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Trending on Billboard Kelsea Ballerini is set to release her latest project, the six-song EP Mount Pleasant, on Nov. 14. Ballerini will preview the set via the release of her new song, “I Sit In Parks,” on Friday (Nov. 7). In the process, the singer-songwriter is ushering in her new creative era. Explore See latest […]
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As part of its year-long centennial celebration, the Opry will focus on the music that has made it so special with Opry 100: Country’s Greatest Songs. Out Friday (Nov. 7), the Virgin Music Group-distributed double album features 20 previously unreleased live recordings from the Opry stage.
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The collection, which highlights songs from the fan-voted Opry 100 greatest songs list, spans more than 60 years of recordings, starting with Patsy Cline’s “Crazy” captured live in 1962, as well as well-chosen covers like Ashley McBryde’s “Your Cheatin’ Heart” from 2024. There are also a pair of “Full Circle” tracks, which are mixes of two live performances featuring artists of different eras, including a 1981 take of Marty Robbins singing “El Paso” with a later performance of the same song by Marty Stuart.
Below, Billboard premieres a 2007 Opry appearance by Dolly Parton singing her classic, “I Will Always Love You,” to Porter Wagoner on his 50th anniversary of being an Opry member, accompanied by Patty Loveless and Marty Stuart.
“If it hadn’t been for Porter, I wouldn’t have written this song. It was kind of my goodbye song to Porter,” Parton says of her former musical partner.
Dan Rogers, vp and executive producer at the Opry, tells Billboard how the 20 album choices were pared down from the Opry 100 greatest songs list. “We began treating the selection process as if we were putting together a perfect night at the Opry. With every show, we seek not just to create a highly entertaining performance beginning to end, but also to celebrate the past, present, and future of country music and to showcase numerous styles under the country umbrella,” he says.
The selections are meant to take the listener on a journey. “We wanted to ensure that as the listener continues, he hears about everything Opry audiences have experienced for 100 years: Jesus, whiskey, love, heartache, and more from Patsy Cline, George Jones, Vince Gill, Luke Combs, Carrie Underwood, and their contemporaries who have been stepping up to the Opry microphone for decades.”
The Opry owns the recordings of the live performances that take place on its stage, but Rogers says the Opry worked closely “with artists, labels, and publishers to obtain any necessary rights that may be required for using the recordings. Like every piece of music being released, it takes a whole lot of communication and partnership to make it to release day with everyone on board.”
Even as the Opry looks back, Rogers says the 100th anniversary celebration is setting up the beloved institution for the next century. “Our 100th celebration, which will continue well into 2026, is about both celebrating the Opry’s past and paving a path for the next 100 years, and this project is an audio representation of that celebration,” he explains. “The music included features some of the oldest, most authentic sounds from the Opry’s early days to contemporary sounds that help make the Opry relevant for younger fans with broad tastes.”
A number of promotions will surround the project’s release, including Opry member Don Schlitz, who wrote Kenny Rogers’ “The Gambler,” guest hosting on WSM Radio today (Nov. 6). On Friday, SiriusXM’s The Highway channel will celebrate they 100th anniversary during Music Row Happy Hour. On Nov. 8, Opry Live, which airs every Saturday, on the Opry Facebook and YouTube channels, among other outlets, will air a special, hosted by Old Crow Medicine Show’s Ketch Secor, that features performances of 10 songs on the album.
The Opry’s official 100th anniversary show is scheduled for Nov. 28 and will feature more than 20 members of the Grand Ole Opry, including Bill Anderson, John Conlee, The Gatlin Brothers, Vince Gill, Jamey Johnson and Ricky Skaggs.
OPRY 100: Country’s Greatest Songs Track Listing:
1. “Your Cheatin’ Heart” – Ashley McBryde (2024)2. “El Paso” – Marty Robbins and Marty Stuart (1981 / 2024) (Full circle mix)3. “Crazy” – Patsy Cline (1962)4. “Ring of Fire” – Johnny Cash (1967)5. “Coal Miner’s Daughter” – Loretta Lynn (1985)6. “Kiss An Angel Good Mornin’” – Darius Rucker (2021)7. “I Will Always Love You” – Dolly Parton (feat. Patty Loveless and Marty Stuart) (2007)8. “The Gambler” – Don Schlitz (feat. Vince Gill) (2025)9. “Devil Went Down to Georgia” – The Charlie Daniels Band (2015)10. “Elvira” – The Oak Ridge Boys (1980)11. “Tennessee Whiskey” – Luke Combs (2016)12. “He Stopped Loving Her Today (Full Circle Mix)” – George Jones and Alan Jackson (1993 / 2013)13. “I Was Country When Country Wasn’t Cool” – Kelsea Ballerini (2025)14. “Forever and Ever, Amen” – Randy Travis (1989)15. “Don’t Close Your Eyes” – Keith Whitley (1988)16. “Fancy” – Reba McEntire (2017)17. “Chattahoochee” – Alan Jackson (2020)18. “Go Rest High on That Mountain” – Vince Gill (feat. Patty Loveless) (2015)19. “Jesus, Take The Wheel” – Carrie Underwood (2018)20. “Mama Don’t Allow / Will The Circle Be Unbroken?” – Old Crow Medicine Show, Dom Flemons, Billy Strings, and Molly Tuttle (2020)
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If two artists are company and three are a crowd, then some Nashville stages are threatening overpopulation.
On three successive nights, Oct. 27-29, a total of 30 artists, three speakers and a pair of comedians assembled at three multi-artist shows with three different themes. For most cities, even one of those concerts would have been a major event, but in Music City, it’s de rigueur; ho-hum; par for the course; been there, done that.
Not to say that other communities can’t produce a big, multi-act show — music capitals such as New York, Los Angeles, Austin or Atlanta certainly do it — but Nashville may have a leg up on the phenomenon, particularly for multi-artist concerts.
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“If you’re in New York, the Friars Club will give you a roast,” says Larry Gatlin, who participated in two of the three Nashville events. “In Los Angeles, they have the Academy [Awards] and stuff. But I think Nashville is unique.”
The parade of large Music City productions started Oct. 27 with The Music of My Life: An All-Star Tribute to Anne Murray, with 14 performers doing one song each at the Grand Ole Opry House while Murray applauded from a floor seat. Collin Raye led with “Daydream Believer,” Shenandoah delivered “Could I Have This Dance,” Canadian Michelle Wright chipped in “Snowbird,” and k.d. lang mirrored Murray’s phrasing while performing “A Love Song” barefoot.
The next night, the Grand Ole Opry stacked six musical acts, including Warner Music Nashville signee Braxton Keith, who was surprised with his first gold record; The Forester Sisters, whose three songs included a cover of the 1950s girl group song “Mister Sandman”; and The Nitty Gritty Dirt Band, who ended the show with a song that’s central to country music history, “Will the Circle Be Unbroken.”
On Oct. 29, the annual Concert for Cumberland Heights raised money for a Middle Tennessee rehab center, with Gatlin and Christian artist Joseph Habedank kicking things off before The Warren Brothers MC’ed an eight-person songwriter round that ricocheted between comedic songs and profound material.
The camaraderie across all three nights was notable.
“This is so vibrant — you know, the sense of community,” says Dirt Band frontman Jeff Hanna, who spent time in Colorado and L.A. prior to moving to Nashville. “If you’re in the music business, you’re always going to have a competitive edge. Everybody wants to win, but you also root for your pals, and I just love that about this town.”
Not many towns could hope to pull off three straight nights of comparable multi-artist shows. They’re larger than a traditional two- or three-act concert, but smaller than a weekend music festival.
It’s not financially feasible — for the artist or the promoter — to have that many people travel long distances to play just a handful of songs. And few communities have the volume of local musical talent.
Other towns also don’t have the Grand Ole Opry. One of the side benefits of the program, which will celebrate 100 years on WSM-AM on Nov. 28, is the infrastructure it has created. The Opry is typically booked four or more nights a week. The artists who play it know ahead of time that they’re part of a big ensemble with lots of moving pieces — very different from a concert with one headliner and an opening act. And the crew has developed a routine for the quick changes that a barn-dance format requires.
“Everything has its challenges,” Opry senior vp/executive producer Dan Rogers allows, “but over the course of all those years and this many shows in a year, you begin to figure out the things that work and don’t work.”
The staff itself has a bigger impact on running a multi-artist show. If The Dirt Band is headlining a date, the group can make adjustments deep into the set by reading the audience. But it doesn’t necessarily know what the crowd is like when it pops out from backstage at the Opry, and since it only does two or three songs in that setting, there’s little opportunity to change the dynamic.
“You’re sitting around for a couple of hours,” Hanna says, “then they go, ‘You’re on in five minutes,’ and you’re plugging in these guitars.”
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Because the artist typically doesn’t have an opportunity to make adjustments, it’s up to the production team to read the room and keep the pace going.
“I’m a time person,” Cumberland Heights development events manager Lee Ann Eaton says. “Like, I’ve jerked Santa [Claus] off the stage because he was taking too long. You know what I mean? ‘Your time is over, Santa. Get up!’ ”
That doesn’t mean the artist is unable to influence a show with an adjustment or two. Rogers points to a recent Jamey Johnson Opry appearance, when an onstage mention of the late Vern Gosdin led him to play three Gosdin songs during his set. Gatlin notes that making the audience laugh can engage a sedate crowd.
“Self-deprecating humor is the secret sauce,” he says. “If you can go out there and, very quickly, make a little fun of yourself or pick on yourself a little bit, the audience immediately relaxes and they take you into their heart.”
Still, because the barn-dance format requires a large cast of performers, all of whom have plenty of downtime, there’s room for a lax production to go off the rails. Making it smooth for the talent and their teams while maintaining a sense of structure is what makes the show work.
“It requires a lot more organization on the back end,” Eaton says. “I’m dealing with eight artists and their dressing rooms and their backstage passes and their parking. But the Ryman makes it easy, too. I mean, they’re so good at what they do, I would say I could do my job from my car.”
It’s that institutional knowledge and experience that makes it possible for Nashville to handle three straight nights of multi-artist packages. The Opry has established an air of normalcy around lineups that would be a major undertaking in most other settings. The production teams know the drill, and the artists see it as part of the heritage in country music.
“This community, as much as any other community, loves to pay respect to the people who paved the way for them — and pay it forward,” Rogers says. “So somebody’s often going to say ‘yes’ when you ask, ‘Do you want to come tip your hat to an artist who you listened to growing up?’ Or ‘to come give a boost to [a young] artist who has said you did the same thing for them.’ ”
In just about any other locale, the production team would be in chaos trying to pull off a live music show with so many moving parts. But in Nashville, three straight nights of heavily populated stages — and backstages — is not such a big deal.
“They’re just so calm about it,” Eaton says of the Ryman team, “because it is commonplace.”
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MCA has signed country-rock band 49 Winchester to its Lucille Records imprint. On Friday (Nov. 7), the group will release its first new music since partnering with MCA: a cover of Black Sabbath‘s “Changes,” on which the group collaborated with MCA chief creative officer and Grammy-winning producer Dave Cobb.
49 Winchester is currently in the studio with Cobb, crafting a full-length project slated for release next year. MCA will team up with New West Records on the upcoming album, while all subsequent 49 Winchester releases will be released exclusively through MCA.
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With a lineup that includes Bus Shelton, Noah Patrick, Isaac Gibson, Justin Louthian, Tim Hall and Chase Chafin, 49 Winchester got its start in Virginia and has become known for songs including “Russell County Line” and “Everlasting Lover.” The group will headline two shows at Nashville’s Ryman Auditorium on Nov. 14 and 15. In 2023, they were nominated for duo/group of the year at the Americana Honors & Awards ceremony.
“We’re thrilled to be joining the MCA and Lucille family,” Gibson, 49 Winchester’s lead vocalist and guitarist, said in a statement. “Working with Dave Cobb is a dream, and we can’t wait for our fans to hear the new music we’re creating together.”
Chase Chafin, 49 Winchester’s bassist and co-founder, added, “So grateful to the fans and team who helped us build this to where it is today. We couldn’t be more excited for MCA to be the home of future 49 Winchester releases, and to share this next chapter with those who made it possible.“
“We are so excited to have 49 Winchester join Lucille Records,” said Mike Harris, president & CEO of MCA, in a statement. “Their mix of Southern rock is powerful and authentic, and we look forward to supporting them as they continue to evolve.”
“In working with 49 Winchester it felt like they laid it all out on the line,” added Cobb. “The record is pure heart and honesty, a lotta heart, soul and love went into making this album.”
“Watching 49 Winchester’s remarkable growth and success over the past several years has been incredibly rewarding,” said John Allen, president of New West Records. “Their achievements reflect the band’s extraordinary talent and relentless work ethic, as well as the dedication of everyone at New West. Partnering once again with my longtime friend Dave Cobb is always a pleasure, and MCA is the perfect home for 49 Winchester as we work together to reach even greater heights.”
In addition to 49 Winchester, Lucille’s roster includes Lamont Landers. In February, Cobb and Harris were named the new heads of UMG Nashville, which then rebranded as MCA.
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“Nice guys finish last.”
Baseball manager Leo Durocher first said a version of that now-legendary phrase in 1946, and nearly 80 years later, bending, breaking and ignoring the rules is commonplace in public life.
Deceit is so mainstream that a number of merchandisers have developed “Make Lying Wrong Again” ballcaps and T-shirts.
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But Drew Baldridge counters the idea that nice guys are losers. He went all the way to No. 3 on Billboard’s Country Airplay chart in 2024 with “She’s Somebody’s Daughter (Reimagined),” a song with a protective veneer that he released on his own Patoka Sounds label. Follow-up “Tough People,” an affirmation of regular Joe resilience, peaked at No. 13 in June 2025.
His latest single — “Rebel,” which Stoney Creek released to country radio via PlayMPE on Oct. 30 — takes on the good-guy stereotype, imbuing it with notable power.
“Sometimes in our society, the wrong things get glorified,” Baldridge notes. “It’s hard sometimes when you’re trying to stand up for good things and you see [the] wrong things get glorified.”
Around March 2024, he reached out to one of his “Tough People” co-writers — fellow artist Adam Sanders, currently a competitor on the CBS series The Road — with a request to help him write a song that would flip the narrative on decency, casting someone who does the right thing as an against-the-grain character.
Sanders was in. They met at Sony Music Publishing on Music Row and worked first at developing a setup line, which proved challenging. They finally found an appropriate rhyme for the title: “If the whole wide world wants to dance with the devil/I guess you could call me a rebel.”
Knowing where they were headed, they dug in on the opening verse, both of them writing on acoustic guitars and logging the lyrics on their phones. Sanders tuned his guitar a full step down to meet the mood.
“It gives it more of a bottom end, a droning kind of feel,” Sanders suggests.
The first verse seems to almost mimic the TV show Cops to build its bad-guy images: a mug shot, a DUI and “cussin’ out a cop.” Baldridge and Sanders were conscientious about avoiding politics, though 20 months after they wrote “Rebel,” that last item may sound like a loaded phrase to listeners who hear the “cop” reference without paying close attention to the rest of the verse. Immigration and Customs Enforcement has angered many Americans by wearing masks while on duty, attacking peaceful protesters and arresting mostly people with no criminal record. Many would consider cussing those law enforcement officers an act of rebellious patriotism.
“I could be wrong, but I feel like ICE is very different than a cop protecting his city,” Baldridge says. “In my head, I don’t view them as the same people.”
They made the chorus anthemic, pledging to “stand my ground” and protect the family name. They also inserted the word “integrity” — uncommon for a country song — at the end of a line, giving it a figurative spotlight.
“It is not an easy word to put in a song,” Baldridge notes. “It’s hard to sing and hard to rhyme with. I remember being in there with Adam, and I was like, ‘Look, we have to say this word like it is.’ Standing up for integrity right now is such a big thing.”
Once they had a verse and chorus, they decided to stop.
“We could have easily, probably, in that first writing session, finished the song, but would it have been the best the song it could be?” Sanders asks rhetorically. “We both agreed that we wanted to live with where we got the song to and come back with fresh brains.”
When they reconvened, verse two emphasized family loyalty and setting an example for the next generation. They also fashioned a bridge by repeating a key line from the opening stanza: “When did wrong become right/And right become wrong become so cool?”
“I felt like those two lines were the most important,” Baldridge says. “When I wrote in my notes, I had ‘Rebel’ at the top, and I had ‘right is wrong and wrong is right’ underneath it. And so I wanted to iterate that again.”
Sanders enlisted steel guitarist Andy Ellison to produce a demo, and Baldridge’s team got excited about “Rebel” once they heard it. His usual producer, Nick Schwarz, took the first crack at it and cut a version that hit hard. Stoney Creek thought it could use a lighter touch and brought in Zach Crowell (Sam Hunt, Dustin Lynch), who rerecorded it at Nashville’s Saxman Studios with programmed claps and Nathan Keeterle’s subtle banjo.
“Lyrically, it’s an intense song,” Crowell says. “It can be heavy. It can really make you think about your life, so any little commercial, acoustic, clappy thing we can put in there, it’s like, ‘Let’s do that.’ ”
“Rebel” was so intense that Baldridge needed rest after about five takes while cutting his part.
“We definitely made a conscious choice of how intense his vocal is, like ‘How gravelly is his vocal? How much is he screaming? How pulled-back is he?’ ” Crowell recalls. “I remember when he was singing a time or two, he’s like, ‘Hey, should I be singing harder? Or not as hard?’ We were like, ‘Hey, calm down just a little bit.’ ”
The label wanted some changes, but Crowell moved to a new home shortly after turning in “Rebel,” and his studio would not be ready for a month. He suggested they have Schwarz finish the production. Crowell’s version peaked in intensity at the bridge and then dropped in volume by the end; Schwarz beefed up the back end, keeping the energy at peak volume to the very finish. He played several parts himself and hired guitarists Justin Ostrader and Mike Payne for overdubs. Schwarz also resurrected the drums and a slide solo from the middle of the original production and repurposed them in the final minute of the new version.
“It’s the same tempo, same key,” Schwarz says. “May as well use it.” In the end, the story and the conviction in the performance suited Baldridge well. “It’s perfect for Drew because Drew is a tough guy, but he’s also a very reliable and loyal, dependable guy,” Schwarz says. “The rebel that he’s talking about is Drew.”
“Rebel” seemed destined to become a single, almost from the minute they turned it in. “I’ve had people from both sides of the aisle tell me we need this,” Baldridge says. “I don’t have anybody coming up and saying, ‘This is political.’ They’re all coming up and saying, ‘I’m glad somebody is standing up for honesty and truth and love. We all need this message.’ And that is what excites me.”
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Jelly Roll appears to be having the time of his life on his first-ever tour of Australia. The country superstar who was previously barred from playing international shows due to his felonious past has been tearing it up Down Under, appearing at three stops on the inaugural Strummingbird Festival on the Sunshine Coast in Queensland, Newcastle and Perth, as well as playing shows in Brisbane, Melbourne and the Harvest Rock festival.
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By all accounts it’s been a blast. But this week the “Son of a Sinner” singer said he hit a snag while trying to indulge in some high-end retail therapy. In an Instagram Story posted on Wednesday (Nov. 5), Jelly said he hit a Louis Vuitton store during some down time and claimed the staff treated him like he was a common criminal.
“Hey man, The Louis Vuitton in Sydney, legitimately just treated us like we were finna come in and rob that place,” Jelly said with a smile on his face as he laughed about the incident, with the store’s logo clearly displayed behind him. “I have never been looked at more like a crim… Listen, the last time I was looked at like a criminal this bad.. I was an actual criminal this bad.”
Jelly Roll, 40, announced his first-ever non-U.S. dates in June 2024 with a run of Canadian gigs, just a week after telling Howard Stern that his dozens of bids behind bars on drug charges in his youth — dating back to when he was 14 — had been keeping him from booking shows outside the lower 48.
From the looks of it, though, JR is otherwise having the very best time on his Aussie run, arguing with the locals about the inexplicable difference between Celsius and Fahrenheit, getting the obligatory snap with the Sydney Opera House in the background, falling in love with Australian football and, of course, helping his drummer do a shoey.
Jelly has two more shows left on his outing, including a Thursday (Nov. 6) gig in Townsville at Queensland Country Bank Stadium and Saturday (Nov. 8) at the Outer Fields at Western Springs in Auckland, New Zealand.
Billboard’s Live Music Summit will be held in Los Angeles on Nov. 3. For tickets and more information, click here.
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Trending on Billboard Following a statement published by Americana singer-songwriter Todd Snider’s team on Monday noting that Snider had to cancel his tour dates after he was the victim of an alleged assault prior to a show in Salt Lake City, Utah, it’s now been reported that the singer/songwriter was later arrested and booked for […]
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CMT’s flagship show, the Hot 20 Countdown, will conclude at the end of the year, Billboard has learned from sources.
The program, hosted by Cody Alan and Carissa Culinar, has run on CMT since 2013. The show counts down the 20 hottest country music videos and features appearances by country artists.
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The Hot 20 Countdown is the last original regular music programming on the channel, which has experienced continual cutbacks in staff and programming over the past year and a half. This spring, for the first time since its debut in 2002, the CMT Awards were paused as parent Paramount Global merged with its new owner, Skydance Media. That deal closed in August.
Though non-music related, CMT does still air original programming, with the Taylor Sheridan-produced The Last Cowboy, a horse-reining rider talent competition. The sixth season premieres on Friday (Nov. 7). Last week, it was announced that Yellowstone creator Sheridan will leave Paramount in 2028 for a new deal with NBCUniversal.
As with the other Paramount-owned linear channels, there has been a massive talent drain at CMT over the past 18 months, including Leslie Fram, senior vp of music strategy and talent, who left last fall, as did director of music and talent Stacy Cato, vp of production; Quinn Brown, vp of production; Ray Sells, senior director of production and Darrell Hughes, senior producer of Hot 20 Countdown, among others.
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This fall, there have been more cuts and buyouts, including Donna Duncan, vp of CMT music and talent, who left in September. Last week, as around 1,000 people were cut across Paramount, Margaret Comeaux, the highest-ranking executive still at CMT, who serves as senior vp of production, music & events, announced she will leave the company in December after 24 years. (Comeaux also serves as an executive producer on Hot 20 Countdown.) Melissa Goldberg, who had been CMT’s vp of digital and social, left the company to join sports and entertainment company Teton Ridge in October.
Even before the merger, Paramount Global had been chipping away at original content on CMT and other websites. In June 2024, Paramount stopped producing original content for many of its cable channels’ websites, including CMT.com, which had been a robust site for years, and began directing visitors to content on Paramount+ and other sister outlets.
CMT’s daytime programming consists primarily of classic sitcoms, including Reba, Roseanne, Mama’s Family, King of Queens and Golden Girls, as well as movies like Raiders of the Lost Ark. Music videos run overnight between 12 a.m. and 6 a.m. In addition to new episodes premiering on Saturday mornings, the Hot 20 Countdown repeats on Sunday mornings.
In broader Paramount Skydance news, the company announced today that George Cheeks, chair of TV media, who oversees CBS, will now also oversee the cable networks. Laurel Weir, who reports to Cheeks, will oversee programming for Paramount TV Media, including CMT.
Billboard has reached out to Paramount for comment.
Trending on Billboard Lauren Daigle and Jordan Davis are set to host the upcoming 16th annual CMA Country Christmas holiday television special, which brings music and holiday spirit to viewers to help ring in the festive season. In addition to hosting, Daigle and Davis will both perform during the event, while the special will also […]
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Kehlani makes her top 10 debut with “Folded,” while Justin Bieber’s “Daisies” and Olivia Dean’s “Man I Need” continue to rise. Billboard‘s chart experts break down the new contender and whether Mariah Carey will come flying in to No. 1 anytime soon. We also took to the streets of L.A. and asked fans what they thought about the top 10 for this week.
Tetris Kelly: The battle between “Golden” and Taylor Swift stays tight as a new contender enters the top 10. It’s time, well, according to Mariah Carey and KATSEYE, but maybe not quite yet on the charts. More on that moment a little bit later. But for now, let’s jump into the top 10. This is the Billboard Hot 100 top 10 for the week dated Nov. 8. Still at 10 is Leon Thomas with “Mutt.”
Guest 1: So, “Mutt,” man, I feel like it’s so, like, relatable to our culture. I love it. It’s got, like, a lot of flavor in it. And the women, I love the women. So it gets you, you know, it gets you in there.
Tetris Kelly: Morgan also stays at No. 9.
Guest 2: I mean, I live in Texas, so everyone’s obsessed with Morgan Wallen. I kind of stay away from what everyone’s obsessed with.
Guest 3: I don’t listen to him. I’ve never been a country girl, but I know he’s big. I don’t actually think I’ve ever listened to a single song by him.
Guest 4: I never even heard of him. You wilding because I don’t know Morgan.
Tetris Kelly: “Elizabeth Taylor” falls to eight.
Guest 4: Music swiftly goes right by me. Oh, hey, she cute. Though, I bet if I heard it, I probably would like it, though.
Tetris Kelly: So not a lot of movement in the bottom of the chart, but I am happy to see Leon Thomas still hanging in there. How we feeling about the chart this week, guys?
Delisa Shannon: I mean, y’all know this, I love me some Leon Thomas, so to see him holding on, I mean, it’s just truly a testament to really pushing a song. I think that’s what we’ve seen time and time again on these charts, where we see a song that not only that the artist is really strong behind, but their fandom is really strong behind.
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