Music News

A Timeline of Young Thug’s YSL RICO Trial

The highly publicized trial kicked off in November 2023.

The hip-hop world was collectively turned upside down When Young Thug (born Jeffery Williams) along with 27 others were arrested in May 2022 as part of a sprawling 56-count indictment for violations of Georgia’s Racketeer Influenced and Corrupt Organizations Act.

Thugger was identified to be the leader of Young Stoner Life, which Fulton County District Attorney Fani Willis believes is a violent street gang that has a history dating back to 2012 of committing a series of crimes including murder, robbery, theft, carjackings, assaults and more.

“It does not matter what your notoriety is, what your fame is,” Willis said following Thug’s arrest. Young Thug and his legal team have maintained the rapper’s innocence at every step of the RICO trial since his arrest.

Young Thug has been denied bond on multiple occasions and will remain behind bars in Cobb County jail until the highly publicized trial concludes. It took more than a year for the case to seat a jury, and the YSL RICO trial finally kicked off in November 2023.

According to Atlanta’s NBC affiliate 11Alive, prosecutors said in court im 2023 that its laundry list of potential witnesses included 737 names. After starting at 28 co-defendants, that number has since dwindled to six, including Young Thug.

Young Thug and his syrupy squeal ushered in a new wave of Atlanta’s trap sound in the mid-2010s, and he put together back-to-back No. 1 albums as an emerging face of hip-hop prior to his arrest. Even while behind bars, Thug’s Business Is Business managed to debut at No. 2 on the Billboard 200 in June 2023.

Take a dive into Billboard‘s comprehensive timeline of the YSL RICO trial below.

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Taylor Swift Shares Eclipse-Themed Lyrics Ahead of ‘Tortured Poets Department’

Taylor Swift will stare directly at the sun, but never in the mirror — so let’s just hope she uses protective glasses.

The “Anti-Hero” singer aptly shared a what appears to be an eclipse-themed lyric from her upcoming new album The Tortured Poets Department on Monday (April 8), the same day the moon fully obscured the sun from Earth’s view for the first time in three years.

In a video posted to Swift’s Instagram Story, an unseen writer hammers the following message onto typewriter paper: “Crowd goes wild at her fingertips. Half moonshine, full eclipse.”

It’s probably safe to assume that the line was taken from one of the 16 tracks on Tortured Poets, or one of the four bonus songs set to appear on Swift’s deluxe variants of the album. It’s only fitting that she unveiled the lyric on the day of the 2024 total solar eclipse, a celestial phenomenon that last occurred in 2021 and won’t happen again — at least in a way that’s visible from the United States — until 2044.

The post comes less than two weeks prior to Tortured Poets‘ April 19 release date. Other than the cover art and track list, it marks the first taste of the record the 14-time Grammy winner has shared.

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Swift first announced her 11th studio album at the 2024 Grammys while accepting the best pop vocal prize for Midnights, later confirming that both Post Malone and Florence + The Machine will make guest appearances on the project. She’s currently nearing the end of a two-month break from her global Eras Tour as she gears up to drop Tortured Poets, after which she’ll resume her trek with four shows in Paris slated for mid-May.

See the video of Swift’s eclipse-themed lyric from Tortured Poets below.

Kelsea Ballerini Tells Critics of Her CMT Awards Performance Outfit to ‘Shut Up’

Kelsea Ballerini took the stage at the 2024 CMT Music Awards on Sunday night (April 7) to perform her throwback hit, “Love Me Like You Mean It,” but not everyone was a fan of her bold fashion choice.

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The 30-year-old country star performed the the 2015 track in a gold, high neck leotard, which she pared with black tights and, notably, no pants. To responds to critics of the style, she took to TikTok to playfully mock the haters. “‘You forgot your pants for your performance.’ Shut up! No, I didn’t! No, I didn’t,” she says in the clip. “‘Where are your pants?’ Shut up. It looked hot.

Ballerini hosted and performed at the annual award show at the Moody Center in Austin, Texas, after co-hosting the show for the past three years. In 2021 and 2023, Ballerini led the CMT Music Awards with Kane Brown, while in 2022, she co-hosted the show remotely. “My first memory of the CMT Music Awards was when I was in high school. I had just moved to Nashville and me and a friend waited outside of the barricade at the CMT Music Awards when they were still in Nashville,” she told Billboard before the show. “We just waited for artists to come over because we wanted to meet them and take pictures with them. I remember Keith Urban came over and I have a picture with him. As a fan, it was one of the craziest moments of my life, so it feels very full-circle to go from the kid outside the barricade to being the host of the show. That’s not lost on me and I’m very excited to be here.”

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Watch Ballerini’s CMT Awards performance below.


https://youtube.com/watch?v=C607svvWKj8&version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en-US&autohide=2&wmode=transparent

R&B/Hip-Hop Fresh Picks of the Week: GloRilla and Megan Thee Stallion, Khalid, J. Cole & More

The Pandora’s Box that Katt Williams opened in January isn’t closing any time soon. While Beyoncé enjoyed big wins in the country and Americana worlds, the rap game was in complete disarray the past week: Grammy-nominated “F.N.F.” rapper GloRilla dominated headlines with the release of her new Ehhthang Ehhthang mixtape which housed a new track titled “Aite” where she spits, “‘Cause Cardi and Nicki on a track would break some f–kin’ records/ Me and JT ain’t the best of friends but we ain’t beefin’.”

While that line was intended to be unifying, it opened the floodgates for heated social media back-and-forth between GloRilla and JT of City Girls. While the exact details of the origin of their beef are unclear, in this instance, JT was upset at being name-dropped in that bar after GloRilla let rumors of her slapping the “No Bars” rapper fly unchecked. This, of course, bookmarked a weekend that began with J. Cole responding to Kendrick Lamar‘s Billboard Hot 100-topping “Like That” verse on “7 Minute Drill.” That track, which served as the final track on his surprise Might Delete Later mixtape, garnered very mixed reactions, and Cole eventually walked the whole thing back by Sunday evening (April 7) at Dreamville Fest.

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“That s–t don’t sit right with my spirit,” Cole said. “That s–t disrupts my f–king peace… I want to say right now tonight, how many people think Kendrick Lamar is one of the greatest motherf–kers to ever touch a f–king microphone? Dreamville, y’all love Kendrick Lamar, correct? As do I.”

As we deal with the aftermath of Cole’s culture-quaking decision and continue to wait for Drake’s “Like That” response, there’s still so much new music to explore. With Fresh PicksBillboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Fivio Foreign’s fiery new drill anthem to Bryson Tiller‘s sultry new Victoria Monét duet to J. Cole’s cross-generational link-up with Cam’ron. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.

Freshest Find: The Amours & TA Thomas, “Pick Me Up”



Ahead of their new Changes EP (out April 26), sister duo The Amours team up with R&B savant TA Thomas for the gorgeous “Pick Me Up.” Forlorn guitars immediately introduce the track, with the duo trading devastating lines about the turbulent nature of growing together in a relationship. Their tight harmonies function as just another instrument in the overall arrangement, which allows for the song to maintain a conversational, back-and-forth feel despite there technically being three vocalists on the track. “You can always be yourself around me/ Caught in the middle of trust and belief,” they croon harmoniously. TA Thomas, of course, delivers a characteristically silky vocal performance that provides just enough depth to contrast with the brighter tones of The Amours.

GloRilla & Megan Thee Stallion, “Wanna Be”



Most people opened Instagram on Sunday to a two-minute clip of Megan Thee Stallion flaunting “the best a– on IG” while promoting her new GloRilla collaboration “Wanna Be.” While the clip is certainly a winner, so is the new song. Built on samples from a pair of timeless tracks — Soulja Boy‘s “Petty Boy Swag” and Project Pat‘s “Don’t Save Her” — the two Southern rap stars flaunt their independence and reject the notion of being “claimed.” With an all-star line-up of Ace Charisma, Payday, MKMentality and Yo Gotti on production duties, “Wanna Be” boasts one of the most infectious beats of the year so far. If that weren’t enough to secure its spot as a viable summer anthem, both Glorilla and Meg delivery fiery verses and an incredibly catchy, Instagram caption-ready hook, to boot.

Bryson Tiller feat. Victoria Monét, “Persuasion”



With D’Mile on production, you know you’re in for a treat. Add Victoria Monét and Bryson Tiller, and you’re in for some heat too. “Persuasion,” one of two collaborations of Bryson Tiller’s new eponymous album, is easily one of the LP’s best offerings. Across the bouncy ’90s-inspired instrumental, Bryson and Victoria trade verses where they play with enunciation and innuendo, teasing listeners with phrasing that hints at expletives before delving into something cleaner — and sneakily more nuanced. “He asked if he could grab all on my— absolutely/ I’m in no opposition so I’m gonna sit on that decision tonight,” Victoria croons. The two R&B stars have palpable verve and chemistry on this track, adding just the right amount of dynamism for an instant standout.

J. Cole feat. Cam’ron, “Ready ‘24”



J. Cole comes out of the gate guns blazing on this Might Delete Later standout, hilariously bragging about being able to pull your girl without a haircut while rocking some Crocs. Admittedly, his puffed-out chest declarations about “nobody being better” than him on the planet are hitting differently after copping a plea at Dreamville Fest and waving the white flag in his feud with Kendrick Lamar. The Barbara Mason-sampling tune uses the same lift as a Dipset classic from two decades earlier, and Cam’ron himself steps into the booth here like he hasn’t lost a step since Diplomatic Immunity dropped.

Khalid, “Please Don’t Fall In Love With Me”



It’s been a minute since Khalid led R&B conversations as he did with blockbuster hits such as 2017’s “Location” or 2019’s “Talk.” “Please Don’t Fall In Love With Me” could thrust him back into that limelight. Produced by Jason Kellner and featuring an interpolation of Alicia Keys‘ “Unthinkable (I’m Ready),” the new single finds Khalid updating his plaintive, atmospheric R&B style with some trap inflections. Pounding bass soundtracks his nimble rap-sung in the verses, while the production opens up into synthy mirage when he lifts into his falsetto in the hook. “I hope that you believe in the end that I got you/ How can I move forward when every relationship I get in/ Don’t hit the same ’cause it’s not you?” he asks. With a pen as sharp as ever and a sound that feels fresh and believable, Khalid appears to be back on track.

Doja Cat feat. Teezo Touchdown, “MASC”



Only Doja Cat can flip threats to end a relationship into a light-hearted angelic chorus. With cinematic production that sounds as if it could’ve landed on Kanye West’s Vultures, Doja aims to have her man sleeping on the couch again while revealing this love story needs a rewrite. “You gave me the d–k / Then gave the d–k without the D,” she cleverly rhymes. Teezo Touchdown steps in to play Doja’s romantic interest in the fried relationship, and attempts to win her back. “I need your time, I need your feet cuddlin’ mine,” he sings. Doja Cat and Teezo Touchdown’s rap-singing styles smoothly mesh, making for a robust collaboration between the eccentric RCA labelmates.

G-Eazy feat. Coi Leray & Kaliii, “Femme Fatale”



After taking over a year off, G-Eazy kicks off his next era by catering to the women and “sex positivity.” In his hitmaking prime, Young Gerald meticulously dished out catchy hooks and he crafts another one centered around Century Steel Band’s “Heaven and Hell Is on Earth.” Eazy invites rising female rap stars Coi Leray and Kaliii to join him at the party and Leray steals the show with a raunchy assist. “Get this p—y, get more wings and I could get him to fly/ G-Eazy want a bite and I could see in his eyes/ But slow down, don’t rush, baby, give it some time,” she raps. With an album on the way set for this fall, it’s a step in the right direction for the Bay Area rhymer looking to reclaim his hip-hop titan status.

Here’s How Tyler, the Creator Reacted to Azealia Banks Wanting Him to Date Lil Nas X

Azealia Banks is playing matchmaker, and she wants to see Tyler, the Creator and Lil Nas X become music’s newest power couple.

Banks posted a lengthy message to Instagram on Sunday (April 7) explaining why she hopes the two talented creatives join forces romantically.

“I really think Tyler the creator and lil nas x should get over their obsession with broke white bussy and become a power couple,” she wrote. “I think the sensationalism of successful black gay men toting trailer a– rent man hookers as arm candy is played , predictable and they’re both obviously being objectified and plotted on by these boys for hire.”

“It would be way more monumental to see [two] young black gay men as an item. Even just for aesthetic reasons,” she added.

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The Harlem native continued to harp on why Tyler and Lil Nas “would shift culture so hard”: “Tyler can teach lil nas x how to rap so he can stop doing his Azealia Banks impression and fire all these weird white creative directors who obviously have no point of references or respect for the nuance, sheer musical opulence and political groundwork laid out for him to inherit.”

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Tyler hopped into Banks’ comment section laughing at the whirlwind of emotions from AB. “lmfao what the hell,” he wrote seemingly caught off-guard; the comment has earned more than 6,000 likes as of press time.

The Grammy-winning rapper has long been coy about his love life, but comedian Jerrod Carmichael recently opened up about how Tyler rejected his advances during an episode of his new reality show Jerrod Carmichael Reality Show.

“I fell in love with my best friend. one out of 10, don’t recommend,” Carmichael said on the program. “I knew I had to tell him. Things started getting kind of weird between us. I had these feelings… So I texted him. I remember saying, ‘I know you didn’t ask for this, but somewhere down the line I developed feelings for you and I don’t know what to do with that.’ Then I immediately turned my phone off and went into therapy. [Tyler] sent me a voice note. I was so nervous. It was like six seconds … He said, ‘Hahahaha, you stupid b–h.’ And I don’t really know what that means.”

Carmichael wanted Tyler to be his date to the Emmy Awards, but the California native declined the invitation. However, they hashed things out publicly during an interview together on the show. “It’s because I told you I had feelings for you, and we didn’t talk about it, ever,” Carmichael explained. “I feel like you left me hanging out there a little bit.”

Tyler replied with a laugh. “I did. Yeah, I did. And I think I just, like, brushed it off,” he said. “Getting news like that and then avoiding it is a way to avoid change.”

The IGOR rapper said he looks at Carmichael — who narrated on Tyler’s 2019 album — as “truly family” and a “brother.”

Ariana Grande Supports Boyfriend Ethan Slater at Final ‘Spamalot’ Show

Ariana Grande is Ethan Slater‘s biggest fan.

The 30-year-old superstar was in the crowd at the St. James Theatre in New York City on Sunday night (April 7) for the final performance of Spamalot, which opened back in November. Grande was spotted by fans leaving the theater, hand in hand with her boyfriend Slater, dressed casually in jeans and a brown jacket with her blonde hair in a low bun. In the play, Slater portrays The Historian/Prince Herbert.

The “Yes, And?” singer also celebrated the show’s successful run on Broadway on her Instagram Stories, writing alongside a photo of the stage: “Congratulations to the most beautiful and talented and kindest cast and crew on a magnificent run.”

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Reports surfaced back in July that Grande is dating her 31-year-old Wicked costar following her recently reported split from husband Dalton Gomez. Both TMZ and People reported that he and Grande started dating after both of their relationships were over. Slater was previously married to singer Lilly Jay, and the two celebrated their four-year wedding anniversary in November 2022. 

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Grande plays Glinda opposite Cynthia Erivo’s Elphaba in Jon M. Chu’s upcoming live-action film adaptation of the Broadway show Wicked, which will be split into two parts. The movie was initially meant to hit theaters on Christmas Day of next year (Dec. 25, 2024). Wicked Part 1 is now set to be released next Thanksgiving (Nov. 27, 2024). In the film, Slater is playing Boq, a munchkin boy who, fittingly, has a crush on Glinda.

Omar Apollo’s Sleek ‘Spite’ and 5 More Cool New Pop Songs This Week

Looking for some motivation to help power you through the start of another work week? We feel you, and with some stellar new pop tunes, we’ve got you covered.

These tracks from artists including Conan Gray, Glass Animals, Chappell Roan and more will get you energized to take on the week. Pop any of these gems into your personal playlists — or scroll to the end of the post for a custom playlist.

Coolest Pop Song of the Week: Omar Apollo, “Spite”



The guitar line on Omar Apollo’s “Spite” is jagged and unsettled, a simple lick that doubles back on itself and bristles above the steady rhythm. Apollo approaches his new single in a similar manner: “Spite” is smooth but never easy, as Apollo considers flawed possibilities and unhappy circumstances related to a long-distance relationship that probably should end but remains tangled up in his mind. “Every time I see you on my phonе / Hate that I still need you in my life!” he crows, his voice rising with discontent but then winding back down to a sad conclusion: “I still wanna take you on a date.”

Apollo’s professional successes, from his early singles to “Evergreen” going viral on TikTok to his best new artist Grammy nom, have largely hinged on his voice and how he deploys its impressive strength. “Spite,” which precedes an upcoming sophomore album, positions his gentle singing front and center but provides new depth, oscillating between passion and helplessness with equal parts power and restraint. The performance requires nuance — a lot of that wounded chorus is yelped out instead of crooned — and Apollo meets the moment.

Debut album Ivory demonstrated that Apollo possesses a singular set of skills, but “Spite” nicely showcases his potential evolution on its follow-up. That’s in addition, of course, to tossing another sleek jam into his discography.

Here are some more new pop songs worth checking out this week…

Bruce Springsteen Biopic Lands at 20th Century Studios, Jeremy Allen White in Talks to Star

It’s official! The Boss’ life is coming to the big screen.

20th Century Studios and Disney announced on Monday (April 8) that they will produce and distribute the upcoming Bruce Springsteen biopic, Deliver Me From Nowhere, which chronicles the making of the rocker’s 1982 album, Nebraska. Additionally, The Bear star Jeremy Allen White is in talks to portray Springsteen in the film.

The biopic is based on Warren Zanes’ 2023 book, Deliver Me from Nowhere: The Making of Bruce Springsteen’s Nebraska, and will feature involvement from Springsteen himself as well as his manager Jon Landau. Per a press release, Scott Cooper will direct the film, while Ellen Goldsmith-Vein and Eric Robinson will produce alongside Cooper, Zanes and Scott Stuber.

“Warren Zanes’ Deliver Me From Nowhere is one of the best books ever written about Bruce Springsteen and his music,” said Landau in a press statement. “Bruce and I are thrilled that Scott Cooper has chosen to write and direct the film based on that book – we think he’s the perfect filmmaker for the job. Scott, with producers Ellen Goldsmith-Vein and Eric Robinson at The Gotham Group, and Scott Stuber are bringing together a superb team to ensure that this project has the vision and soul that have been the hallmark of Bruce’s 55-year career. We’re thrilled to have the wholehearted commitment and support of the entire team at 20th and Disney.”

Cooper added, “I once read that Nebraska is an album that moves you to the marrow of your bones. I couldn’t agree more. Bruce Springsteen, and Nebraska, in particular, have had a profound impact on me and my work. Through themes of despair, disillusionment, and the struggles of everyday Americans, Bruce has formed an unparalleled legacy, painting an unflinching portrait of the human condition. Yet, amidst the darkness, a sense of resilience and a sense of hope shines through, reflecting an indomitable spirit. That’s the Bruce I’ve come to know and love and will honor with this film. Warren Zanes’ wonderful telling of this chapter in Bruce’s life is ripe for cinematic adaptation. This film has the potential to be a transformative cinematic experience, offering audiences a window into the soul of Bruce Springsteen and the universal truths that bind us all together.”

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Springsteen has previously said that Nebraska, his sixth studio album, is his most definitive work. “If I had to pick out one album and say, ‘This is going to represent you 50 years from now’ I’d pick Nebraska,” he told CBS Sunday Morning in 2023. The project peaked at No. 3 on the Billboard 200 albums chart dated Oct. 30, 1982.

Production for Deliver Me From Nowhere is set to begin in the fall.

Bryson Tiller Flaunts His Multitudes With Experimental New Self-Titled Album: Critic’s Take

When the Orion Sun-sampling “Whatever She Wants” reached No. 19 on the Billboard Hot 100 (chart dated March 16), Bryson Tiller not only earned his first unaccompanied Hot 100 top 20 hit in nearly a decade, he also pulled off the feat with a sound that notably diverged from the sultry trap-inflected R&B that brought him past chart wins in 2015’s “Don’t” and 2017’s “Wild Thoughts” (with Rihanna and DJ Khaled).

Although it’s parenthetically titled “Bonus” and tacked at the end of the album like a victory lap of sorts, “Whatever She Wants” acts as the thematic anchor for Tiller’s new eponymous LP. Led by a trio of singles, including “Whatever She Wants,” “Outside,” and “Calypso,” Bryson Tiller, the Grammy-nominated R&B star’s fourth studio effort, finds its namesake flaunting the different multitudes of his sonic profile. From less emotionally conflicted Trapsoul variants to big swings at drill-inflected R&B and frothy top 40 tunes, Bryson Tiller aims to use sonic experimentation to ground Tiller’s monogamous devotion to his lover.  

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“Attention,” the album’s first full-length song, immediately steers the album into that lane. “And baby, when you put it on, there’s no competition/ I watched you make an entrance/ Yes, and you can tell by my description (You fit it well and, girl)/ I will never fail to mention (How you polish every detail),” he croons over relatively sparse production from Syk Sense. It’s a fine opener, one that transports listeners to the murky Trapsoul soundscapes he revisited on his last LP (2020’s Anniversary), and course-corrects from the needless computer theme that sporadically appears throughout the record. The utility of “Attention” lies in Tiller’s songwriting: He emphasizes the allure of one particular woman across the track, driving the album several hundred miles away from the deluge of “toxic” womanizing male R&B that’s driven the genre for the better part of the last decade – a wave Tiller’s own Trapsoul is a part of, in some regards. Bryson Tiller is all about loving one woman, reminding her why she stands above the rest and taking pride in spoiling her, simply because it’s something you genuinely love to do. 

“Attention” is a solid entry point that gives way to more arresting tracks: On “Prize,” he employs his most impressive flow over a string-laden beat that recalls late-’00s Usher, and “No Thank You” is a cut tailor-made for day-one Tiller fans who relish his inimitable brand of sing-rapping. Prior to this record, Tiller was toiling away on his Slum Tiller mixtape series, and much of Bryson Tiller descends from that work. Take “F4U,” the album’s penultimate, Jodeci-sampling track, for example: It’s not explicitly in Slum Village’s jazz-rap wheelhouse, but Tiller’s approach to rapping on this cut – some of his best on the entire record – is clearly informed by the time he spent flexing his rap muscle on that SoundCloud mixtape series, as of course is “Whatever She Wants,” the album’s crown jewel of “spoil your girl” anthems.

That highlight also finds intriguing complements in “Rich Boy” and “Ciao!” The former, which lifts Rich Boy’s “Throw Some D’s,” pauses the celebratory energy of “Whatever She Wants” and opts for a shadier, dirty-macking approach. “Do the most for you, I do it in random/ He a joke to you, should be doin’ stand up/ He don’t put spend it on you (Huh), hold that s–t for ransom / If you don’t f–k with broke n—as, ladies, this your anthem,” he spits. The latter, an enjoyable take on drill-inflected R&B, with writing contributions from the Grammy-winning Leon Thomas III, finds a markedly more dejected Tiller brooding over being financially taken advantage of. “Ciao” takes a second to find its grove, but once Tiller pairs his layered background harmonies with those crisp snares, it makes for an impressive textural contrast.



In addition to his flirtation with drill on the new LP, Tiller also dips into another regional sound that has been dominating hip-hop recently. The Clara La San-assisted “RAM,” the only proper song to explicitly nod to the record’s underbaked computer theme, finds Tiller using Jersey club’s pounding drums to soundtrack the neurotic feeling of needing to remember why you’ve entered and chosen to stay in a relationship. “RAM,” along with the witty, Victoria Monét duet “Persuasion,” is among the LP’s best offerings, underscoring Bryson’s tendencies to deliver his best work when he’s pushing himself vocally. It’s the same reason why “Find My Way” and “Undertow” will stand as career-best vocal performances; not only do his dizzying riffs tastefully decorate his immersive melodic lines, but help underscore a level of vulnerability that strengthens the gravity of his explorations of monogamy. 

Bryson Tiller is a solid record that honors the mid-2010s break out star’s roots while also showcasing how wide-ranging his versatility can be. Some of those options – like “Calypso,” a summer anthem-in-waiting that has nothing to do with actual calypso music – are easy winners, while others (album closer “Assume the Position” is an absolute dud that’s reminiscent of the worst of Chris Brown’s early ’10s run) fall a bit short. The record, like most albums these days, could have benefited from some trimming — some of the interludes add nothing of substance and the relative lack of variance in subject matter makes the 19-track set feel redundant quite quickly. 

There may be several songs on this record destined to own the warm-weather months, but Bryson Tiller is built to last through any season. This one’s for the real lovers, and no one sounds more in love – or more happy about being in love – than Mr. Tiller. 

Sugarland Remember 2007 Beyoncé Collab, Praise Her Move Into Country: ‘It’s Just About Time’

When Sugarland singer Jennifer Nettles was asked on the the red carpet at Sunday night’s (April 7) 2024 CMT Music Awards if she’d listened to Beyoncé‘s Billboard 200 No. 1 album Cowboy Carter the answer was a no-brainer.

“Of course! Who hasn’t?” Nettles said in mock horror about the country-leaning collection that secured Bey’s eighth chart-topper on the album chart. “What rock are you under if you haven’t?” Bandmate guitarist Kristian Bush added, “Oh my God and it’s just about time,” noting that the duo actually worked with Bey more than 15 years ago when they performed a cover of her song “Irreplaceable” at the 2007 American Music Awards that included Beyoncé joining them on stage for the second verse.

“She wanted to do it then,” Bush said of what seems to be a long-held desire by the Houston-bred R&B superstar to dip her toes into the country music world. “And we did it. We said yes, so we did and I’m so happy it’s finally come around. I’m so happy for her.”

Nettles noted that she was excited that Bey’s move into a proper country space “expands” the conversation around genre lines into a new place. “Real artists hate the idea of genre anyway,” she said. “It’s a manufactured thing for marketing. She wants to sing what she wants to sing. We want to sing what we want to sing. Everybody wants to write and sing what we want to write and sing and expand, so let her! Let her live!”

The pair also talked about the group’s excitement about their just-announced Take Me Home fall/winter 2024 tour with Little Big Town. “All the fans are excited,” Nettles said of the dates that were revealed on Sunday (April 7); the duo also performed their new single, a collaboration with Sugarland on Phil Collins’ 1985 solo single “Take Me Home,” which they played live at last night’s 2024 CMT Music Awards.