Music
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For Thomas Rhett, creating his new album, About a Woman, out Friday (Aug. 23) via The Valory Music Co., was a family affair.
The singer-songwriter, who has four children with his wife of nearly 12 years and childhood sweetheart, Lauren, tells Billboard, that his “two oldest [daughters, Willa Gray and Ada James] are starting to form their own opinions on what they like. If they go to hip-hop class and a Luis Fonsi song comes on, that’s what they think is fire. Or they’ll hear kids at school talking about Luke Combs or Morgan Wallen. When it comes to my music, they’ve become a little bit of my little A&R team. On the way to school, I’m playing a new demo and I’m watching if they start moving or if they’re asking to hear it again. So in a way, they influence a lot of the music. They can point out a bop. They love ‘Gone Country,’ ‘Back to Blue’ and ‘Don’t Wanna Dance.’”
Those songs are among the key tracks that represent the new album’s breadth of sounds, ranging from ‘90s country to pop and soul. “Don’t Wanna Dance,” which interpolates the 1987 Whitney Houston classic, “I Wanna Dance With Somebody (Who Loves Me),” presented a challenge for the singer-songwriter, turning the pop anthem’s bubbly yearning for romance on its head.
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“It was not an easy feat… when you’re about to put arguably [one of] the most-listened and covered songs ever in one of our songs, and by one of the most amazing voices to ever live on this planet,” says Thomas Rhett, who has notched nearly two dozen Billboard Country Airplay No. 1 hits, including such pop-fueled love songs as “Die a Happy Man” and “Angels Don’t Always Have Wings.” “Don’t Wanna Dance” was co-written by Matt Dragstrem and Ryan Hurd, who texted Thomas Rhett the song file, along with a note that just said, “Whitney.”
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“I was driving down Music Row and heard it, and when that chorus came on I was like, ‘I can’t not try this,’” the 2020 ACM Awards entertainer of the year recipient says. “It’s heartbreak, but it also makes you want to punch a hole through a wall, because you’re so jacked about the melody.”
Helming the album was the production team of revered producer Dann Huff and Julian Bunetta, who has produced recent albums for Sabrina Carpenter and Teddy Swims. About a Woman was recorded at Berry Hill’s Blackbird Studio and at Bunetta’s Nashville home.
The album’s songs, such as the rhythm-driven “Fool” and laid-back “Overdrive,” draw inspiration from artists ranging from Steely Dan to the Oak Ridge Boys. Thomas Rhett recalls aiming to “channel ‘Beast of Burden’ and ‘Miss You’ by The Rolling Stones” when writing another album track, “Can’t Love You Anymore.”
“The vision for this album was just joy,” he says. “It’s this weird melting pot, and Julian and Dann figured out a way to make it feel progressive yet timeless. They’re both old souls,” Thomas Rhett says of Huff and Bunetta, recalling the “neat old school versus new school collaboration that came with knowing the same music and the same sounds in the same way.”
Like many of his previous albums, About a Woman draws much of its inspiration from his own love story with his wife. He keeps things upbeat and romantic with “Beautiful as You,” the midnight-velvet of “All the Bars Are Closed” and slow-burning “Somethin’ ‘Bout a Woman,” before closing out the album with the tender ballad “I Could Spend Forever Loving You.”
On “Church,” Thomas Rhett nods to his and Lauren’s high school love story through the lens of Eric Church’s music, lacing the tune with Church song titles including “Springsteen,” “Love Your Love the Most” and “Talladega.”
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Though Thomas Rhett isn’t one of the original writers on “Church,” he rewrote the song’s final chorus, transforming it from a heartbreaker into one more closely aligned with the couple’s own story.
“This is Lauren’s favorite on the album, because when we were in high school, I bought [Church’s] Carolina record, which was his second album,” he says. “I had to buy a new copy every three months because I just wore it out. It kept skipping — but he was like our Zach Bryan. He was that dude who kind of got played on the radio but could care less if he was or not, and he was kind of grungy and would say things in songs that most people weren’t saying. I learned the entire album on acoustic guitar, and any time we were at a party, that’s all I played — so this song means a lot to us, because he was the soundtrack to our teenage years.”
Still, he says how involved Lauren is in hearing new music early on has shifted through the years.
“Even three years ago, I used to be at the point where every time I’d come off the road, I’d play her everything we wrote and she would sometimes get attached to [a song] that I wasn’t attached to — so it became this awkward conversation when it came time to record. She’s like ‘Oh, are you putting that on there?’ and I’m like ‘No,’ and she’s like ‘Why?’ So lately, I’ll slowly seed her things that I know for a fact that I love. I’ve even kind of quit playing demos because she’ll get attached to the demo [version] of a song. So, on this record, I might’ve played her a couple of demos but for the most part, I’ll play her rough cuts in the studio first.”
Meanwhile, the life vs. social media balance is one that Thomas Rhett and his family continue to refine. At one point, “Every bit of [social media] was off my phone,” he says. “I approved everything that went out, but I couldn’t look at it anymore.”
A recent conversation with his longtime manager, G Major Management’s Virginia Bunetta, helped him reframe his relationship with social media. “She said, ‘Everything is for sale.’ I thought, ‘Yeah, if one post doesn’t do well, you’re thinking, ‘What else about my life can I share that might get engagement?’ I think for me, for better or for worse, a lot of my engagement on social media is about my family,” he says. “You can go through this spiral of ‘I’m going to film this and this,’ and then you haven’t lived your day—you’ve just been capturing content. I’m trying to figure it out.”
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The fact that music consumption among Gen Z has tilted toward social media and streaming as opposed to terrestrial radio, has only enhanced that challenge. “Artists that come from my generation, it was like there’s sort of one master to serve — if my song goes top 10 on radio, people are going to hear it,” says Thomas Rhett, 34. “Now, the landscape is so vast that it feels like when you speak on social media, you’re competing with a million voices. Some kid from Nebraska can put a video on social media and immediately have stardom. I think some of us are kind of sitting there going, ‘What is our voice today?’”
Ahead, he’ll launch a mini-residency at the BleauLive Theater inside Fontainebleau Las Vegas, with four shows on Dec. 6-7 and 13-14. He took inspiration from watching one of Miranda Lambert’s The Velvet Rodeo residency concerts in Vegas, as he was considering the new opportunity.
“I love the freedom they had,” he says of Lambert’s show. “They built a set that they probably would never take on the road, played songs that might not play a lot on the road, and did renditions that felt very old-school Vegas. When you go to a Vegas show, you want to see something different. I’m glad we are doing these shows, because it will be a different crowd. Yes, your fans will be there, but also it might just be the random dude playing blackjack who says, ‘I’ll go see a show.’ I think I’ll play longer, more obscure songs, get diligent with the covers, more Bakersfield, older country tunes with our spin on it.”
Meanwhile, back in Nashville, it seems the slate of downtown celebrity bars doesn’t seem to be slowing down soon — but don’t count Thomas Rhett among those with plans to add to the cluster.
“There were a couple of people who brought it up to me a couple of years ago, and I mean, I wake up every day and there’s a new bar,” he says. “I kind of think, ‘Would it be cooler to just open a sick brunch spot that doesn’t have my face plastered on the wall?’ That’s never been my vibe — I don’t want someone to walk into my restaurant and just see me everywhere. I’d want to serve the most banging biscuits and breakfast tacos and mimosas and call it ‘TR Tequila Bar’ or something. But it’s not really my style to do the Broadway thing, and people have too many options as it is.”
While a star bar may not be in the plans, ultimately releasing an album in another genre could be. Earlier this year, Thomas Rhett teamed with Contemporary Christian artist Brandon Lake for a cover of Elevation Music and Maverick City Music’s “Talking to Jesus.” During the pandemic years, he collaborated with another CCM luminary, Chris Tomlin.
As for releasing his own CCM album, he says, “That question has come up a lot lately. My thing is that I just want it to be the right version of that. I’m not trying to lead a church service, but my faith is extremely important to me. I do write a bunch of worship, Christian-type songs, and worship music is changing so much today. Brandon sort of renewed my love for it and my buddy Forrest Frank just came out with a banger of an album — I was talking to him like, ‘Do you think I could do this?’ and he was like, ‘Absolutely.’ So I think it’s nice that those two folks could maybe help me one day find what that version is for me. It’s a pipe dream that hopefully happens in this decade.”
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The first official trailer for Jung Kook‘s upcoming documentary, JUNG KOOK: I AM STILL finds the BTS member fretting about whether fans will accept him as a solo artist as he steps outside of the K-pop supergroup’s massive shadow.
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“I’m suddenly nervous, I’ll do my best guys,” he says in Korean at the outset of the one-minute preview of the film that is slated to open in theaters worldwide on Sept. 18. Amid footage of thousands of fans gathered in arenas and on streets to greet him, he frets, “Without the power of BTS, just on my own, will I be able to receive recognition?”
Reflecting on the success of his debut solo album, 2023’s Golden, which entered the Billboard 200 chart at No. 2 and featured collabs with Jack Harlow, Latto and Major Lazer, among others, he says, “with all these achievements I gained more self-confidence.” Mixing in footage of JK dancing and rehearsing dance moves in the studio, the preview promises to provide “eight months of golden moments.”
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With a vow from the singer to “keep going forward,” the trailer then cuts to a run-down of some of JK’s solo chart success and footage from his videos cued to his single “Standing Next To You,” which peaked at No. 5 on the Billboard Hot 100. “I’ve never though of myself as a genius,” Jung Kook says at one point, admitting that he’s well-aware of his artistic blind spots, which only push him to get better.
“I just follow my own compass,” he says as the screen fades to black before zooming back in on a clip of JK bounding through a backstage area and shouting out the group’s legendarily fervent ARMY fan group. “It’s always more fun with the fans.”
The promo materials promise that the film will capture JK’s development as a solo act, beginning with his No. 1 Hot 100 hit “Seven” (featuring Latto) in July 2023, followed by the release of Golden three months later via never-before-seen video, interviews and concert performance footage. The doc was directed by Junsoo Park and produced by Jiwon Yoon and is set to premiere in limited screenings worldwide in more than 120 countries and regions on Sept. 18, with tickets on sale today here.
Watch the trailer for JUNG KOOK: I AM STILL below.
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Two pop stars are always better than one. And when those two comets are Olivia Rodrigo and Chappell Roan, well, all bets are off. During Rodrigo’s tour stop at the Intuit Dome in Inglewood, CA on Tuesday night (August 20), the “Bad Idea Right?” singer graciously shared the stage with Roan on the penultimate U.S. date on her Guts world tour.
“I’ve known this next artists for about four years now… I absolutely adore her. I think she is one of the most singular, inspiring, powerful artists I’ve ever had the pleasure of meeting, and I’m so excited because she’s gonna sing one of my favorite songs of all time with me tonight,” Rodrigo told the crowd before Roan joined her on stage, according to Variety.
Roan, who like Rodrigo was dressed in a brightly colored, sequin-dripping mini dress, then bounded out on stage to deafening screams from the audience as the two women hugged it out before getting to business. “We’re gonna sing a song, and we’re gonna teach you a dance,” Roan told them.
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That song, was, of course, Roan’s Billboard Hot 100 No. 17 sensation “Hot To Go!,” and while the crowd surely didn’t need the slowed-down tutorial on the energetic hand jive that has become the viral signature of the hit song, Roan and Rodrigo did a half-time walk-through before revving things up and high-kicking their way through the full speed version. Roan took the first verse, handing off to Rodrigo before they joined forces for the chorus, galloping in place while looking into each other’s faces.
Rodrigo also noted in her intro that Roan — who worked with Olivia’s go-to producer, Dan Nigro, on her debut album, The Rise and Fall of a Midwest Princess — opened for her two years ago at a San Francisco date on Olivia’s debut tour, as well as doing the honors on a run of Guts world tour dates earlier this year.
After tonight’s (August 21) second show at Intuit Dome, Rodrigo’s tour jets off to Bangkok, where she will kick off a two-night stand at the IMPACT Arena on Sept. 15, before moving on to South Korean, China, Japan, Singapore and Australia, which will keep her on the road through an Oct. 22 date at Sydney’s Qudos Bank Arena.
Check out fan video of the moment below.
If imitation is the sincerest form of flattery, then Republican presidential candidate Donald Trump appears to have briefly ditched his insult comic schtick and flipped to cheekily borrowing pages from Vice President Kamala Harris’ playbook. In the midst of the Democratic National Convention in Chicago that on Tuesday night (August 20) officially nominated Harris in a joy- and music-filled night that featured each state announcing their support with a theme song provided by DJ Cassidy, Trump’s campaign spokesperson pre-empted the celebration with a brazen lift.
A 13-second video of Trump’s arrival in Detroit for a rally on Tuesday posted by mouthpiece Steven Cheung hours before night two of the DNC featured the former reality TV star walking down the steps of his plane onto the tarmac soundtracked by Beyoncé‘s “Freedom.” If you’ve been paying attention over the past month, then surely you know that the soaring song from Bey’s Lemonade album is the official Harris campaign theme song.
Harris walked out to the track at her official campaign kick-off on July 22 and Queen Bey gave the former Senator and California Attorney General her blessing to use the song at her rallies. An a cappella version of the tune helped kick-off the DNC on Monday night, further cementing its spot as the official anthem of the Harris campaign.
At press time spokespeople for the Trump campaign and Beyoncé had not returned Billboard‘s request for comment.
The brazen move from Trump’s team comes less than two weeks after Trump complained that Harris was copying his idea to not tax tips, telling a crowd “she just stole it.” The idea theft accusation is rich considering Trump has landed in hot water repeatedly since he pivoted from real estate and reality TV to politics eight years ago.
Since then, dozens of musicians and songwriters have objected to the twice-impeached former President using their songs at political rallies, including the Rolling Stones, Adele, Rihanna and the Sinead O’Connor estate, among many others. While a number have publicly objected and some have sent cease-and-desist orders after saying they want no connection to the Trump campaign, in July the estate of Isaac Hayes said it was taking legal action against Trump for playing the Hayes co-written “Hold On, I’m Coming” to close his rallies.
As reported by Billboard, when it comes to objections from artists and songwriters, the process of protest is pretty straightforward. The performing rights organizations BMI and ASCAP require political campaigns to obtain licenses to use songs in their catalogs, with a caveat in the license that allows songwriters to object to usage in a political campaign. However, that does not prevent a campaign from playing a song at a rally, or in this case, in a promotional video.
That said, a lawyer for Jackson Browne — who sued late Republican Sen. and presidential aspirant John McCain for using his song “Running on Empty” in a 2008 commercial — said “most political campaigns aren’t keen about just taking the song down.” Trump has been especially brazen in this regard and it was unclear at press time if the clip featuring “Freedom” could fall under the fair use provision, which doesn’t require a license at all.
Either way, hijacking a rival campaign’s official song seems decidedly on-brand for the Trump campaign’s “ask for forgiveness, not permission” approach to political combat and it remains to be seen if Beyoncé, or her team, will take action to get the video removed from X. At press time it did not appear that Beyoncé had responded to the Trump video on her socials.
Check out the Trump campaign video below.
The Black Crowes have officially announced their return to the road with a headlining North American tour set to begin this September.
The news comes in the wake of Aerosmith’s decision to cancel their farewell tour due to frontman Steven Tyler’s larynx injury. The Black Crowes were originally scheduled to support Aerosmith on that tour, but with those plans now scrapped, the band is moving forward with their own tour, much to the delight of their fans.
In a statement shared on social media, The Black Crowes explained: “Due to the cancellation of the Aerosmith Tour, we also had to move a few of the previously announced show dates and unfortunately have to cancel the Tucson, Wanatchee, and Verona shows. Original tickets for all the rescheduled dates will be honored at the new shows, and all ticketholders will receive an email directly from their point of purchase with more information.”
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The upcoming tour will span over three months, kicking off on Sept. 27 in Northfield, OH, and concluding in December.
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Happiness Bastards marks the first new studio record from singer Chris Robinson and guitarist Rich Robinson in 15 years. The album follows the siblings’ reunion in 2019, where they performed over 150 shows across 20 countries to celebrate the 30th anniversary of their breakthrough 1990 album Shake Your Money Maker.
In a statement upon the album’s release in March, Chris Robinson said, “Happiness Bastards is our love letter to rock ‘n’ roll. Rich and I are always writing and creating music; that has never stopped for us, and it is always where we find harmony together. This record represents that.”
Brother Rich Robinson added, “This album is a continuation of our story as a band. Our years of experience writing and making music and touring the world are represented in this record, and we were brilliantly guided by one of the best producers in the business, Jay Joyce. I am incredibly proud of what we put together.”
For fans eager to see The Black Crowes live, pre-sale tickets for the tour go on sale today, Aug. 21, with general tickets available on Friday, Aug. 23.
The Black Crowes’ 2024 North American Tour Dates:
Sept. 27 — MGM Northfield Park – Center Stage, Northfield, OH
Sept. 28 — Hard Rock Cincinnati Outdoor Arena, Cincinnati, OH
Oct. 1 — Appalachian Wireless Arena, Pikeville, KY
Oct. 3 — CCNB Amphitheatre at Heritage Park, Simpsonville, SC
Oct. 4 — The St. Augustine Amphitheatre, St. Augustine, FL
Oct. 6 — Duke Energy Center for the Arts – Mahaffey Theater, St. Petersburg, FL
Oct. 9 — Live Oak Bank Pavilion, Wilmington, NC
Oct. 10 — Durham Performing Arts Center, Durham, NC
Oct. 12 — Atrium Health Amphitheater, Macon, GA
Oct. 13 — Saenger Theatre, New Orleans, LA
Oct. 15 — BankPlus Amphitheater at Snowden Grove, Southaven, MS
Oct. 18 — Hard Rock Live Northern Indiana, Gary, IN
Oct. 19 — Miller High Life Theatre, Milwaukee, WI
Oct. 23 — Vibrant Music Hall, Waukee, IA
Oct. 25 — Hard Rock Live Rockford, Rockford, IL
Oct. 26 — The Factory, St. Louis, MO
Oct. 29 — UPMC Events Center, Moon Township, PA
Oct. 31 — Mohegan Sun Arena, Uncasville, CT
Dec. 1 — TD Garden, Boston, MA
Dec. 3 — Wells Fargo Center, Philadelphia, PA
Dec. 5 — Madison Square Garden, New York, NY
The Harris-Walz campaign’s love affair with pop music continued in full force on the second night (Aug. 20) of the 2024 Democratic National Convention.
After Patti LaBelle delivered the night’s first performance with a stirring rendition of “You Are My Friend” for the in memoriam segment, Common took the stage to rap a DNC-tinged version of “Fortunate,” a song from his new joint album with Pete Rock. Outside of those performances, the house band kept the covers rolling with funky versions of Beyoncé‘s “Cuff It,” Hozier‘s “Too Sweet,” and Mark Ronson‘s “Uptown Funk!” soundtracking the jumbotron camera’s journey around the packed arena.
The real magic, however, came during the roll call. During each convention, each U.S. state and territory casts their votes for the party’s presidential nominee; last night’s roll call was a symbolic, in-person version of an August online meeting, in which Vice President Kamala Harris became the Democratic party’s official nominee. DJ Cassidy served as the roll call’s master of ceremonies, using his beloved “Pass the Mic” template to rattle off each state and territory represented in the venue.
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For this year’s roll call, the delegates reached across decades of music to illustrate a rich sonic collage of American music history. From country and reggaeton to rock and hip-hop, the breadth of America’s rich blend of cultures and traditions illuminated the United Center arena. To top it all off, Lil Jon made a surprise appearance on the floor of the convention to help his home state of Georgia cast its votes for Harris. As if his mere presence wasn’t enough, he also treated the fired-up crown to a bombastic rendition of his DJ Snake-assisted “Turn Down For What,” which he flipped into a musical tribute to Harris and her running mate, Minnesota Gov. Tim Walz. Georgia wasn’t the only state to make the most of their moment, Pennsylvania, Minnesota and Harris’ home state of California all played multiple songs while they casted their votes.
From Aretha Franklin and Dolly Parton to Beyoncé and Chappell Roan, here are all the songs played during roll call at the 2024 DNC — and where they peaked on the Billboard Hot 100.
Alabama
Song: Lynyrd Skynrd, “Sweet Home Alabama”
Hot 100 Peak: No. 8 (chart dated October 26, 1974)
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Alaska
Song: Portugal. The Man, “Feel It Still”
Hot 100 Peak: No. 4 (chart dated Nov. 4, 2017)
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American Samoa
Song: Lady Gaga, “The Edge of Glory”
Hot 100 Peak: No. 3 (chart dated May 28, 2011)
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Arizona
Song: Stevie Nicks, “Edge of Seventeen”
Hot 100 Peak: No. 11 (chart dated April 17, 1982)
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Arkansas
Song: Fleetwood Mac, “Don’t Stop”
Hot 100 Peak: No. 3 (chart dated Sept. 24, 1977)
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California
Song: Dr. Dre & Snoop Dogg, “The Next Episode”; 2Pac, Dr. Dre & Roger, “California Love”; Kendrick Lamar, “Not Like Us,” Kendrick Lamar, “Alright”
Hot 100 Peak: “The Next Episode” peaked at No. 23 (chart dated July 29, 2000); “California Love” peaked at No. 1 (two weeks, chart dated July 13, 1996); “Not Like Us” peaked at No. 1 (two weeks, chart dated May 18, 2024); “Alright” peaked at No. 81 (chart dated October 3, 2015)
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Colorado
Song: Earth, Wind & Fire, “September”
Hot 100 Peak: No. 8 (chart dated Feb. 10, 1979)
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Connecticut
Song: Stevie Wonder, “Signed, Sealed, Delivered (I’m Yours)”
Hot 100 Peak: No. 3 (chart dated Aug. 8, 1970)
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Democrats Abroad
Song: The O’Jays, “Love Train”
Hot 100 Peak: No. 1 (chart dated March 24, 1973)
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District of Columbia
Song: DJ Kool, “Let Me Clear My Throat,”
Hot 100 Peak: No. 30 (chart dated March 29, 1997)
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Florida
Song: Tom Petty, “I Won’t Back Down”
Hot 100 Peak: No. 8 (chart dated July 1, 1989)
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Georgia
Song: DJ Snake & Lil Jon, “Turn Down for What”
Hot 100 Peak: No. 4 (chart dated June 14, 2014)
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Guam
Song: Sabrina Carpenter, “Espresso”
Hot 100 Peak: No. 3 (chart dated June 22, 2024)
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Hawaii
Song: Bruno Mars, “24K Magic”
Hot 100 Peak: No. 4 (chart dated Dec. 10, 2016)
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Idaho
Song: The B-52s, “Private Idaho”
Hot 100 Peak: No. 74 (chart dated Nov. 8, 1980)
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Illinois
Song: The Alan Parsons Project, “Sirius”
Hot 100 Peak: N/A
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Indiana
Song: Michael Jackson, “Don’t Stop ’til You Get Enough”
Hot 100 Peak: No. 1 (chart dated Oct. 13, 1979)
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Iowa
Song: Kool & The Gang, “Celebration”
Hot 100 Peak: No. 1 (two weeks, chart dated Feb. 7, 1981)
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Kansas
Song: Kansas, “Carry On Wayward Son”
Hot 100 Peak: No. 11 (chart dated April 2, 1977)
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Kentucky
Song: Jack Harlow, “First Class”
Hot 100 Peak: No. 1 (three weeks, chart dated April 23, 2022)
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Louisiana
Song: DJ Khaled feat. T-Pain, Ludacris, Snoop Dogg & Rick Ross, “All I Do Is Win”
Hot 100 Peak: No. 24 (chart dated July 24, 2010)
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Maine
Song: Walk The Moon, “Shut Up And Dance”
Hot 100 Peak: No. 4 (chart dated May 30, 2015)
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Maryland
Song: Aretha Franklin, “Respect”
Hot 100 Peak: No. 1 (two weeks, chart dated June 3, 1967)
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Michigan
Song: Eminem, “Lose Yourself”
Hot 100 Peak: No. 1 (12 weeks, chart dated Nov. 9, 2002)
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Minnesota
Song: Prince, “Kiss”; Prince, “1999”
Hot 100 Peak: “Kiss” peaked at No. 1 (two weeks, chart dated April 19, 1986); “1999” peaked at No. 12 (chart dated July 23, 1983)
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Mississippi
Song: Sam Cooke, “Twistin’ the Night Away”
Hot 100 Peak: No. 9 (chart dated March 24, 1962)
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Missouri
Song: Chappell Roan, “Good Luck, Babe!”
Hot 100 Peak: No. 8 (chart dated Aug. 17, 2024)
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Montana
Song: Lenny Kravitz, “American Woman”
Hot 100 Peak: No. 49 (chart dated Oct. 30, 1999)
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Nebraska
Song: Katy Perry, “Firework”
Hot 100 Peak: No. 1 (four weeks, chart dated December 18, 2010)
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Nevada
Song: The Killers, “Mr. Brightside”
Hot 100 Peak: No. 10 (chart dated June 11, 2005)
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New Hampshire
Song: Journey, “Don’t Stop Believin’”
Hot 100 Peak: No. 9 (chart dated Dec. 19, 1981)
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New Jersey
Song: Bruce Springsteen, “Born in the U.S.A.”
Hot 100 Peak: No. 9 (chart dated Jan. 19, 1985)
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New Mexico
Song: Demi Lovato, “Confident”
Hot 100 Peak: No. 21 (chart dated Dec. 19, 2015)
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New York
Song: Jay-Z & Alicia Keys, “Empire State of Mind”
Hot 100 Peak: No. 1 (five weeks, chart dated Nov. 28, 2009)
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North Carolina
Song: Petey Pablo, “Raise Up”
Hot 100 Peak: No. 25 (chart dated Nov. 24, 2001)
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North Dakota
Song: Alicia Keys, “Girl On Fire”
Hot 100 Peak: No. 11 (chart dated Dec. 15, 2012)
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Northern Mariana Islands
Song: Marvin Gaye & Tammi Terrell, “Ain’t No Mountain High Enough”
Hot 100 Peak: No. 19 (chart dated July 15, 1967)
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Ohio
Song: John Legend feat. André 3000, “Green Light”
Hot 100 Peak: No. 24 (chart dated Dec. 6, 2008)
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Oklahoma
Song: Brooks Jefferson, “Ain’t Goin Down (Til the Sun Comes Up)”
Hot 100 Peak: N/A
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Oregon
Song: Modest Mouse, “Float On”
Hot 100 Peak: No. 68 (chart dated Sept. 4, 2004)
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Pennsylvania
Song: “Motownphilly” (Boyz II Men) & “Black and Yellow” (Wiz Khalifa)
Hot 100 Peak: “Motownphilly” peaked at No. 3 (chart dated Sept. 7, 1991); “Black and Yellow” peaked at No. 1 (chart dated Feb. 19, 2011)
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Puerto Rico
Song: Luis Fonsi & Daddy Yankee, “Despacito”
Hot 100 Peak: No. 1 (16 weeks, chart dated May 27, 2017)
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Rhode Island
Song: Taylor Swift, “Shake It Off (Taylor’s Version)”
Hot 100 Peak: No. 28 (chart dated Nov. 11, 2023)
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South Carolina
Song: James Brown, “Get Up (I Feel Like Being A) Sex Machine”
Hot 100 Peak: No. 15 (chart dated Aug. 8, 1970)
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South Dakota
Song: The Romantics, “What I Like About You”
Hot 100 Peak: No. 49 (chart dated March 15, 1980)
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Tennessee
Song: Dolly Parton, “9 to 5”
Hot 100 Peak: No. 1 (two weeks, chart dated Feb. 21, 1981)
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Texas
Song: Beyoncé, “Texas, Hold ‘Em”
Hot 100 Peak: No. 1 (two weeks, chart dated March 2, 2024)
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Utah
Song: Neon Trees, “Animal”
Hot 100 Peak: No. 13 (chart dated Nov. 13, 2010)
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Vermont
Song: Noah Kahan, “Stick Season”
Hot 100 Peak: No. 9 (chart dated April 27, 2024)
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U.S. Virgin Islands
Song: Mic Love, “VI to the Bone”
Hot 100 Peak: N/A
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Virginia
Song: Timbaland feat. Keri Hilson & D.O.E., “The Way I Are”
Hot 100 Peak: No. 3 (chart dated Aug. 25, 2007)
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Washington
Song: Macklemore & Ryan Lewis feat. Ray Dalton, “Can’t Hold Us”
Hot 100 Peak: No. 1 (five weeks, chart dated May 18, 2013)
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West Virginia
Song: John Denver, “Take Me Home, Country Roads”
Hot 100 Peak: No. 2 (chart dated Aug. 28, 1971)
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Wisconsin
Song: House of Pain, “Jump Around”
Hot 100 Peak: No. 3 (chart dated Oct. 10, 1992)
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Wyoming
Song: Black Eyed Peas, “I Got A Feeling”
Hot 100 Peak: No. 1 (14 weeks, chart dated July 11, 2009)
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America’s Got Talent Season 19 reached a dramatic peak on Aug. 20 when Japanese dance and acrobatic group Airfootworks delivered a performance that ignited a heated response from the judges.
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The group’s gravity-defying routine set off a friendly clash between Simon Cowell and Howie Mandel, culminating in an unprecedented double Golden Buzzer moment (kind of).
As Airfootworks concluded their intricate and masterfully executed performance, which was set to “Celestial” by Ed Sheeran, Simon exclaimed, “Terry, I am just about to get myself fired,” before lunging for the Golden Buzzer.
However, Howie, who was officially assigned the buzzer for the night, quickly intervened. In a split-second move, Mandel pressed the buzzer just before Cowell could, securing Airfootworks a direct path to the finals.
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The ensuing moment was filled with lighthearted chaos, as both judges vied for credit. A video replay confirmed that Mandel had narrowly outpaced Cowell to the buzzer.
“I feel like I’ve been abused!” Mandel quipped, as the two exchanged playful banter over who deserved the accolade.
Mandel then joined Airfootworks on stage to personally commend them, saying, “You guys are athletes, you guys are dancers…you guys are magicians. I don’t know how you do it, but what you just did was absolutely brilliant.”
Cowell, still reveling in the moment, admitted, “I just couldn’t help myself! It was such an amazing performance that I felt like I had to be a part of it.” He added, “This is what this show is all about—finding acts like this that are truly world-class.”
This season, Cowell has already caused a stir by awarding a second Golden Buzzer to Sky Elements during the auditions, a move that led to all judges receiving an extra buzzer push.
With Airfootworks now fast-tracked to the finals, the remaining contestants from the night face an uphill battle as they compete for one of the three remaining spots through audience voting. The stakes are significant, and the competition is fierce.
The results of this live show will be unveiled during a special episode on Wednesday, Aug. 21, at 8 p.m. ET on NBC. Viewers will learn which acts will advance alongside Airfootworks, moving one step closer to the ultimate victory.
Check out Airfootworks earn a Golden Buzzer on America’s Got Talent below.
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Don McLean is a Swiftie.
The iconic singer-songwriter behind “American Pie” and “Vincent” recently spoke about Taylor Swift’s extraordinary success in an interview with The Standard.
McLean, whose song “American Pie (Parts I & II)” topped the Billboard Hot 100 for four weeks in 1972, is impressed by Swift’s evolution from a rising country artist to a global powerhouse.
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“She is a person who is an example of what talent and really hard work can accomplish,” McLean said, describing Swift as a “monster star, the size of the galaxy.”
McLean continued, “She’s working all of the time, and she does everything that she does better than everybody else, whether it’s a video or a performance or songwriting or records or whatever… The only thing is that she stays happy.”
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Reflecting on his own career, McLean shared, “I have a lot of interests, and they sustain me. I don’t go around thinking ‘Man, why don’t I have this?’ or ‘Why don’t I have that?’ – that is the quickest way to be unhappy I can think of.”
McLean, who has sold over 50 million records worldwide, has been honored with numerous awards, including a Grammy Hall of Fame induction for “American Pie.”
Back in 2021, Swift sent McLean a note and a bouquet of flowers after her 10-minute version of “All Too Well” surpassed his song “American Pie (Parts I & II)” as the longest song to reach No. 1 on the Billboard Hot 100.
“What a classy artist!” McLean tweeted at the time, sharing Swift’s handwritten inscription that reads, “Don, I will never forget that I’m standing on the shoulders of giants. Your music has been so important to me. Sending love one writer of LONG SONGS to another. Your fan, Taylor.”
In the most recent interview, McLean also addressed the challenges Swift has faced in the music industry, particularly regarding the ownership of her early albums.
“The record companies are the biggest thieves on the planet. That was their business, stealing. You have to be very careful,” he said, referencing Swift’s legal battles to regain control of her discography from Scooter Braun, which led to her re-recording her first six studio albums.
Machine Gun Kelly has opened up about his struggle with addiction, revealing how a confronting conversation with his 15-year-old daughter, Casie, pushed him to get sober.
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On the Sunday, Aug. 18 episode of the Million Dollaz Worth of Game podcast, MGK (real name Colson Baker) recalled the moment that changed everything.
“It started with my daughter saying, ‘Dad, you know I can tell when you’re high?’ It broke my heart,” the “Emo Girl” singer shared. Casie was just 11 or 12 years old at the time. “It was the ultimate letdown.”
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“It took me a while afterward, because obviously drugs have a vice grip on you,” he continued. “That was step one for me. As a father and as a man, to be the father I wish my dad would have been, I have to break this generational curse for my kid.”
Earlier this month, Baker discussed his one-year sobriety milestone on Bunnie XO’s Dumb Blonde podcast.
“I’m completely sober from everything. I don’t drink anymore. I haven’t drank since last August,” he said. MGK quietly entered rehab after completing his European tour in 2023, battling alcohol, marijuana, and pills.
“They just gave me so many ways to operate the body, show where this anger is coming from, and methods to quell it,” he explained. He also credited his fiancée, Megan Fox, for helping him through the recovery process, saying, “Megan has for sure been extremely helpful in dealing with the kind of psychological withdrawals that come with [sobriety].”
Reflecting on his father’s struggles, MGK revealed on the Dumb Blonde podcast how deeply his family’s past has influenced him: “My father was so tormented from some of the most insane s—t I could imagine a kid could go through.”
Machine Gun kelly‘s determination to break the cycle of addiction and trauma in his family is clear: “As a father and as a man, to be the father I wish my dad would have been, I have to break this generational curse for my kid.”
In July, the proud dad celebrated Casie’s 15th birthday with a heartfelt tribute on Instagram, sharing moments from their life together. “The world spins but when I look at you it stops. Happy 15th princess,” he captioned a series of sweet photos.
Lil Jon transported the 2024 Democratic National Convention to Atlanta when he made a surprise appearance to share the Georgia delegates’ votes for Vice President Kamala Harris during the DNC roll call on Tuesday night (Aug. 20). The roll call took on a new format this year, with DJ Cassidy introducing each state with its […]