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Morgan Wallen reaches another Billboard chart milestone, as his latest studio album, One Thing at a Time, collects its 100th nonconsecutive week in the top 10 on the Billboard 200 chart (dated March 15). It’s his second album to notch at least 100 weeks in the region, following his previous studio set, Dangerous: The Double Album, which surpassed 100 weeks on the Dec. 24, 2022-dated chart, and currently has 158 total weeks in the region – the most of any album by a singular artist.
Wallen is the only singular act with two albums (or even one album) with at least 100 weeks in the top 10.
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On the March 15, 2025-dated chart, One Thing at a Time holds at No. 9, while Dangerous climbs 15-12. Both titles debuted atop the list, with One Thing at a Time spending 19 weeks at No. 1 in 2023-24, and Dangerous notching 10 weeks in the lead in 2021.
Since the Billboard 200 began publishing on a regular weekly basis, with the March 24, 1956-dated chart, the album with the most weeks in the top 10 is the original cast recording of the stage musical My Fair Lady, with 173 weeks in the top 10 between 1956-60. Of the six albums with at least 100 weeks in the top 10, four are either cast recordings or film soundtracks.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multimetric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album.
Albums With Most at Least 100 Weeks in the Top 10 on the Billboard 200 Chart
Weeks in Top 10, Artist, Title, Year First Reached Top 10173, Original Cast, My Fair Lady, 1956158, Morgan Wallen, Dangerous: The Double Album, 2023109, Soundtrack, The Sound of Music, 1965106, Soundtrack, West Side Story, 1962105, Original Cast, The Sound of Music, 1960100, Morgan Wallen, One Thing at a Time, 2023(March 24, 1956-March 15, 2025-dated charts)
Because of how the Billboard 200 chart is now compiled, where streaming activity is blended with album sales and track sales, albums tend to spend a longer time on the list thanks to continued streaming activity. The chart only began utilizing streaming information in its methodology in December 2014. Previous to then, the chart was based solely on traditional album sales.
Also, a lengthy tracklist with multiple popular songs can help accrue large streaming totals, so albums like One Thing at a Time and Dangerous (each with more than 30 songs apiece) benefit from the continued weekly streams of their long tracklists.
Further, older albums (known as catalog albums; generally defined today as titles at least 18 months old), were mostly restricted from charting on the Billboard 200 from May 25, 1991-Nov. 28, 2009. After that, catalog and current (new/recently released) albums chart together on the Billboard 200. In turn, older albums now regularly spend hundreds of weeks on the chart. On the March 15, 2025-dated list, for example, there are more than 30 albums with least 400 total weeks on the chart. Before the rule change in December 2009, allowing catalog albums back onto the chart, only three albums had spent more than 400 weeks on the list – led by Pink Floyd’s chart-topping The Dark Side of the Moon. Today, it continues to hold the record for the most weeks on the list, with 990.
Jelly Roll is a Billboard 200-topping artist, a CMT Music Awards and CMA Awards winner, as well as a Grammy nominee. Now he has a new accomplishment to celebrate — the growth of his chest hair. Explore Explore See latest videos, charts and news See latest videos, charts and news The country superstar’s wife, Bunnie […]
Throughout his career, 91-year-old music icon Willie Nelson has been known to highlight the music catalogs of other artists and songwriters, including Frank Sinatra, Cindy Walker, Kris Kristofferson and Ray Price.
Nelson’s upcoming Legacy Recordings album Oh What a Beautiful World, out April 25, will highlight the songwriting compositions of another lauded singer/songwriter and fellow Texan: Rodney Crowell.
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The dozen-song album, Nelson’s 77th solo studio project, finds the prolific artist offering fresh interpretations of songs written or co-written by Crowell, and reunites Nelson with longtime producer Buddy Cannon.
Crowell himself trades vocals with Nelson on the album’s first release and title track to the project. “Oh What a Beautiful World” appeared as the closing song on Crowell’s 2014 album Tarpaper Sky. Nelson first recorded one of Crowell’s compositions in 1983, and most recently recorded Crowell’s songs for his 2024 album The Border, including the album’s title track (written by Crowell and Allen Shamblin) and “Many a Long and Lonesome Highway,” written by Crowell and Will Jennings.
The album also features instrumentation from Bobby Terry (acoustic guitar, steel guitar, electric guitar), James Mitchell (electric guitar), Jim “Moose” Brown (B-3 organ, piano, Wurlitzer), Mickey Raphael (harmonica), Fred Eltringham (drums, percussion) and Glenn Worf (bass, upright bass), alongside background vocals by Wyatt Beard, Buddy Cannon and Melonie Cannon.
Crowell formed the band The Cherry Bombs in the 1970s, then went on to gain acclaim as an artist and songwriter, releasing his 1978 debut album Ain’t Living Long Like This, while also writing or co-writing songs that became hits for artists including Highway 101 (“Somewhere Tonight”), Gary Stewart, Emmylou Harris, Jerry Jeff Walker and Waylon Jennings (who each recorded versions of Crowell’s “Ain’t Living Long Like This”), and Emmylou Harris and the Oak Ridge Boys (who both recorded “Leaving Louisiana in Broad Daylight”). Crowell’s “Song For the Life” has been recorded by John Denver, Jennings and Alan Jackson, while Keith Urban recorded Crowell’s “Making Memories of Us,” while Tim McGraw covered Crowell’s “Please Remember Me.” “Shame on the Moon” became a hit for Bob Seger and his Silver Bullet Band.
In 1988, Crowell’s album Diamonds & Dirt notched five consecutive Hot Country Songs chart No. 1 singles, including “It’s Such a Small World” (with Rosanne Cash), “I Couldn’t Leave You If I Tried,” “She’s Crazy For Leavin’,” the Grammy-winning “After All This Time” and “Above and Beyond.” The album was also nominated for album at the year at the CMA Awards. Crowell earned another Grammy for best Americana album in 2013 for his album Old Yellow Moon. In 2006, he also earned a lifetime achievement award in songwriting from the Americana Music Association.
Thomas Rhett’s new single makes only a passing reference to a truck, but it’s loaded with pickups.
The foundational electric guitar played by songwriter John Byron (“Last Night,” “Pour Me a Drink”) required a pickup to produce a sound. The protagonist in the plot, singing to a woman around closing time at a club, is trying to make a pickup. And the phrases in the singalong chorus generally start on the second beat of a measure, leading to the downbeat of the next bar; thus, they’re built from musical pickups.
As a result, “After All the Bars Are Closed” uses pickups in hopes of yielding a pickup.
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“I would have never thought about that in my whole existence,” Thomas Rhett says.
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To be fair, the singer-songwriter doesn’t actually think of it as a song about a barroom pickup. Instead, he relates it to the early days of his relationship with now-wife Lauren, when he was playing music and attending David Lipscomb University in Nashville while she studied nursing at the University of Tennessee in Knoxville. There were so many other obligations in their lives that they often had only a two-hour window after midnight for themselves.
“Anytime I write a song, whether it’s [about] heartbreak, love — whatever — I’m either looking at my present day with my wife, or I’m kind of looking back into when we first started dating,” he says.
Lauren wasn’t the original muse, though, for “After All the Bars Are Closed.” Byron was working with pop songwriters Jacob “JKash” Kasher (“Love Somebody,” “Sugar”) and Jaxson Free on March 10, 2023, in Miami, and he landed on a finger-picking guitar pattern that ends with a twisty riff. They began sifting through potential titles, and when they came upon “After All the Bars Are Closed,” it had a classic ring to it.
“It’s like [Semisonic’s] ‘Closing Time,’ but kind of a country way to say that,” Byron notes.
Instead of the standard verse-chorus-verse-chorus format, they used the title as the opening line, getting to the hook immediately. That tactic was used frequently in some previous eras — Willie Nelson started with the hook on two of his most valuable copyrights, “Crazy” and “On the Road Again.” Larry Gatlin employed that approach in most of The Gatlin Brothers’ hits in the ’70s and ’80s.
“What’s funny about Larry is, his wife was one of my second-grade teachers,” Byron recalls. “I definitely listened to a lot of Gatlin Brothers.”
Opening with the title has an obvious advantage in an era marked by short attention spans.
“If you can get to the hookiest part of the song first, it can really draw people in,” Byron says. “If you think of ‘Cruise’ by Florida Georgia Line, if that song had started with the verse, I don’t think it would have been nearly as big. [They sang] the most iconic part of the song right off the top.”
While the melody of the “Bars” chorus started on the second beat of a measure and ended on the downbeat of the next bar, the verses had their own unique structure. The bulk of the phrases in those stanzas start after the second beat and end before the next measure — they’re compact and tucked completely between the song’s defining beats.
As Byron, JKash and Free developed those musical parts, they saw the characters as romantically unconnected.
“Whenever me and Kash are together, we always want to make sure it’s as swaggy as possible, so most of the time, in our heads, it’s two people who aren’t together,” Byron says. “I actually think it’s cool that TR did it, because him and Lauren are together. And so I think it’s a cool, fresh way for TR to pick up his wife.”
Thomas Rhett and songwriter-producer Julian Bunetta (Kelsea Ballerini, Sabrina Carpenter) had meanwhile been listening to some ’50s and ’60s recordings, many of which started with the hook and got to the chorus three times in just two minutes. The hook-first nature of “After All the Bars Are Closed” intrigued them during a writing retreat at Lookout Mountain near Chattanooga, Tenn., when Byron introduced a rough version of the song.
“It’s like a ballad dressed up as a midtempo bop,” Bunetta says. “But actually, when you break it down and just sing it on guitar, it’s a really tender, sweet love song. I love when things aren’t always what they seem on the surface.”
Thomas Rhett and Bunetta tweaked a few melodic passages and changed some lyrics, in particular adding new words on the final chorus, where the post-midnight theme inspired a “dark side of the moon” line. It may lead listeners with a classic-rock background to think of Pink Floyd. “When I heard that line, my brain went to Pink Floyd,” the singer-songwriter agrees.
Bunetta and Dann Huff (Kane Brown, Keith Urban) co-produced a tracking session for “Bars” at Backstage in Nashville, testing its flexibility by trying a range of styles. Bunetta rejiggered the chord progression for one take, they tried playing it without the original guitar riff on another, and they even did a version with a Hall & Oates vibe.
In the production’s early going, they settled on a rendition that was “extremely Western, like if me and Midland sort of had a baby,” Thomas Rhett says. “Me and Julian both lived with it for a couple of weeks, but it just didn’t give us the same emotion that the original did.”
They mixed and matched parts from those various takes for the album, though Bunetta eventually adopted a less-is-more attitude about the arrangement, built primarily around Byron’s guitar work on the demo.
“The more I tried to add, the less I liked the song, the more the emotion got buried, and the more his voice got buried,” Bunetta says. “It just wasn’t as effective, so I tried to keep it sparse and keep it all about his voice, [with] a couple of those little colorful, electric bits on the left and the right side.”
The album version had a pop edge to it, with Byron’s harmony parts from the demo providing loose background vocals. Bunetta “could turn a fart into a BGV,” Byron says with admiration.
As the track began to emerge as one of the most popular in streaming from the About a Woman album, Rhett’s team determined a different mix — “The Last Call Version” — was in order for a radio release. Drummer Jerry Roe was brought in to give the percussion a stronger human presence, and some of steel guitarist Paul Franklin’s part from the original session — including a waterfall intro — were unmuted.Valory released “Bars” to country radio via PlayMPE on Feb. 6. It’s at No. 39 on the Country Airplay chart dated March 15 in its third week on the list as programmers pick up on it.
“It’s sneaky because the music is very ‘now’-sounding, but there’s something about the way that that song sort of teleports you, and it makes you feel nostalgic,” Thomas Rhett says. “It makes you feel kind of like you want to dance, but also just kind of like you want to be with the person that you love. It doesn’t happen very often where a song checks all those boxes.”
Two-time CMA entertainer of the year winner Luke Bryan has notched 26 No. 1 chart-toppers since his debut in 2007 with “All My Friends Say,” so it’s safe to say he’s knows a thing or two about choosing a hit song.
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But every artist has songs they’ve passed on and later regretted not recording. For Bryan, one of those songs is a certain Morgan Wallen hit that reached No. 1 on the Country Airplay chart in 2022.
During an appearance on radio/media personality Bobby Bones’ BobbyCast, Bryan discussed passing on the song. “There was a point in my career where I had sang about trucks enough to where I…I passed, stupidly, on the Morgan [Wallen song] ‘Sand in My Boots,’ because it had Chevrolet in it,” Bryan said, referring to a line in the song’s chorus that goes, “But now I’m dodging potholes in my sunburnt Silverado.”
Asked by Bones if the song had too much truck imagery in it for Bryan at the time, Bryan said, “I just went through two years of my life where I was like, ‘I sing about trucks a lot, I sing about tailgates.’ I think I got in my head a little bit because I think I had a lot of negativity, socially, on socials, that I was getting pegged as maybe a one trick pony in that lane.”
“You’re also a victim of your own success,” Bones noted, to which Bryan responded, “Which happens…I’ll take that any d— day of the week.”
In the interview, Bryan would go on to note the pros and cons of building a hit career that features so many light-hearted hit songs such as “Country Girl (Shake It For Me)” and “That’s My Kind of Night,” combined with his outgoing personality–though Bryan has also released more somber songs including “Do I,” “Drink a Beer,” and the fan-favorite “We Rode in Trucks.”
“I think no matter how people wanna categorize me, I think generally think my personality is ‘Let’s have some fun,’” Bryan said, saying he felt that though his hit songs and megawatt personality have drawn in legions of fans, those same attributes caused him to be overlooked at times when it comes to certain awards categories.
“If I don’t get male vocalist of the year, and Grammys or whatever because I may be known as the guy that has had fun through throughout his career and put out a lot of fun songs, I’m cool with that,” Bryan said. “I think, vocally, I may have been overlooked for that party-ness. I think there’s stuff out there that I’ve done vocally, that certainly it’s not Chris Stapleton vocals and Ronnie Dunn vocals and the guys who are really, really known as vocalists, but I think I might have gotten overlooked in that a little bit, which is fine.”
Still, knowing the grind it takes for any rising artist to truly see their career take off, he feels his personality has been a key factor in his rise to hitmaker and headliner. “Every artist that makes the leap from throwing out some radio hits, they’ve gotta have something that takes them to that…I didn’t ever know I’d be like what’s termed a ‘superstar’…Every time somebody introduces me as ‘Country Music superstar, Luke Bryan,’ it still freaks me out. I’m still like, ‘How in the hell did I pull that title off?’ So when you look at somebody that goes from climbing, digging, digging…one hit, two hit, three, four, then next thing you know they blow up to be a superstar, there’s something about ’em that made that happen. And with me, I think it was my personality and willingness onstage to just go for whatever, to dance and cut up. I think that was different enough to set me apart.”
See Bryan’s full appearance on the BobbyCast below:
Next Century Spirits (NCS) has acquired country superstar Kenny Chesney‘s signature Blue Chair Bay Rum, expanding the liquor company’s presence into the premium rum category.
Blue Chair Bay Rum, created and built by Chesney, has sold more than 1 million cases since its 2013 inception, according to a press release. As part of the deal, Chesney will remain “one of NCS’s largest percentage owners” in the brand and continue to play an integral role. A purchase price was not disclosed.
“Blue Chair Bay Rum was created to capture my life, as a spirit to share with friends,” Chesney said in the statement. “This rum is the result of a lot of fun, passion, sunshine, good people and No Shoes Nation energy. Next Century Spirits embraces those same qualities. They have a passion for innovation and going to new places. This is going to be cool.”
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Chesney launched Blue Chair Bay Rum 12 years ago, serving as the sole owner and chief creative officer, according to the brand’s website. The brand’s name was inspired by Chesney’s 2004 song “Old Blue Chair,” which centers on Chesney’s affinity for island life.
Over the years, the rum has expanded into numerous flavors, including coconut, banana, vanilla, key lime rum cream, banana rum cream and coconut spiced rum cream.
North Carolina-headquartered Next Century Spirits’ portfolio also includes Nue Vodka, Numbskull (a cool mint and chocolate-flavored whiskey), Bear Fight Whiskey, Creek Water American Whiskey, Caddy Clubhouse Cocktails, Calamity Gin and Henderson Whiskey. The company was named North Carolina distillery of the year by the New York International Spirits Competition in 2023.
“Blue Chair Bay Rum has endless potential, and we’re excited to bring it into the NCS family,” said Anthony Moniello, co-CEO of Next Century Spirits, in a statement. “Kenny created something special – a great tasting rum with a rich story. At NCS, we’re building a team of fast-moving entrepreneurs and a portfolio of bold, unique brands for the next generation of spirits drinkers. Adding Kenny and Blue Chair Bay to our vision is another incredible step forward.” “Blue Chair Bay Rum strengthens our vision and marks another step in accelerating our growth as we work to shape the spirits of tomorrow,” added Rob Mason, co-CEO of Next Century Spirits.
The acquisition news comes as Chesney prepares to become the first country artist with a Las Vegas residency at Sphere, where he begins a 15-show run on May 22.
Warner Chappell continued to dominate the Country Airplay chart for a fifth consecutive quarter in Q4 of 2024 with a strong 33.67% market share and 71 songs on the chart. This includes the quarter’s No. 1 song “I Am Not Okay” by Jelly Roll, which was co-written by WCM Nashville/Tape Room Music’s Casey Brown and Taylor Phillips.
Sony Music Publishing comes in second with 19.57% market share, thanks to its 53 songs on the chart, also including “I Am Not Okay,” which was co-written by SMP talent, Ashley Gorley. Gorley, a longtime hitmaker in Nashville, is this quarter’s top songwriter too.
Universal Music Publishing Group holds the third spot, just as it did in the last quarter, with a 9.81% share of the chart and 26 ranked songs. Among its many Country Airplay hits is “Pour Me A Drink” by genre-bending star Post Malone which ranked as the second biggest song on the chart this quarter.
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Kobalt came in fourth place with a 6.83% market share and 19 songs on the chart. BMG arrives in fifth, up one spot from Q3 thanks to its share of songs like “I Am Not Okay.” In total, the Berlin-based company has shares of 14 songs on the Q4’s Country Airplay chart.
Concord, the fifth largest publisher on the Country Airplay chart, significantly grew its market share this quarter, from 2.51% in Q3 to 4.17% in Q4. Among its 13 songs on the chart is “Lies Lies Lies” by Morgan Wallen, the fourth biggest song of the quarter.
“Lies Lies Lies” was also a major contributor to Big Machine Music’s 3.53% market share this quarter, ranking them at No. 7. Reservoir Media came in eighth for Q4 with “Gonna Love You” by Parmalee bolstering its 1.85% share of the chart.
Pulse is a newcomer to the Country Airplay ranking this quarter at No. 9. Its top song was “High Road” by East Texas favorite Koe Wetzel, marking its official entrance to the upper echelon of Nashville publishers.
Finally, Hipgnosis rounds out the list at No. 10 with a 1.53% market share and 3 songs on the chart, including “4x4xu” by Lainey Wilson.
When Luke Combs’ team won road crew of the year at the CMA Touring Awards on March 3, it marked a passing of the baton — or, more accurately, a passing of the road case — as Combs’ crew took control of a trophy that Chris Stapleton had carted around the country and across the Atlantic during 2024.
Last year marked the first time that the Country Music Association honored an entire crew, and Team Stapleton decided during a post-awards celebration to take the award out where it had been won: on the stages, on the highways and in the back of semi-trucks that took the All-American Road Show from Nashville to the people.
The trophy was unloaded at every venue and placed somewhere on, or near, the stage as a reminder to all of Stapleton’s employees of the reputation they had created. The crew of the year hardware visited the Hollywood Bowl in Los Angeles, Bridgestone Arena in Nashville, The O2 in London and the set of NBC’s Saturday Night Live in New York, just to pick out a few spots on its itinerary.
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“They can never change that,” tour manager Jason Hecht says. “We’re always the first name on the trophy. For us, that’s a very cool thing, and to get to carry it around, and hopefully set a little bit of a precedent, that was definitely a really big sense of pride for us.”
Stapleton’s team had pride in the gig before there was ever a trophy to recognize it. The team had to have been working hard to get that first crew award in a line of work that’s grueling at its very foundation.
“A lot of these people are up at 6 a.m., 7 a.m. — first people in the door, and they’re not walking out until you’ve got doors closing, sometimes in the morning with trucks rolling away,” says Stapleton’s manager, Red Light Management’s Clay Hunt. “There’s ebbs and flows throughout the day, but this is really long, hard work.”
If they do that work correctly, most of the concertgoers won’t give a thought to the quasi-miracle that took place in the venue, as a stage was constructed and complicated sound and lighting was installed all on the day of that particular show.
“I always kind of look at it like a sports official, a referee,” Hecht says. “If somebody’s saying your name, then something’s gone wrong. By definition, your job is to be in the shadows and to stay out of the way.”
The work is likely appreciated most by Stapleton who, along with his wife/band member, Morgane Stapleton, makes it a point to look after their team. She insisted on having a women’s bus for the female members of the crew, they remember employees’ birthdays with gifts and celebrations, and when several on the team came down with an illness during their recent Australian tour, they didn’t even ask about what kind of expenses might be involved in their recovery. They made sure the employees got medical attention, a place to recuperate and plane tickets to catch up to the tour once they had rebounded.
That kind of attentiveness is not surprising for Stapleton. When he left the 2023 Academy of Country Music Awards in Frisco, Texas, he saw the roadies hard at work and picked up a blower to help clean up confetti. He is known, according to his team, to greet the local crew at the end of a show and recognize their role in his success as they prepare to tear it all down.
“I like to play music,” Stapleton said when his team won the crew of the year honor. “Everybody [involved] helps me do that every night in ways that would not be possible in any way, shape or form if everybody wasn’t at the top of their game.”
The CMA rules around the crew of the year trophy don’t allow consecutive wins, though individual members of a team can still collect honors. Two Stapleton employees — tour videographer/photographer of the year Andy Barron and backline technician of the year Derek Benitez — were with Stapleton in Australia and unable to claim their awards in person this year. But the team watched a CMA livestream of the event from Down Under and saw the owner of Stapleton’s PR firm, Sacks & Co.’s Carla Sacks (who also reps Combs), win publicist of the year. Sacks was visibly emotional.
“I really was very overcome in a way I didn’t expect in that room,” she allows. “To look out at that community of people that rarely wants, or gets, the spotlight, and then to be recognized by those peers, hit me in a way I wasn’t really prepared for.”
In the days after his win, Barron kept at the job in Australia and New Zealand, a camera in his hands every day, constantly looking for new angles on the same songs and the same people as he documents Stapleton’s work for social media and for posterity. Even as he moves about the arenas and amphitheaters, he’s cognizant that after the artist and crew head for the next city, they leave an impression behind them.
“We want every person who’s working at the venue — the promoter, everyone involved at the place that is opening their doors up to us — we want them to be excited when we’re coming back,” Barron says. “We’ve just always treated every show like that, and everyone on our team has the same mentality.”
Mirroring the one-nighters that it represents, the crew of the year trophy moves on after one year to its next recipient, though it will still carry a plaque with Stapleton’s name — and the names of each of his team members — as Combs takes it back on the road. In some cases, the award will revisit concert halls where Stapleton carted it in 2024. But it’s certain to expand its travels with Combs’ entourage.
“We’re excited for the Luke Combs team and for them to continue on,” Hunt says. “It sounds like they’re going to try to carry on the tradition.”
When Koe Wetzel plays Billboard’s The Stage at SXSW Thursday night (March 13) at Moody Amphitheater at Waterloo Park in Austin, fans can expect a typically high-octane, guitar-driven show full of songs about road life and troubled relationships, both often fueled by substances. For the past 10 years, Wetzel has been entertaining Texans — and […]
Whatta man Jelly Roll is! The country superstar appears in a hilarious new commercial for Zevia, a zero-sugar, zero-calorie natural alternative to soda.
In the clip, shared on Monday (March 10), the “Need a Favor” singer pulls up to an 1950s-looking gas station in his red pick-up truck. Two young boys in the field nearby watch in awe as Jelly Roll emerges from the car in slow motion, running his hands through his mullet as he portrays a classic country man in a cut-off flannel, jean shorts, cowboy boots and black sunglasses. Salt-N-Pepa’s 1993 hit, “Whatta Man,” plays in the background, adding to the drama of the moment.
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“Jelly Roll? In a Zevia commercial? This is huge,” one of the boys says as the star opens a nearby refrigerator and pulls out a Creamy Root Beer flavored beverage. “By choosing him as the spokesperson for their zero-sugar soda with zero artificial ingredients, Zevia is dismantling the notion that quote-on-quote ‘real men’ can’t be conscious of what goes into their body.”
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“Mr. Roll is now, quite literally, the poster child for sweet authenticity,” the boy gushes — much to the confusion of his friend — as Jelly Roll takes a sip of his drink, burps and smiles into the camera.
For Jelly Roll, the partnership was a no-brainer, as he’s been focusing on his health in recent months, revealing at the end of 2024 that he lost more than 100 pounds over the course of the year. “Making small, intentional choices daily is a real thing that I have honed in on and that has been so impactful during this process,” he tells Billboard of his health and wellness journey. “I think it’s changed my ability to keep up with my progress, since it has been an honest conversation of ‘in that moment’ which one is the better option to stay on track?”
He also just loved filming the advertisement. “What I loved about this is it felt like we got to really play into the skit and have some fun with it,” he recalls. “When I got to do the season premiere of SNL this year, I got to also be a part of a skit, and this was another version of being able to really lean into having fun with a character. And everyone else on set was so game too which made it such a great experience.”
As for that “sweet poster child of authenticity” comment, he agrees. “One thing you can say about me is that I am me — even when I get chances to play up a character — and I hope that comes through in this spot. What you see is what you get,” he says.
Watch Jelly Roll keep it real in the new Zevia commercial below.