genre country
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Doechii hits a new peak in the top 10 with “Anxiety,” Alex Warren continues his rise on the Hot 100 with “Ordinary” and Kendrick and SZA continue their run on the Hot 100 with “Luther.” Tetris Kelly:This is the Billboard Hot 100 top 10 for the week dated May 10. Doechii’s “Anxiety” returns to the […]
Zach Bryan has re-upped with Warner Records, Billboard has confirmed.
The extremely prolific singer-songwriter has released three studio albums on the label since first signing with it in 2021: 2022’s American Heartbreak, 2023’s self-titled set and 2024’s The Great American Bar Scene. He’s also put out three EPS and two live sets. The Hollywood Reporter first reported the news, adding that the new deal is for at least two albums.
Bryan’s rise has been meteoric. Billboard named him its top new artist of 2023, and he has dominated at both country and rock since then. “I Remember Everything,” his duet with Kacey Musgraves, and “Something in the Orange” were the top two songs on Billboard’s 2024 year-end Rock Streaming Songs chart. That same year, he ranked third on Billboard’s Top Artists of 2024 and No. 1 on the Top Rock & Alternative Artist chart. His self-titled set became his first album to debut at No. 1 on the Billboard 200, and all three of his full-length Warner Records sets have bowed atop Billboard’s Top Country Albums chart.
Bryan has also been a critical favorite, earning four Grammy nominations, with “I Remember Everything” winning best country duo/group performance at the 65th annual Grammy Awards in 2024.
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He’s also a crowd favorite. After headlining the opening night of Stagecoach last month, Bryan is headed to Dublin for three shows in June and then will play BST Hyde Park in London on June 28-29. He will then return stateside for seven stadium shows, including three nights at Metlife Stadium in East Rutherford, N.J.
Bryan helped usher in a new wave of country-oriented acts signing with coastal labels, as Billboard reported in September. Bryan wasn’t the first country-leaning act signed by a major coastal label, but his massive success has proven that an act no longer necessarily needs the usual Nashville methods, including country radio, to break through.
Prior to the pandemic, Nashville labels generally had a lane to themselves when it came to signing country artists, with their relationships at country radio giving them almost exclusive access within the genre. But once COVID hit and touring slammed to a halt, labels became laser-focused on data and analytics as the only available metrics to gauge an act’s success. The coastal labels saw tremendous opportunity and jumped in, with New York and Los Angeles labels signing country-leaning acts with strong streaming numbers and a high TikTok engagement rate, including Warren Zeiders (Warner Records), Koe Wetzel (Columbia), Dasha (Warner Records) and Ella Langley (Columbia); or jointly with a Nashville partner, such as Megan Moroney, who is signed to both Columbia and Sony Nashville.
Warner Records declined to comment on the news.
If the Academy of Country Music Awards were a game show, the music event of the year honor would be the bonus round.
Appearing in that category on the ballot can make a huge difference in the top nomination totals, and the 60th annual awards — slated to be presented May 8 in Frisco, Texas — are a prime example. Three of the top four nominees — Ella Langley, with eight nominations; Cody Johnson, with seven; and Morgan Wallen, also with seven — had their totals boosted as finalists for music event. That’s also true for seven of the top eight nominees.
In fact, the only artist among the top eight who’s absent from music event is seven-time nominee Lainey Wilson, whose ACM experiences were eventful each of the last two years.
“I think she has done her due diligence on music event,” ACM head of artist relations and awards Haley Montgomery says. “She won for ‘Save Me’ with Jelly Roll. She won for ‘wait in the truck’ with HARDY.So I think she’s just giving us a one-year break.”
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In another era, music event felt a little gimmicky. The category often contained songs that were non-singles or charted tracks that never made the upper reaches of the list. But in the current era, hit collaborations are more plentiful, in great part because there is a larger volume of titles from which voters can pick.
Collaborations “used to be a lot tougher to do,” recalls Brad Paisley, who won vocal event (as it was then called) with three titles: “Whiskey Lullaby,” with Alison Krauss, in 2004; “When I Get Where I’m Going,” with Dolly Parton, in 2005; and “Start a Band,” with Keith Urban, in 2008.”We used to scream at the top of our lungs to labels, ‘Please let us do these things.’ “
Now that streaming has expanded the ways in which music is consumed, former concerns about disturbing marketing plans for two or more acts at radio are far less an issue, Paisley reasons. So artists work together more. Backing Paisley’s point, he appears on Kane Brown‘s The High Road album and Post Malone‘sACM-nominated F-1 Trillion. He has at least two other collaborations in the works, and Chris Young sent him a song recently with hopes that Paisley would play guitar on it.
“Whether or not that ever comes out, I don’t know,” Paisley says. “But that’s what music should be.”
In some ways, the music event field represents the heart and soul of the current awards-show ideal. Producers of every televised awards ceremony look for artist matchups that they can promote as special events that may not happen anywhere else. Chris Stapleton‘s collaboration with Justin Timberlake at the 2015 Country Music Association Awards is perhaps the most impactful example.
“The audience just really loves seeing different artists collaborate together,” says Fusion Music founder Daniel Miller, who co-manages five-time ACM nominee Riley Green with Red Light artist manager Zach Sutton. “Certainly this category has been around for a long time, and some of the most historic songs come from that category. But I think more than ever, they just love the collaboration.”
The total impact of a collaboration goes beyond the music event category. Three of this year’s five music event nominees — Langley & Green’s “you look like you love me,” Post Malone & Wallen’s “I Had Some Help” and Johnson & Carrie Underwood‘s “I’m Gonna Love You” — scored additional nods for single, song and/or visual media of the year. In fact, four of Wallen and Post Malone’s nominations are tied to “I Had Some Help,” while six of Langley’s eight nods and all five of Riley’s derive from “you look like you love me.”
“Riley’s career was certainly taking off in a big way [already], and Ella was starting to be discovered,” Miller says, “but [the duet] was exponentially beneficial to both of them when you add them together.”
With that potential impact, aiming intentionally for a music event award might seem like a good strategy on the surface. But Paisley, Miller, Montgomery and Johnson all caution that collaborating for creative reasons is more likely to succeed than targeting trophies. Johnson, in fact, took issue when his team started sketching out a marketing plan for a possible collaboration with Wilson even before the song had been finalized.
“Everybody’s like, ‘Well, we need to get with her camp about when we’re going to release this,’ ” Johnson recalls. “I said, ‘Hey, I just want to record this. Let me record the song, and then y’all can do all that later.’ “
Landing a music event nomination has an extra bonus for artists who produce their own work at the ACMs, since the organization gives those acts separate trophies for the performance and the production. Carly Pearce, who co–produced her Stapleton collaboration “we don’t fight anymore,” and Kelsea Ballerini, who co-produced the Noah Kahan music event “Cowboys Cry Too,” both doubled up on nominations in the category. Not every awards show provides a second trophy for artist-producers.
“Overall, it’s really important to recognize who we think are pivotal in the background of what caused these moments to happen,” Montgomery says. “And when you’re talking about a music event, bringing two people together, producing that collaboration — speaking as someone who does a very small scale of that, just trying to put together honors compilations or small performances at after-parties — it can be really complicated, so we see value in recognizing the subcredits of who made this magic moment happen.”
The right music event can certainly help an artist pile up nominations, but ideally the nomination isn’t the goal. It’s the result of a performance developed for creative, or collaborative, purposes.
“You could point to this category and say, ‘This is the reason awards shows are watched, because of music events,’” Montgomery says. “So it’s a really interesting one. I don’t see it going anywhere anytime soon.”
It was fitting that Miranda Lambert was on hand for Sunday night’s (May 4) “Iconic Women”-themed night. As the show’s top 10 competed for a spot in the top 8, Lambert was in the house for a killer performance of one of her breakthrough hits and to offer advice and encouragement to the singers, beginning with country crooner John Foster, who admitted that the singer was his “first crush.”
They clearly got along like old friends, with country gentleman Foster even taking off his cowboy hat in deference to Lambert, who counseled him to work the stage a bit as they did an impromptu duet on Bonnie Raitt’s “Something to Talk About.”
Lambert wasn’t done singing, though, as she had her own spotlight moment later in the show when she took the stage to perform her breakthrough 2005 hit single, “Kerosene,” which peaked at No. 61 on the Billboard Hot 100 and Nov. 15 on the Hot Country Songs chart. The song, which was the third single and title track of Lambert’s debut album, has lost none of its rocking vibe in the ensuing two decades.
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“Dusty roads ain’t made for walking/ Spinning tires ain’t made for stoppin’/ I’m giving up on love ’cause love’s given up on me,” Lambert sang over her band’s foot-stomping backing, as, following her own advice, she worked the stage in a rhinestone-studded black jumpsuit while the giant screen behind her featured the tune’s title in flaming letters.
Fellow country stars and Idol judges Carrie Underwood and Luke Bryan clapped and bopped their heads to the song’s driving beat and gospel-flecked keyboards. Afterwards, host Ryan Seacrest asked Lambert how her mentoring run on the show has been going and she said, “I love them all so much. I’ve had such a blast getting to be part of this Idol family and getting to know these wonderful artists. It has been a real blessing for me.”
Lambert also plugged her new record label, Big Loud Texas, where she said she’s trying to keep the “outlaw movement going.”
Other top 10 performances on the episode included: Kolbi Jordan (Fleetwood Mac’s “The Chain”), Josh King (Adele’s “Rolling in the Deep”), Breanna Nix (Adele’s “Water Under the Bridge”), Canaan James Hill (Carrie Underwood’s “Love Wins”), Thunderstorm Artis (Adele’s “When We Were Young”), Slater Nalley (Reba McEntire’s “Whoever’s In New England”), Jamal Roberts (Underwood’s “Undo It”), Mattie Pruitt (Lambert’s “The House That Built Me”) and Gabby Samone (Beyoncé’s “I Was Here”).
Idol winner Abi Carter also returned during the episode to sing her new ballad, “Burned.” By show’s end, the top 10 was cut down to the top eight, with Jordan and Hill eliminated. The next episode of Idol, the judge’s song contest, airs on Monday night at 8 p.m. ET, where America will vote for the top six and the judges will use their save to complete the top seven.
Watch Lambert perform “Kerosene” on American Idol below.
In many ways, country music tells the story of America. There is the celebration of rural life and the yearning to recapture a seemingly simpler time. There are murder ballads, cheating songs, tunes that herald Saturday night’s debauchery and Sunday morning’s redemption. There are bring-you-to-your knees, heartbreak songs and songs that embrace both fleeting and […]
After receiving a cease-and-desist from the owner of Las Vegas’ Sphere, Beyoncé has replaced the venue with another Nevada landmark in her Cowboy Carter Tour visuals.
Days after Billboard confirmed that Sphere Entertainment Co. CEO James Dolan’s attorneys had sent a letter to the superstar’s Parkwood Entertainment demanding that Bey remove a reference to the Sphere in a video that plays during one of her show’s interludes, fans at the tour’s third night in Los Angeles Sunday (May 4) were the first to see that she had done just that. In lieu of a ginormous Bey bending down to pick up the iconic spherical concert space — as was depicted in the original visual dubbed “Attack of the 400 Foot Cowboy” — she now reaches for Allegiant Stadium, seemingly edited overtop of where the Sphere was initially.
The following morning, Parkwood posted the updated footage on Instagram, writing, “What happens in Vegas starts with a BANG.”
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“Bey really said ‘you want petty? here’s petty,’” one fan commented on the post.
Another person wrote with a cry-laugh emoji, “Oh the shade.”
Sunday’s show came two nights after the New York Post first reported that Dolan’s company had sent Bey’s team the cease-and-desist, alleging that “the prominent appearance and manipulation of SEG’s Sphere™ venue in the video [had been] unauthorized.” In addition to accusing the 35-time Grammy winner of showcasing the Sphere without permission, the letter also reportedly criticized the visual for supposedly misleading fans by creating “significant speculation that Beyoncé will end her tour with a Sphere residency,” despite the fact that the Cowboy Carter trek is actually scheduled to end with two shows at Allegiant in July.
Billboard previously reached out to reps for Beyoncé and tour promoter Live Nation, but did not hear back.
Prior to the change, the Sphere had been just one of several global landmarks included in the visual. Featuring Bey modeling several glamorous looks and towering over various cities worldwide, the “Texas Hold ‘Em” singer also interacted with the Statue of Liberty in New York City, the Eiffel Tower in Paris and the Washington Monument in Washington, D.C., in the interlude.
Following two more nights at SoFi Stadium in L.A. this week, Bey is set to bring the tour supporting Billboard 200-topping album Cowboy Carter to Chicago and East Rutherford, N.J., before heading overseas for performances in London and Paris. In late June, she’ll circle back to the states for shows in Texas, Maryland and Georgia before closing out with her Nevada performances.
See Bey’s updated, Sphere-less tour visual below.
Big Loud Texas has added a publishing arm, Big Loud Texas Publishing, with Timothy Allen as the publishing company’s inaugural signee. Lizzy Rector will spearhead the new venture, having been hired as publishing director for the Austin-based Big Loud Texas Publishing.
The newly-formed division will work hand-in-hand with Big Loud Texas’ co-founders, three-time Grammy winner Miranda Lambert and producer/writer/musician Jon Randall.
Rockwall, Texas native Allen, whose work as a touring musician, producer and studio musician has included time spent with Shane Smith and the Saints, caught Randall’s attention while performing music from his solo project at Texas Music Revolution. Allen resides just outside of Dallas in Royse City and counts John Moreland and Sufjan Stevens among his influences.
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Rector joins Big Loud Texas following a seven-year tenure at Big Machine Music Publishing, where she most recently served as creative manager. A Texas native and Belmont University alum, Rector will lead Big Loud Texas’ new publishing division, focusing on strengthening creative connections between Austin and Nashville.
Lizzy Rector
Chasity Posey
In partnership with Big Loud Records, Lambert and Randall founded Big Loud Texas in 2023, with the aim of promoting and cultivating Texas artists to global acclaim. They signed flagship artist Dylan Gossett along with Mercury Records and also added country neo-traditionalist Jake Worthington to the Big Loud Texas roster. Lambert and Randall, along with the Big Loud Records team, are involved with signing and developing artists for the Big Loud Texas roster, with Randall serving as president of A&R (as well as offering his producer expertise), and Brendon Anthony serving as vice president at Big Loud Texas.
“I grew up listening to incredible storytellers like Guy Clark and Emmylou Harris,” Lambert said in a statement. “Hearing their music made me realize I wanted to be an artist who poured my own truth into songs and said something meaningful through my writing. With Big Loud Texas Publishing, I’m proud to help nurture that same spirit in a new generation of writers, and I’m so excited to welcome Timothy Allen as our first signing.”
“I am so excited that we are announcing the publishing arm to Big Loud Texas,” Randall added. “Obviously songwriting is very close to our hearts. I am so grateful for the opportunity to continue growing the Big Loud Texas brand with Miranda, our partners and our team and giving songwriters a place to call home.”
“We are so grateful to have Lizzy in the Big Loud Texas family,” Anthony said in a statement. “Her experience in publishing and her vision for the company are already proving to be invaluable. Lizzy is a strong leader and a champion of songwriters. We could not have asked for a better person to take the reins.”
Randall said of signing Allen, “He is one of the most talented and musically versatile singer songwriters I’ve ever met. We so appreciate Tim entrusting us with his talent and craft and we are so proud to be a part of his musical a journey.”
(L-R): Timothy Allen, Brendon Anthony and Jon Randall
Jordan Pierce
This week’s crop of new music finds Luke Combs and Bailey Zimmerman pairing up on a hard-charging anthem about grit and determination. Elsewhere, Trisha Yearwood offers up new music, from her forthcoming first album in six years, while HARDY, Rebecca Lynn Howard, Jedd Hughes and Mason Via also issue meshes of country, rock, blues and/or bluegrass on new songs.
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See latest videos, charts and news
Bailey Zimmerman feat. Luke Combs, “Backup Plan”
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Zimmerman just logged a Billboard Hot 100 top 5 hit with his BigXThaPlug collaboration “All the Way,” and he quickly follows by teaming with fellow country hitmaker Luke Combs — this time on a hard-charging, motivational anthem about tuning out naysayers in favor for chasing one’s own ambitions. Combs’s full-bodied vocal is a natural for this type of commanding track, while Zimmerman cranks up the vocal energy to another level. The two filmed the video for “Backup Plan” live at Stagecoach Country Music Festival in California, when Zimmerman made a guest appearance during Combs’ Sunday evening set.
Trisha Yearwood, “Bringing the Angels”
Three-time Grammy winner Yearwood is set to return with her first album in six years with the July 18 release of The Mirror, which also features Yearwood as a writer on all of the set’s songs. She offers a stellar preview on that album with this bluesy-rock fueled number, as careening guitars and soulful gospel choir vocals aid in giving a vigorous reminder of Yearwood’s emotional and vocal firepower, as she calls on the support of a higher power as she rails against haters and doubters. Yearwood wrote “Bringing the Angels” with her sister Beth Bernard, as well as writers Leslie Satcher and Bridgette Tatum.
HARDY, “Girl With a Gun”
From his newly released EP Country! comes this ballad that finds HARDY singing about allaying the fears of a lover concerned that his night out with a group of friends could lead to infidelity–but he’s quick to bring a reminder of his undying devotion, plus, he’s aware his lover knows her way around a firearm and cheating could lead to deadly consequences. “You really think I’d teach you to shoot it/ If I was gonna be the reason you’d use it,” he sings, bringing a track that manages to be both the EP’s most tender — yet ominous — song, while also highlighting HARDY’s signature way with making a lyric both powerful and unexpected.
Rebecca Lynn Howard, “I’m Not Who You Think I Am”
The title track to Howard’s first album in 15 years, it showcases that her vocal prowess hasn’t diminished, and that her songwriting has only grown more nuanced and fearless. She delves into redemption (“A Good Place to Turn Around”), pleas for societal change (the twangy jamband track “Mess Down Here”), and offers boot-stomping declarations of a lover willing to fight (“Hoedown”), while elsewhere lending her voice to the full-throttle twang of “Flowerbed.” Howard is known for her powerful vocals on early hits such as the ballad “Forgive,” but on this set, she delivers an array of country-rock bangers, twangy bluegrass-tilted tracks and deeply introspective tunes with aplomb.
Jedd Hughes, “Kill My Blues”
Two decades ago, Hughes made his debut in Nashville circles with a polished, bluegrass-inflected project that demonstrated his skills as a triple threat singer-songwriter-guitarist. Since then, he’s proven an in-demand studio and touring musician and an ace artist in his own right. “Kill My Blues” is featured on Hughes’ new album Night Shades, and an older co-write with revered artist Guy Clark. The pristine production and layered instrumentals kick this bluesy-rocker up a notch, and proves Hughes’s expressive singing as well as his towering instrumental talents.
Mason Via feat. Ronnie Bowman and Junior Sisk, “Oh Lordy Me”
Via has forged several sterling stints in bluegrass and Americana circles, including work as the youngest member of Old Crow Medicine Show, and writing songs for Del McCoury Band’s album Almost Proud as well as Molly Tuttle’s City of Gold. Via continues etching his own musical path with his new project, which includes a stellar collaboration with bluegrass titans Ronnie Bowman and Junior Sisk on “Oh Lordy Me,” a piece that simultaneously nods to bluegrass tradition while feeling progressive and boundary-less. Fiddle, mandolin, banjo and the singers’ bright harmonies wrap around this celebration of rural living, from taking in the mountain air and lush scenery, to taking pride on one’s station in life, regardless of financial position.
Keith Urban will be honored at the 60th Academy of Country Music Awards on Thursday (May 8) with the prestigious Triple Crown Award.
The award signifies an achievement that only 11 previous artists have reached by winning new artist of the year and artist of the year in their respective genre or designation and entertainer of the year. Urban qualified by winning top new male vocalist in 2001, male vocalist of the year in 2005 and 2006, and entertainer of the year in 2019. He is the first artist to receive this honor on the ACM Awards telecast since Carrie Underwood in 2010 at the 45th ACM Awards. (The award is generally given at the ACM Honors in August now as it was to Lainey Wilson last year).
Urban will be celebrated by Brothers Osborne, Chris Stapleton and Megan Moroney at the show.
Urban’s 18-year span between top new artist and entertainer of the year is the longest of any recipient and is a testament to his enduring career. He is also the first non-American to win the award: Urban was born in New Zealand and raised in Australia.
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“I came halfway around the world to live in Nashville,” says Urban who moved to Music City permanently in 1992. “It was my dream since I was seven years old. All I ever wanted to do was write songs, try and get them recorded, try and get them on the radio, and now get them on streaming. And hopefully people like them and want to come and see me live. That’s never changed.”
Urban recalls his first win for top new male and how unreal it felt even to be nominated.
“I remember the first time seeing my name in the nominees and it felt like when you go to the theme park and you can get your picture taken and put on the front of a fake Time Magazine as a souvenir. I felt like that,” he says. “It wasn’t real. It had that surreal quality.”
But it was real, and Urban has been on a winning streak ever since, landing 20 No. 1 songs on Billboard’s Country Airplay chart and selling out arenas around the world.
When he won entertainer of the year, he’d been nominated and lost eight times before and was expecting the same result.
“I would just celebrate the nomination, not really thinking I’m going to win and I’m good with that. I was very content and grateful,” he says. “And so [to win]— and in hindsight, now, for it to happen the year before COVID— was particularly a wonderful blessing because it was a big night, an arena full of people celebrating.”
He will soon be joined by people celebrating in full arenas later this month when his first tour in three years, the High and Alive world tour, kicks off May 22 in Orange Beach, Alabama.
He hopes that his Triple Crown victory can encourage other artists from outside the U.S. to come to Nashville and pursue their musical dreams as well.
“In particular, if it inspires some people from other countries who have a dream of coming to America, then that’s a good thing,” he says. “It took a lot of years of living in [Nashville] and becoming part of the community. But it’s absolutely achievable if you’re willing to put in the hard work and the time.”
The ACM Awards, hosted by Reba McEntire, will stream live for a global audience across 240+ countries and territories on Prime Video and the Amazon Music channel on Twitch on May 8, at 8 p.m. ET / 7 p.m. CT / 5 p.m. PT from the Ford Center at The Star in Frisco, Texas.
The ACM Awards are produced by Dick Clark Productions, which is owned by Penske Media Eldridge, a joint venture between Eldridge Industries and Billboard parent company Penske Media.
Although the ceremony for the 2025 ACM Awards is still a few days away, Ella Langley and Riley Green are early winners for their breakthrough hit “You Look Like You Love Me.” The surprise was revealed while the pair were on stage at Country Thunder in Tampa, Florida, Friday night (May 2) — with the reveal coming from none other than country icon and 18-time ACM Awards host Reba McEntire.
A special video from Reba, in which she congratulated the two artists as winners of this year’s award for visual media of the year (for their “You Look Like You Love Me” music video), played during Green’s set at the festival on Friday. Langley receives honors for both artist and director in the category.
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“Sorry to interrupt, but I have some big news,” Reba teased in the clip that announced their win. “Congratulations to Ella and Riley! Can’t wait to celebrate with you both in Frisco!”
Langley learned of her first Academy of Country Music award just a week ago, during her set at Rock the Country in Knoxville, Tennessee.
News of that first win — for new female artist of the year — arrived courtesy of friend and co-writer Miranda Lambert via video message. (Lambert, who called Langley “my soul sister in country music and a partner in crime,” was named winner in the same category 18 years ago.)
Langley’s the most-nominated artist at the 60th ACM Awards.
With two awards to her name already, several remain up for grabs for the singer-songwriter at this year’s ceremony: female artist of the year, plus single of the year, song of the year and music event of the year (all for her “You Look Like You Love Me” duet with Green). For song of the year, the two are nominated as both artists and songwriters.
The twangy, flirty barroom duet, released in 2024, made it to No. 1 on Billboard’s Country Airplay chart, No. 7 on Hot Country Songs and No. 30 on the Billboard Hot 100.
The 2025 ACM Awards will stream live globally on Prime Video and the Amazon Music channel on Twitch on Thursday, May 8 at 8 p.m. ET / 7 p.m. CT / 5 p.m. PT from the Ford Center at The Star in Frisco, Texas. Expect to tune in for two-and-a-half hours to catch the full show.
The Academy of Country Music Awards is the longest-running country music awards show, with its inaugural year being 1966.
The ACM Awards are produced by Dick Clark Productions, which is owned by Penske Media Eldridge, a joint venture between Eldridge Industries and Billboard parent company Penske Media.