour, the Creed cruises, the amphitheater run and then the arena run. What are you doing to physically and mentally prepare?
Well physically, I exercise and train at least five days a week at minimum — I’m preparing my body and have been for years, but I’ve even stepped it up, because of everything that’s in front of me. And mentally, I’m just trying to stay centered, grounded and focused on my faith. I know that when I’m walking right, in my spiritual life, and in my faith, good things happen. When I get off track with that, bad things happen.
But it’s still going to be challenging, and I’m approaching this like it’s a marathon. You can’t walk into anything like this like it’s a sprint, or you burn out. So you’ve got to take those moments for yourself when you need them. It’s OK to rest. It’s OK, on certain days that you have nothing to do, you clean your plate and take a mental and physical timeout to regroup. I think at this point in my life, I know what to do. And I’m fortunate that I’m going to have people around me that support me and encourage me, and are there to help me navigate as well, because there’s no point in trying to do this alone.
What’s it been like messaging back and forth with the other Creed guys as more shows get announced and viral moments occur?
Overwhelming, in a positive way. All our correspondence and all our interactions have been nothing but good vibes. Everyone wants everybody else to win, and everyone’s excited about getting onstage again. We’re just gonna ride this wave and really appreciate it in a whole new way. Because you know, especially from my standpoint, I know what it’s like to have it — and I know what it’s like to lose it all. And so this go-around is just walking in complete appreciation, gratitude and respect, and just trying to cultivate and nurture relationships. Because you never know when it can be gone again.
On Tuesday (Mar. 5), Korn announced a 30th anniversary celebration for the fall, commemorating three decades since the beloved hard rock group’s debut. The one-night-only event will be held on Oct. 5 at BMO Stadium in Los Angeles, with special guests Evanescence, Gojira, Daron Malakian and Scars on Broadway, Spiritbox and Vended among the special guests joining the special Korn performance.
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The band has hinted at a rollicking year to toast the 30th anniversary of their 1994 self-titled debut, with a string of European festival performances kicking off in July, as well as a slot at Louder Than Life 2024 in Louisville in September. For Brian “Head” Welch, however, 2024 has also brought the extension of his long-running advocacy for mental health awareness and treatment.
In January, the Korn guitarist announced a partnership with Atlantic Behavioral Health, a newly opened treatment center serving Massachusetts and New Hampshire and focusing on mental health disorders, including anxiety and depression. Atlantic offers medication management, individual therapy and group therapy as part of their outpatient program, and Welch has been active in encouraging patients as part of the new partnership.
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“As I get older, I start to reflect on my life and what I’ve been given, and also my responsibilities,” says the 53-year-old Welch, who has spoken extensively about his addiction issues and struggles with mental health that played a part in him departing Korn in 2005 before rejoining the group in 2012. “People look to us, they hear what we’re sharing. It’s been really cool to give back, and to see other people doing so as well.”
Last month, Welch spoke to Billboard about linking up with Atlantic Behavioral Health, becoming more open about discussing his internal struggles, and challenging himself to give back during a busy year. (Ed. note — this interview has been condensed for clarity.)
How did this partnership come about?
I’m gonna go way back — I started experimenting with alcohol and drugs at 14, just massive drinking through my teenage years, a functioning alcoholic. And I joined a band, and then we got signed, and the drugs and alcohol just went on for a decade. I left the band and got my life together, and I’ve just been trying to help people that were like me back then.
When I rejoined Korn in 2012, a couple years after that, I met this kid Justin, who was a massive heroin addict, crack addict, everything. And I befriended him, got to know his family really well, tried to help him when, honestly, it wasn’t looking good. And then he finally got his life together, and got sober, and I opened sober living homes with him in the Boston, New Hampshire area. We did that for a while, and he’s been able to help so many people, and then we met some more people in the industry. We found that a lot of the addicts, when they get sober, they don’t know who they are, they don’t know how to feel. And that’s why a lot of people relapse, because they’re not comfortable in their own skin. And so that’s where the mental health aspect comes into it.
We met some amazing people in the industry, talked to them about this idea, and they have a couple outpatient and impact patient rehabs in the Boston area, so we partnered with them to [focus on] the mental health aspect. We want to help people that are struggling, with addiction or with mental health.
From what you just described, it sounds like you evolved from your own issues, to helping one other person with their issues, to finding a whole community of support.
And I really feel like I didn’t have that back in the day. I’m sure there were some programs, but an all-in-one program, with medication consulting and group therapy and one-on-one therapy, like the whole package — I wish I would have had something like that when I was going through my issues. I’ve sat in on group, and I’m going to continue to do so. I’m going to grab some of my men and women from the music industry to come on Zoom and sit in group and encourage people.
Man, I was so lost, and I had so many mental health issues. And it had nothing to do with being rich and famous or not, because I was successful! I just had a horrible time with my emotions and mental state. But I’m living proof that you can get through it, and you can change. You can get to a new place where you find contentment in life, where you find joy.
How do you think this partnership will play out on a weekly and monthly basis?
I’ve sat in on group, and I’m going to continue to do so. I’m going to grab some of my peers from the music industry to come on Zoom and sit in group and encourage people. I’ll do things in person, I’ll do things on Zoom when I’m on tour and whatnot. It’s amazing to be a part of, and what I love about it the most is that there’s a wide variety of different people that come — male and female, gay and straight, old and young. Everybody has something in common, and they’re all discussing what kind of tools to use when they get into that dark space in their mind.
You’ve been speaking out for years about your battles with addiction and mental health issues. Over the course of that time, have you seen others become increasingly open to discussing these issues in public?
When I was 16 or 17, I went through this phase where I didn’t want to be around my parents, I just wanted to be by myself. Some of that’s normal for teenagers, but I think mine was a little bit deeper, because my dad had alcohol issues and anger issues, and he was a good dad, but some of the unpredictable emotional outbursts — I was getting bitter from some of the experiences.
And so they took me into counseling, and dude, I did not want to go into counseling. I would have rather just run away, I would have rather have gotten beat up, than talk about my feelings. It was like an open wound that someone was trying to touch, so I just lived my life in avoidance — I wanted to avoid any issues that were internal or mental, and I avoided it by just drinking. I did that for years, and then when I started getting sober, I started opening up more as I got older, and got really scared that I didn’t want to live my life. The alcohol and the drugs worked for a while to numb it, and then, as we all know, that starts to turn on you.
I started to open up, and as I reached out more, and I started to find counselors who I’d work with one-on-one — but I didn’t have that [community], that group aspect, any of those options. That’s really changed a lot.
With the Korn 30th anniversary and your Atlantic partnership, it sounds like it’s going to be a busy year for you.
It is, man. I mean, Korn and my family are in California, and then Atlantic’s in Boston. My daughter’s in Indiana, and then there’s touring, so to juggle everything is sometimes a challenge. But I like a challenge — I think it’s good as we get older to keep active, so I’m just gonna do the best I can. And for Atlantic, the doctors and therapists are the rock stars, and I’m just getting the word out. I’m really honored to be a part of it, even in a small way.
One week after releasing the sparkling, disco-tinged pop single “Love On,” Selena Gomez has watched the song’s optimism spread across her fan base, and has enjoyed witnessing a positive personal moment translate to her listeners via a new single.
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“It’s been lovely,” Gomez tells Billboard about seeing the general reaction to “Love On” following its Feb. 22 release. “I try not to read too much into things, but I think the whole idea was to make a song that felt good. I feel like I’m in such a light and happy place, and that’s reflected in the song.”
Among the admirers: a certain Oscar-winning actress that Gomez ran into at the SAG Awards last month. “It was really sweet — Reese Witherspoon came up to me and said the song made her really happy and she loved it,” Gomez recalls. “It was a huge compliment, I was glowing. Those messages mean the world to me.”
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“Love On” came together last spring, when Gomez was “in and out of the studio” in April while shooting a film in Paris. Feeling inspired by the City of Light, as well as content within her personal and professional life, Gomez called up longtime songwriting collaborator Julia Michaels and came up with a lyrical concept at once airy and flirtatious.
The standout lyric: “Why we conversin’ over this steak tartare?/ When we could be somewhere other than here/ Makin’ out in the back of a car/ Or in the back of a bar?” Yes, Gomez has seen the flood of TikTok clips dedicated to the “steak tartare” line, and says, “It brings me a lot of joy.”
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The music video for “Love On” captures the song’s romantic effervescence, with French director Greg Ohrel surrounding Gomez with opulent parties, ballet dancers and couples sucking face. “It’s so liberating to not worry about how I look,” Gomez says of filming the video, “and I just wanted it to feel like I was having a good time. I didn’t need it to feel very intense or dramatic. It was just a blast, and I wanted it to convey that — I was genuinely that happy.”
Gomez says that she “definitely” has more material with the “Love On” creative brain trust of Michaels, who has helped pen some of her biggest pop hits, and production/songwriting collective The Monsters & Strangerz, which has worked with Gomez dating back to her Stars Dance album in 2013.
“I feel like I have moments where I hit these strides, and we’re just writing song after song, just in the zone, and I tend to do that when I’m with that dynamic group,” she says. “With Julia and I — for some reason the universe has put us in each other’s lives, because we go through so many similar things in our lives. It just feels so nice to have someone who knows me, knows my voice really well. That’s kind of what I feel like the goal is when I work with that gang — I’m always like, ‘How can I make another song that feels kitschy and fun?’”
However, “Love On,” as well as 2023 track “Single Soon,” may not make the track list to her next album, which will follow her excellent 2020 full-length Rare. Similar to how Gomez preceded Rare with a string of singles (including “Bad Liar,” “It Ain’t Me” with Kygo and “Wolves” with Marshmello) that didn’t make the proper album’s track list — they were later included on the Deluxe edition — Gomez says that these recent singles might just exist on their own.
“I think objectively, I would like to say that I am working towards an album, but I don’t know if those songs would be on that project,” she says. “I feel like I’m brewing, and I’m in the process of really creating some great songs, hopefully. I don’t know if they would fit with what I’m gonna go with.”
However the track list shakes out, Gomez simply wants “to make a great album” in 2024, in addition to continuing her film work. She recently returned to the Only Murders in the Building set, as filming on season 4 of the hit Hulu series has gotten underway.
“I want to continue working towards my goals,” she says. “In the acting field, I feel like I haven’t even started. And with music, it’s always evolving. It’s such a therapeutic experience for me.”
It’s another good week to be Noah Kahan: on this week’s Hot 100, the alt-folk singer-songwriter’s long-rising breakthrough “Stick Season” becomes his first career top 10 hit, rising to No. 10 in its 20th week on the chart. Kahan’s now-signature hit is the title track of his third studio album, Stick Season — which rebounds to its previous peak of No. 3 on the Billboard 200 this week thanks to a new deluxe edition dubbed Stick Season (Forever), 16 months after the album’s October 2022 release. Meanwhile, Kahan launches two new songs from the deluxe edition, “Forever” and “You’re Gonna Go Far,” onto the Hot 100 at Nos. 28 and 86, respectively.
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Kahan’s dual chart triumph is a story of singular success: after grinding out multiple albums and hundreds of tour dates, the Strafford, Vt. native began an ascent towards crossover stardom in earnest last year as Stick Season’s listenership continued to swell. He is now, without a doubt, an A-list artist in popular music – yet the first few weeks of the new year have also suggested that, if 2023 was Kahan’s breakout year, 2024 may be the moment the greater sound of modern pop bends around him.
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As “Stick Season” hits the top 10, a slew of folk-adjacent, guitar-led, vaguely rustic sing-alongs have concurrently infiltrated the Hot 100 — from Benson Boone’s “Beautiful Things” to Teddy Swims’ “Lose Control” to Michael Marcagi’s “Scared to Start” to Good Neighbours’ “Home” — making clear that Kahan’s influence is extending beyond his own wins. “This lane is now open,” Kwame Dankwa, program director of WXXX (95.5 FM) in South Burlington, Vt., tells Billboard of the burgeoning folk-pop boom.
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A little over a decade ago, folk music experienced a pop revival thanks to what has been summarized as the “stomp clap hey” movement, with bands like Mumford & Sons, the Lumineers and Of Monsters & Men scoring banjo-heavy crossover hits and playing to sprawling festival crowds. While some of Kahan’s tunes modernize the stomp-clap sound, the core tenets of his heart-on-sleeve aesthetic — detailed storytelling, vulnerable vocals, scruffy guitar strums that could lead a song anywhere from folk to rock to country to pop — are being refracted through a variety of different styles and voices.
“There’s a confluence of influences — not just in the folk and singer-songwriter space, but also in indie, alt-country, soul,” says Cecilia Winter, Spotify’s Global Hits editorial lead. That’s why, even though a song like Teddy Swims’ soul-pop waltz “Lose Control” doesn’t resemble Kahan’s sound, the emotional songwriting and unfussy vocal take can be grouped together with “Stick Season” in a playlist or radio block. “We’re definitely seeing a heightened demand for these more raw, less-polished songs,” Winter adds.
Part of the explanation for this shift can be chalked up to timing: the advent of TikTok at the beginning of the decade, along with the global pandemic, produced a new wave of young artists stuck at home and sharing clips of themselves performing stripped-down songs from their bedrooms. Kahan experienced that circumstantial effect on his music firsthand: after his 2019 debut Busyhead failed to earn a sizable audience, the singer-songwriter kept writing throughout the pandemic (and about it, too — see the COVID name-check in the “Stick Season” lyrics) and posting song clips on TikTok. Weeks of teasers for “Dial Drunk” last year, for instance, stoked enough excitement that the song earned Kahan his first Hot 100 debut, and kicked off his crossover bid in earnest.
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Also a key factor in the return of folk-pop: a superstar releasing back-to-back projects in that mode. Taylor Swift’s pair of 2020 albums, Folklore and Evermore, not only produced more eye-popping commercial returns and critical acclaim, but undoubtedly influenced a new generation of listeners a decade after folk’s last pop crossover.
“The biggest artist in the world [was] writing very grounded folk music that tells stories,” Kahan told Billboard last month, in reference to Swift’s sonic pivot. “And it allowed a huge new audience to find interest in that and to tap into that world.” The rise of alt-country troubadour Zach Bryan over the past two years was another major precedent for Kahan’s success; another rootsier storyteller whose songs were scooped up by the TikTok set, Bryan has become a stadium headliner, while also championing and collaborating with Kahan.
Perhaps the biggest recent change to this movement is happening at pop radio: while Swift’s Folklore/Evermore offerings and Bryan’s early hits never translated from streaming platforms to the top 40 airwaves, songs like “Stick Season,” “Lose Control” and “Beautiful Things” all reside in the top 25 of the current Pop Airplay chart. Dankwa says that, while WXXX has been keeping “Stick Season” and “Dial Drunk” from Vermont’s hometown hero in heavy rotation, he’s noticed that demand of similar-sounding artists on pop airplay is rising.
“With Noah Kahan’s success, so many [listeners] got their tastebuds wet, and they got hooked,” he notes. “They are saying, ‘We want more of this.’”
Along with factors like TikTok, the pandemic lockdowns and radio adoption, Winter suspects that the success of an artist like Kahan also speaks to a greater cultural push against technological superficiality. That includes combating the use of AI in music, of course, but also practices like image-smoothing via Photoshop and carefully curated social media feeds, in order to be more direct and genuine.
“There’s something distinctly human about folk,” says Winter. “With an ongoing shift towards greater authenticity, I think that shift bleeds into pop music, which is really a sponge for whatever is happening in culture.”
And Kahan — a gifted songwriter whose introspective folk songs contain a pop sensibility, so that his top 40-ready anthems still contain a sense of time and place — has served as the perfect emblem of that place. When Stick Season started taking off in 2023, Kahan had already been playing small and midsize venues around the U.S. for over a half-decade, developing a grassroots following that supported his small-town sing-alongs as pop fans began to take notice of his singles.
“Once an artist gets to a third album, sometimes they start to drift away from where normal people are, but I don’t see that happening with Noah,” says Dankwa. Kahan has naturally been heralded by Vermont and the greater New England area as he plotted arena headlining dates and earned a best new artist Grammy nod, but Dankwa believes Kahan is still “willing to tell everybody’s story. … People in Vermont know and understand him, but you could apply his songs to rural life anywhere in America.”
As a result, new hits that range from Boone’s full-throated folk-rocker “Beautiful People” (which spends a second week in the top 5 of the Hot 100) to Marcagi’s wistful strum-along “Scared to Start” (which debuted at No. 98 on last week’s chart) are further placing Kahan’s fingerprints across the pop charts as Kahan himself collects more hits. Juniper, Spotify’s new flagship folk playlist, has collected over 93,000 likes since launching last October — and Winter hopes that, as the sound’s place in pop music snowballs in 2024, more women and artists of color can gain traction in a space that’s been thus far dominated by white men, citing artists like Kara Jackson and Tiny Habits as just as worthy of mainstream moments.
Regardless of where this new boom leads, however, Winter views Kahan as the de facto leader of this movement, and predicts his influence to continue growing. “Noah reminds me of where Billie Eilish was in 2019,” she notes. “She’d been putting out music for a long time and building this core fan base, and then crossed over into the hit space in such a major way that all of a sudden there were a hundred mini-Billie Eilishes. That’s kind of what is happening with Noah Kahan.”
Although The Boy and The Heron, the first film from beloved Japanese animator Hayao Miyazaki in a decade, was released internationally in July, the breathtaking fantasy has caused quite a stir since its wide release in the U.S. on Dec. 8. The story of a troubled boy who enters a mysterious world following the death of his mother, The Boy and The Heron grossed nearly $13 million in its opening weekend to top the North American box office – the first Miyazaki film to do so.
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As more moviegoers discover the wonder of The Boy and The Heron, they’re also interacting with “Spinning Globe,” the moving end-credits song performed by longtime Japanese star Kenshi Yonezu. Years after Miyazaki first approached the artist about contributing a song to his long-awaited new film, “Spinning Globe,” a heartfelt ballad that blooms into a giant pop sing-along while incorporating element of Scottish folk music, has developed a following in its own right. The song earned 1.1 million official on-demand U.S. streams through Dec. 7, according to Luminate, and that number will surely rise following the film’s North American debut.
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Prior to The Boy and The Heron hitting North American theaters, Kenshi Yonezu discussed the creation of “Spinning Globe,” and how the song yielded one of the most unforgettable moments of his career, in an email interview with Billboard.
What was your reaction when Hayao Miyazaki first approached you to write the theme to his next project?
I was simply flabbergasted, like, “What!?!”
Naturally, I thought, “Why me?,” you know. I heard some background stories of the approach and it turned out that Mr. Miyazaki had heard “Paprika” [a hit song Yonezu produced] on the radio. At a nursery school run by Ghibli, children were singing and dancing to the song; one day, Mr. Suzuki noticed Mr. Miyazaki singing along with them. He thought this could be some kind of destiny and brought up the idea, “How about asking the one who wrote this song to make the theme song of The Boy and the Heron?” and Mr. Miyazaki said, “That’s a good idea.”
Actually, I remember little of the first impression I had on their proposal. It could have had an impact on my memory, but I don’t even remember most of the scene either. I wonder why, and come to think of it, it was an honor, but at the same time, it was very much a scary thing. While it was the biggest honor in my life, chances were, it would put an end to my life as a music maker. That vague anxiety remained intact throughout the four years of making the song. So, to be honest, I don’t really remember how I felt at first.
How much pressure did you feel to create a song worthy of his genius?
For the past four years, this movie has always been in the corner of my head. No matter what I did – when I was writing a song that had nothing to do with it, or just living everyday life, a thin membrane that had the phrase The Boy and The Heron on it was always screening my view. It certainly put a heavy pressure on me, and there was always a sense of preparation for it.
Upon making the theme song of The Boy and The Heron, I thought once again, about what Ghibli movies were, and furthermore, what Mr. Hayao Miyazaki was to me. Then I realized that I have never had anyone to call my master. For instance, in neither music nor art, I experienced being taught something clearly by someone. I have never been into schoolwork and hardly experienced senior-junior or boss-subordinate relationships. I took a look back at my life and realized that I had very little experience of learning from older people and being greatly influenced by them as I shaped my personality. So perhaps I was looking for a master-like figure in Mr. Hayao Miyazaki, as a great master, or if I would say further, a father-like figure.
While his movies are full of celebrations, his books are full of poignant remarks. So, his words do deny me, but at the same time, tell me, “It’s okay for you to live.” I realized only recently, but somewhere in my mind, I might have been seeking that sort of fatherliness in him.
Ever since childhood, his movies have saved my life. And into adolescence, I just started considering him my mentor without asking. Personally speaking, he is probably my all-time number one master. And now I get to work with The Man. Here I am, face-to-face with him, who is seated at the other side of the table… I must take in his every single move, deed, and word. At first, I was trying so hard to look big, strained with tension.
“Spinning Globe” was inspired by the story of the film, but also your passion for Miyazaki’s work. How did you try to capture that passion in the music and lyrics?
At the first meeting I had with Mr. Miyazaki, he said that he would depict all the parts he had “hidden” in his past works, which were “the darkness and mess inside” of himself.
I thought the movie was entirely focused on them. And I had been fully aware since day one that it was simply impossible to make a song by summarizing the story itself. Then how should I do it? I came to the conclusion that the only way to make sense of this song was to focus on the relationship between the two axes: myself, who had grown up watching his movies, enjoying them, and gazing at his back creating them, and Hayao Miyazaki.
Therefore, although the (Japanese) title of the movie could be translated as “How do you live?,” my stance on making this song was more like, “I have lived my life this way,” or, “This is how I will keep going on with my life.” The only way for me to do this was to recapture Hayao Miyazaki in that sense and turn it into music. Therefore, the lyrics were written in that way as well. Having said that, this song is, of course, not on personal matters. I wrote this song for the movie; it projects the main character and what had swirled in the story. But at the same time, all sorts of things, such as Mr. Miyazaki himself and myself growing up watching Miyazaki movies, are also unraveled here while still in opacity. The lyrics go all the way back to one’s birth and into how to live life.
I wanted to start the lyrics from absolute celebration. Mr. Miyazaki has made movies to this day to tell children that “this world is worth living.” Taking that into consideration, I was pretty sure that the song should start from “You were brought into this world to be wanted,” otherwise it wouldn’t make sense.
How did “Spinning Globe” evolve over the years between Miyazaki first approaching you about the theme and its eventual release?
I received the storyboard in 2019, and spent the next four years reading it over and over again, and seeing the rushes of the movie.
At the beginning, it was the time to see if there was anything I could take in from the storyboard, or what to take in. When I received the storyboard, the movie did not have a release date yet; it was probably going to be quite far away in the future. So, I didn’t start working on the song immediately, but instead, spent a very long time figuring out what the movie was all about, and how I felt through looking at it with my own eyes. In fact, for about two years, I had the storyboard at the back of my head while working on other songs and living everyday life.
Then I found myself gradually becoming unable to see the storyboard in an objective way. Even the songs I had been working on at that time, I wondered if they were really okay. Maybe that was the time I had the deepest experience of such things. And when you take a long time working on a song, your appetite comes with eating… you might wonder if you should make it more gorgeous. So, I told myself not to forget the primal sensation of when I first thought it was okay. I created a demo first, and always went back to the feeling of the moment when I thought it was okay, and took a long time disciplining myself, “Adding will do no good… Adding will do no good…”.
Mr. Miyazaki said to me, “Be ambitious when you make a song.” I interpreted it my way, and making “Paprika 2” or something splashy with strings [is] something lazy for me. If asked if such things are ambitious, I don’t think so. As a music maker, I have always sought for something that was not there at that time. With each and every song, I have made it by taking in new elements, no matter how many. Personally speaking, that is what I call ambition.
This time, I made the song extremely simple and earthy. In a sense, it may make the song less pop, but I believe there are things and words that can only be depicted that way. Therefore, to me, this song – “Spinning Globe” – is a very ambitious piece of music.
One day, I had Mr. Miyazaki listen to the pre-recorded demo on the CD I had burned. I went to see him as if I had been on death row, thinking, “Do I have to be there?” We sat around a table, and while listening to this song coming from the speaker, Mr. Miyazaki shed tears in front of me. That is the most memorable moment in the past four years. I will carry it in my heart for the rest of my life.
The film focuses on profound loss, among other issues. Was it difficult to translate that theme into a pop format?
From day one, I already had the foundation of the song, which started with an idea of “creating a Scottish folk tune.” Why Scottish folk tune? It’s very hard to explain, but I have always felt something close to Scottish folk tunes to Mr. Miyazaki’s movies. And at the same time, I wanted to make something simple. Rather than layering different instruments to make it sound gorgeous, I wanted it to be really simple, with minimal instruments like the piano, and use my voice for the rest. I should make music that won’t age but not novel either. In other words, I should make something that is old from the start, in the format that you can listen to it for a long time. That idea has been my focus from the beginning.
I wanted to take an elaborate [creative] process for this song. As pre-production, I crafted the demo as I did the recording at the studio. However, although I did a proper recording, I was trying different instruments, and the mic setting was not really fixed yet. Then, even the creaking sound of the piano pedal made it in the demo. It was not intentional, but when I actually had it, I really liked the sound. I recorded the piano under proper recording circumstances, but the results were always not enough. I tried recording in many settings too.
I went to different studios and tried many pianos. Still, I couldn’t wipe away the feeling that nothing could beat the first piano with that creaking pedal…
I ended up recording with the piano that Yuta Bandoh, the co-arranger of the song, had at his parents’ place. It was an ordinary piano at a very general household. We set up a mic in the room he had lived since childhood, using this old piano his mother had played and passed onto him. The piano had not been maintained regularly, but the texture of its sound was the best to me.
What has the reaction to the song been like since its release, from both your fans and Miyazaki fans?
What kind of presence was the song “Spinning Globe” in The Boy and the Heron? Was it able to serve its role? I consciously try not to be a part of such discussions. I had four years of working face to face with this movie, and in the course of time, many forms were born and gone. It has been several months since the movie was out; I see four years’ worth of flashbacks come and go. But those should not be told anymore. The song “Spinning Globe” should be evaluated by the fans. Now I’m ready to face the next songwriting process.
The Album
Yard, out now on ANTI- Records.
The Origin
Guitarist-producer Henry Stoehr and drummer Teddy Matthews met as youngsters in a McDonald’s ball pit in their native Madison, Wis., and they’ve been playing music together almost as long. They formed a band with buddy and future Slow Pulp bassist Alex Leeds as preteens and kept making music as teens and, later, students at University of Wisconsin, Madison. That’s where they met singer-guitarist Emily Massey, who was in another band, but began writing with Stoehr for fun.
The creative relationship blossomed and Stoehr invited Massey to join the nascent Slow Pulp. Initially, Massey explains, she “was just kind of an auxiliary member,” helping with rhythm guitar and backing vocals. But while recording 2017’s EP2, Stoehr and Leeds asked Massey to sing lead on a couple of their songs. “They were like, ‘How about you sing this song as well?’ And then we started sprinkling in the songs that we had been writing together,” Massey, now 28, recalls. “It just kind of slowly transitioned into me kind of taking the frontperson role.”
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The Sound
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“Lucinda Williams’ album Car Wheels On A Gravel Road, that’s my gold [standard], like, this is how I like music to sound, production-wise” says Stoehr, 29, who produced Slow Pulp’s debut full-length, 2020’s Moveys, and its follow-up, September’s Yard. Massey shares the affinity: She wrote some of Yard‘s songs at a cabin where Williams’ Grammy-nominated 2001 album Essence was one of the few CDs on hand. “She’s just an incredible songwriter,” says Massey, noting the “production cues that [Slow Pulp] took from that Americana world for some of the songs” on Yard.
Stoehr and Massey also gush about the soundtrack to seminal ’00s teen TV drama The O.C., explaining the impact the set of canonical alt-rock and indie-pop songs had on them as younger Millennials. “Overall, on [Yard], there’s a little more earnestness and exposed emotion. And I feel like that [O.C.] era of music was all about that.”
And when it comes to the tried-and-true “Artist A x Artist B = Artist C” equation, one could do worse than encapsulating Slow Pulp’s emotional and vibrant indie-rock than “Lucinda Williams x The O.C. soundtrack.” On Yard, the band’s upped the rootsy quotient – like on late-album standout “Broadview,” a gem laden with steel guitar, harmonica, and banjo that sounds like Slow Pulp exhumed and rerecorded a lost demo from Neil Young’s Harvest.
The Record
Like many young bands, Slow Pulp’s rise is forever linked to the pandemic. The quartet finished its debut, Moveys, in the early months of COVID; around that time, Massey says her own health issues and a serious car accident involving her parents were among the factors that forced the band to “take a breather for a second.”
Writing for Yard began in earnest in early 2022, and by February 2023 the band had submitted the record – and signed with eminent indie label ANTI-, currently home to an eclectic roster that includes Fleet Foxes, Mavis Staples, MJ Lenderman and Japandroids. “They were very down for just letting us take a lot of creative control, which is something that was really important to us,” Massey says.
As she did for Moveys, Massey tracked many of Yard‘s vocals in her musician father’s home studio – “It wasn’t all sunshine and rainbows; we definitely are good at arguing,” she says with a laugh – and Stoehr ornamented tracks the band recorded with “sound candy type of stuff” to make them pop. The technical prowess helps Slow Pulp’s sharper-than-ever songwriting, chock-full of huge hooks and vivid lyrics, shine.
“Songs like ‘Broadview’ and ‘Yard’ have a different flavor than some of the music that we’ve done before,” Massey says. “And ANTI-, those were some of their favorite songs, like from the jump. That felt cool to have a label be excited about new things and new sounds that are kind of taking a risk.”
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The Breakthrough
When Slow Pulp released EP2, influential YouTuber thelazylazyme gave its closing track, “Preoccupied,” a boost by sharing it. “That was the turning point of, like, ‘Maybe we should look into taking this a little bit more seriously,’” says Massey, explaining how the recognition prompted Slow Pulp to relocate to Chicago.
In 2019, the band opened for Alex G on tour – and noticed a pronounced change in the audiences compared to other support slots it had played before. “That was the first tour we went on where the person we were opening for’s fans were pretty receptive,” Stoehr says. “People were liking it.”
And when touring opened back up following the pandemic, Slow Pulp shored up its indie-rock bona fides with coveted slots supporting Alvvays, Pixies and Death Cab For Cutie.
The Future
In early November, Slow Pulp took the stage – to Phantom Planet’s O.C. theme “California,” naturally – for a sold-out show at New York’s Bowery Ballroom, the third of three sold-out Manhattan club shows. The raucous Big Apple crowd has been the norm since Slow Pulp hit the road days after Yard’s release.
“One of our favorite shows that we played on this tour was in Minneapolis,” says Massey, recalling the band’s second stop this fall. “The album hadn’t even been out for a week, and the crowd sang every song. It was just like, ‘What?! How is this happening?’”
The band’s wrapping the year with a European tour – and is already booked for Spain’s Primavera Sound and the Netherlands’ Best Kept Secret in June 2024. Says Massey: “It feels like this big dream is coming true.”
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The Piece of Studio Equipment They Cannot Live Without
Stoehr: “The AKG C414 [microphone]. The gold and black one.”Massey: “My MacBook.”
The Artist They Believe Deserves More Attention
Massey: “Ratboys. They could be huge. The record they put out this year is really so, so cool.”Stoehr: “They’re an amazing band. There’s this other small band from Madison called She’s Green that I think are really sick.”
The Advice Every Indie Artist Needs to Hear
Massey: “Have fun. That’s something that we like have to remind ourselves of sometimes. I’ve had a really hard time letting myself just fail and make things that are horrible. That’s OK! Make stuff that’s really bad. Make bad songs and it gets you to the good ones. Don’t be so hard on yourself.”
The Most Surprising Thing About the Music Industry So Far
Massey: [long pause] “People listen to our music.” [laughs]Stoehr: “Yeah, probably that.”Massey: “That’s pretty surprising, always.”
The Thing They Hope Fans Take Away From Their Album
Massey: “Letting yourself have a certain compassion for yourself. That’s the big takeaway. We all have moments of a lot of self-doubt; there are a lot of things that we’re so hard on ourselves for. And to be able to work towards finding the places where you feel you’re able to care for yourself, outside of all the things that are happening. A lot of this record is about gratitude and reflecting on relationships and things that get you to the place you are now.”
Though Lauren Watkins was born and raised in Nashville, it took leaving Music City for her to come into her own. She honed her acumen as a writer, and poured her talents into her new, six-song project Introducing: The Heartbreak, out today on Songs & Daughters/Big Loud Records.
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“I want people to feel like they know me better,” Watkins tells Billboard while seated at an eatery in Nashville’s Green Hills area. “I want to be a vessel for the songs to get heard. I thought the best way to do that was first introduce ‘the girl,’ and then introduce the things I’ve been through, which is the heartbreak.”
Introducing: The Heartbreak balances husky vocals, razor-sharp lyrics and sonic touches that range from tender to tough, positioning Watkins as far beyond a heart-on-her-sleeve singer-songwriter. “Stuck in My Ways” details the myriad habits she doesn’t plan to change post-heartbreak, while “The Table” conveys a relationship arc from flirtatious desire to heartbroken freedom.
Growing up, it was Watkins’s older sister Caroline who showed an early bent toward music. Their father worked in health insurance and their mother was a painter; meanwhile, the sisters began performing together at the restaurant Corner Pub in the Woods just outside of Nashville.
“We brought our little speaker and invited all of our family and friends, and played on their little outdoor patio,” Watkins recalls. Her sister was already writing songs, so Lauren chimed in on harmonies. “There were moments where I was like, ‘Oh, I kind of wish I was singing lead,’ but honestly, I was too scared to do it by myself. She was like my security blanket.”
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While her sister signed a publishing deal right out of high school and enrolled at Nashville’s Belmont University, Watkins began carving her own persona and creative vision by taking a different path. Watkins followed in her parents’ footsteps by attending the University of Mississippi (Ole Miss) in Oxford, Mississippi.
“I knew I wanted to go to Ole Miss and I knew if I wanted to have a career in music, it would have to be something I did on my own,” Watkins says. “At the time, I thought if I left Nashville, that meant I had to choose between school and music.”
Watkins largely put her musical ambitions behind her, and didn’t perform for the bulk of her university years. But still, “There was this hole in my heart, this tugging,” she says.
Then the COVID-19 pandemic hit, upending everyone’s plans. On-campus college classes quickly pivoted to remote courses, leaving Watkins with ample time to reflect on her goals, write songs — and eventually, make frequent trips back home to Nashville. When her sister traveled to Oxford to visit and perform a show, Watkins sang a few songs with her, a moment that fully reignited her passion for singing.
With still just over a year to go before college graduation, Watkins threw herself into writing songs, drawing inspiration from everyone from Kacey Musgraves to George Jones, and joined a local cover band in order to gain performance experience. Like most Gen Z artists, it was second nature for Watkins to share both some originals and some of her cover song performances on social media.
One of those videos caught the ear of songwriter Rodney Clawson, husband of singer-songwriter and Songs & Daughters label head Nicolle Galyon, setting off a chain reaction that led Watkins to her current publishing and label deals.
Watkins is a co-writer on all six songs on the Joey Moi-produced Introducing: The Heartbreak, alongside her sister Caroline, as well as Galyon, Rodney Clawson, The Warren Brothers, Will Bundy, Emily Landis and David Garcia. She recently wrapped her three-night Nashville residency, dubbed the Heartbreak Supper Club, and is on the road with Austin Snell and upcoming concerts opening for Conner Smith.
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Watkins, November’s Rookie of the Month, spoke with Billboard about signing with Songs & Daughters/Big Loud, and shared the stories behind her new project.
What was the process like of preparing to sign a publishing deal and then a label deal?
After I met Nicolle, she let me do my own thing. She let me just write for a while and kind of hustle on my own. She watched me grow as a writer and then signed me to a publishing deal, maybe a year after we met. I still had a lot of developing to do as an artist. All I did for the past few years was write and write. She let me develop on my own before I signed with Songs & Daughters and Big Loud. You hear horror stories about labels where they want you to fit this certain mold, and I never felt that with them. It felt like this is where I needed to be signed.
“Fly on the Wall” features your Big Loud label mate Jake Worthington. How did he come to be part of this?
The first time I heard of Jake is when he opened for Ernest last year; they took me on the road for a weekend on that tour, so I got to open shows for Jake and Ernest. Jake’s music is so good and he’s just so real country—and he’s not putting it on; he’s really like that. I didn’t write the song as a duet, but the more I listened to it, it needed a male voice on there. It was perfect to highlight the contrast of the couple arguing in the song. The song is so old-school and I wanted it to come across that way.
“The Table” has a great “non-ending,” where the melody carries the lyric itself. How did you arrive at that moment?
Originally, we had “on the table” as the final lyric, and Joey [Moi] and I went back and forth about whether to take the line out. The songwriter in me was like, “Take it out — people know what it means and the music does it for you.” Then I talked to other people and some were like, “Leave it in there; people aren’t going to get it,” but I just didn’t listen to them. I’m so proud of this song. I wrote it with Nicolle and the Warren Brothers on a writing a year ago.
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Carter Faith joins you on “Cowboys on Music Row.” When did you write that song?
She’s one of my good friends and as another female artist, she just understands all these niche things that only other artists really understand. We were on a writing retreat earlier this year in Pigeon Forge, and we were there with my sister Caroline, Lauren Hungate, Ashley Monroe, and Jessie Jo Dillon. We love Tales From the Tour Bus and some of the girls hadn’t seen it so were were showing them all the George Jones and Tammy Wynette episode, the Waylon Jennings episode and that sent us down a rabbit hole of documentaries on those guys. We were inspired because they were just singing about their real lives. It came together quickly, and by the time we were almost done with the chorus, Carter sang part of it and she just has this great sound to her voice that was perfect.
What has the response been like?
Sometimes it can ruffle feathers, that type of song. But we’ve just been saying, “If it ruffles your feathers, then maybe you should look inward,” right? There are real cowboys on Music Row. This song is a hyperbole. There are definitely some real cowboys — Jake Worthington is a great example — and they’re not getting offended. They’re going, “Yeah, tell it to the world. We know we’re here.”
Do you feel like it is easier to write on retreats, versus the day-to-day Nashville writes?
There is definitely something to be said for showing up everyday, writing Monday through Friday. That’s a huge part of it, but as an artist and writer, there’s also something to be said for getting away from Nashville and disconnecting. And there’s this respect that you go and do your thing and they know you’ll come back with something great if you’re just relaxed and focused on writing. And you forge such great friendships—we all got so close on that trip and we still go to dinner when we’re all in town. We hope to do the same retreat again and make it an annual thing. You just write better songs with people that know you and know what you want to say.
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Does having a sister who is also involved in music further strengthen your sibling bond?
We write together so much, and at the same time, I have my artist thing and she has her songwriter thing that’s separate. We have success together but we also have success outside of each other. It’s a lifestyle that so few people understand, and so to have your sister be in it with you is great.
What do you hope listeners take away from your music?
This is me at my most natural place. I love country and I want to be my own form of modern and old-school, and I also want to make all my heroes proud with these songs.
