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Paul McCartney made his Latin American music festival debut an epic moment. On Sunday (Nov. 17), the former Beatle invited St. Vincent and Jack White to join him on the main stage of Corona Capital in Mexico for a masterful performance of “The End” in front of nearly 82,000 attendees, according to concert promoter Ocesa.
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Living legend McCartney captivated generations with his performance at the Mexican music festival, marking the closing of the Latin American leg of his Got Back Tour.
“¡Hola México! ¿Quiúbole, banda? Tonight I’m going to try to speak a little Spanish. It’s awesome to be here again,” McCartney said as he greeted an ecstatic audience using Mexican slang. Parents and children gathered around the main stage, some of them dressed in colorful outfits that emulated the iconic cover of the Beatles’ 1967 album, Sgt. Pepper’s Lonely Hearts Club Band.
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The British icon performed a repertoire that spanned his extensive career, from the classics of the Liverpool quartet to his solo hits. The setlist included songs such as “A Hard Day’s Night,” “Letting Go,” “Got to Get You Into My Life,” “Come On to Me,” “Let Me Roll It,” “Let ‘Em In,” “Ob-La-Di, Ob-La-Da,” “Band On The Run,” and “Let It Be.”
The first guest of the night was St. Vincent, who took the stage to accompany him on guitar on “Get Back.” The artist had had a celebrated performance the day before, and with this number, she closed a masterful pass through Mexico and the Corona Capital.
McCartney appeared happy during his performance at the marathon rock event. On several occasions, he paused briefly to explain some things to the audience. “This is the first song the Beatles ever recorded,” he said in Spanish before singing “Love Me Do.”
The excitement was at its peak when Jack White, who had performed on the Vans stage a couple of hours earlier, took the stage, showcasing his talent and guitar skills. Alongside McCartney and St. Vincent, he created an unforgettable moment and one of the most spectacular closings that Corona Capital has seen in its 14-year history.
The show ran until around 2 a.m. on Monday (Nov. 18), about 40 minutes longer than scheduled. This is something McCartney has done at other festivals when the moment calls for it, just as it happened at the 2009 Coachella festival in Indio, Calif.
With his participation in Corona Capital, McCartney concluded a busy week in Mexico with a series of concerts as part of his Got Back Tour. The tour began on Nov. 8 in the northern city of Monterrey and continued on Nov. 12 and 14 at the GNP Seguros Stadium in Mexico City.
The legendary musician began the Latin American leg of his tour on Oct. 1 in Uruguay, then visited Argentina, Brazil, Chile, Peru, Costa Rica and Colombia. The tour will continue in December to France, Spain and the United Kingdom.
Philosophy no Dance’s Mariri Okutsu chatted with Billboard Japan for its Women in Music interview series featuring female players in the Japanese entertainment industry. The WIM initiative in Japan launched in 2022 to celebrate artists, producers and executives who have made significant contributions to music and inspired other women through their work.
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Okutsu made the transition from being a singer-songwriter to an idol group member nine years ago. On the podcast “B-side Talk – Are you taking care of your mental health?” she advocates the importance of mental well-being. Okutsu, who says she was able to find “what’s most important” after going through mental health problems, shares her thoughts on the value of being herself as an idol singer and in her private life.
Tell us how you became an idol group member.
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Before I became an idol performer, I was a singer-songwriter and also played in a band. I was asked if I’d be interested in doing idol work, and although it was a world I knew nothing about, you only live once so I figured I’d give it a try. I’d never even danced before, but took the plunge.
What was your personality like before you became an idol?
Before I became an idol, I think I was more particular about things. I liked rock music and thought I was badass when performing, so when people said stuff like, “You have a good figure” [mentioning the size of her breasts] and “You should sing cuter songs,” I resented that people didn’t see the things I wanted them to see. I was more heavily into the rock mentality back then than I am now, so when people said things like that, I turned up the volume on my guitar even more and distorted the sound, just to be rebellious. [Laughs] In terms of clothes, too, I want to wear my favorite gear for “battle” on stage, and to be the way I need to be in order to shine the most.
Did you ever feel bewildered by the idol scene, since it’s so different from your career up until then?
I’m now in my ninth year of being an idol performer, and feel that it’s a very warm world with passionate fans. At first, I searched for ways to live up to the expectations of what an “idol” should be like. I tried wearing big bows and frilly clothes, and even chose “cute” drinks and food. [Laughs] I tried really hard to figure out what my character should be like, but couldn’t keep trying to be someone I’m not. So I went, “Nope! Not gonna work!” and just showed who I really am, and things became so much easier. After I realized that it’s important to be myself, both in my idol career and in life itself, I try not to put on a front and make sure my true self is as lovely as it can be.
I think it takes courage to show your true self. What advice would you give to someone who can’t muster up the courage to do that?
Being able to create your own character by wearing “armor” is also a wonderful thing. It means you have the physical and mental strength to keep wearing that armor. It’s not about which is better or worse. Whichever you choose is fine.
Those are very convincing words coming from someone like you, since you chose to take off your armor and experienced the relief that comes along with that. What kind of person is the real you?
Well… Another thing that confused me when I became an idol was that it became harder to sing songs about romantic relationships. Until then, I thought it was good to sing about things I felt based on my own experiences. But our fans support us with such enthusiasm and romance is considered taboo for idol singers, and I don’t want to make my fans sad. It’s about establishing a relationship of trust with them. So I overcame this barrier by being up-front and declaring loudly that “I want to get married someday!” [Laughs] Because it’s true that I want to marry and have kids someday. Rather than suddenly announcing it and shocking people, my plan is to get my fans used to the idea that “she wants to get married.” At this point, my fans seem to worry about me and ask, “Aren’t you marrying yet?” [Laughs]
You’ve been an idol for nine years, keeping at it while resolving the things you feel confused about in your own way. Is there anything you take care to do to continue working for a long time?
I think I was always worried about the shelf life of an idol, thinking that if I didn’t achieve results after making my major label debut, I’d be replaced by the younger next generation. But somehow I’ve been able to continue for nine years. The key to that has been not to overwork myself. Even if the other person has no bad intentions, you should be ready to say “No” and take care of yourself when you feel mentally tired or when you feel like you’re not heading the way you want to go.
It’s true that being young is still considered important in today’s idol scene.
Youth is a really powerful thing with its boundless energy and enthusiasm, but I think Philosophy no Dance right now is also in really good condition. We might not have that drive of being young, but we’re calmer grownup women, you know? We’d really like people to check us out.
Why are you able to continue doing what you do with such sincerity?
I went through some mental health problems once. When that happened, I stopped and thought about what I really wanted to do, and decided that the biggest goal in my life was to keep doing music. I figured out what’s most important to me, so I quit all my part-time jobs and the priorities of my various choices from that point on became clear.
You advocate mental well-being in the podcast “B-side Talk” which you host. Are there any episodes you remember in particular?
They’re always interesting, but during the episode on “Sports and Mental Health,” I learned that placing winning above all else can be one of the factors that causes mental distress for athletes, and thought that the concept also has a lot in common with the world of idols and entertainment. The desire to “make it big” can be an effective stimulant, but it can also wear you down mentally. So it’s important to enjoy what you do without being too obsessed with achieving results. I was surprised to find that many of the things I thought were far removed from my own genre were actually connected in terms of mental well-being.
Sony Music Entertainment Japan has been expanding a project called “B-side” that provides support for artists and creators in the entertainment industry, both mentally and physically. I understand that they offer a variety of programs, including counseling. What did you think when you first heard about this system?
I was genuinely happy. As an artist, it’s something to be grateful about, and it’s reassuring to know that we’re being cared for as people, rather than being consumed as products. I actually went in for counseling. I’d never really heard of counseling before, and didn’t have any particular problems, so I was wondering if it was OK to go ahead with it. I thought counseling was something you went to receive advice on whether or not your concerns were right or wrong, and what you should do about them. But when I actually experienced it, counseling felt more like a conversation with myself. Talking to myself helped me to organize my thoughts, and it was like the counselor paved the way for me to find answers like the things that were bothering me or that I was worried about. If anyone has vague, unsettled feelings, I think counseling can help you untangle the knots in your mind.
—This interview by Rio Hirai (SOW SWEET PUBLISHING) first appeared on Billboard Japan
Snoop Dogg and Dr. Dre’s anticipated Missionary album is set to arrive in December, but the legendary West Coast duo have given fans a taste of what’s to come. While doing an interviewed for a special Drink Champs episode at ComplexCon in Las Vegas over the weekend, Snoop and Dre previewed some hard-hitting tracks off […]
ROSÉ and Bruno Mars’ “APT.” spends a fourth week at No. 1 on both the Billboard Global 200 and Billboard Global Excl. U.S. charts. Three weeks earlier, the team-up debuted as each artist’s second leader on each list.
Elsewhere, Gigi Perez earns her first Global 200 top 10 with “Sailor Song.” Plus, Gracie Abrams notches her first Global Excl. U.S. top 10 with “That’s So True”; a week before, the song became her first top 10 on the Global 200.
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The Global 200 and Global Excl. U.S. charts, which began in September 2020, rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.
Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.
“APT.,” released Oct. 18, rules the Global 200 for a fourth week with 146.4 million streams (down 10% week-over-week) and 14,000 sold (up 2%) worldwide Nov. 8-14. The duet debuted with 224.5 million global streams and logged 207.5 million in its second frame, becoming the first title since the chart started to have drawn at least 200 million streams globally in multiple weeks.
“APT.” also now claims four of the top five streaming weeks on the Global 200 among songs released in 2024:
224.5 million, “APT.,” ROSÉ & Bruno Mars, Nov. 2
207.5 million, “APT. ,” ROSÉ & Bruno Mars, Nov. 9
176.8 million, “Fortnight,” Taylor Swift feat. Post Malone, May 4
162.2 million, “APT. ,” ROSÉ & Bruno Mars, Nov. 16
146.4 million, “APT. ,” ROSÉ & Bruno Mars, Nov. 23
Lady Gaga and Mars’ “Die With a Smile” holds at No. 2 on the Global 200, following eight weeks at No. 1, the most for any song this year. It drew 119.1 million streams (essentially even week-over-week) worldwide Nov. 8-14 and has tallied over 100 million streams globally in each of the last 11 weeks, the longest such streak since the chart began.
Billie Eilish’s “Birds of a Feather” repeats at No. 3 on the Global 200, following three weeks at No. 1 beginning in August; Gracie Abrams’ first top 10, “That’s So True,” enters the top five, rising 6-4 with 59.6 million streams (up 35%) and 4,000 sold (up 30%) worldwide; and Oscar Maydon and Fuerza Regida’s “Tu Boda” dips to No. 5 from its No. 4 high.
Gigi Perez’s first Global 200 entry, “Sailor Song,” breezes into the top 10 (12-10) led by 42.8 million streams (up 6%) worldwide. The New Jersey native solely wrote and produced the song.
“APT.” concurrently crowns Global Excl. U.S. for a fourth week, with 129.6 million streams (down 11%) and 10,000 sold (up 2%) outside the U.S. Nov. 8-14.
“Die With a Smile” holds at No. 2 on Global Excl. U.S. following eight weeks at No. 1; Eilish’s “Birds of a Feather” is steady at No. 3, after three weeks at No. 1 beginning in August; and Oscar Maydon and Fuerza Regida’s “Tu Boda” keeps at its No. 4 high.
Plus, “That’s So True” becomes Abrams’ first Global Excl. U.S. top 10, surging 13-5 with 36.4 million streams (up 43%) and 1,000 sold (up 50%) outside the U.S. The singer-songwriter has opened on over three dozen dates of Taylor Swift’s The Eras Tour, serving as the sole opener for all shows since Oct. 18; she is also set to be the only supporting act for the tour’s remaining dates through Dec. 8.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Nov. 23, 2024) will update on Billboard.com tomorrow, Nov. 19. For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard’s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
Jimmy Fallon and Jon Hamm? More like Scott Stapp times two. The Mad Men actor was a guest on The Tonight Show Starring Jimmy Fallon recently, where the duo reminisced on the time that they “used to be Creed.” “We were the lead singer of the band Creed,” Hamm noted, before Fallon recalled, “We did […]
The 58th annual CMA Awards are set for Wednesday, Nov. 20 at Nashville’s Bridgestone Arena. Two-time CMA Award entertainer of the year winner Luke Bryan returns to co-host with NFL hall of famer Peyton Manning and reigning CMA entertainer of the year Lainey Wilson. Morgan Wallen leads this year’s nominees with seven nominations, including for entertainer of the year, followed by Cody Johnson and Chris Stapleton with five nominations, and Post Malone and Lainey Wilson with four nominations.
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The eligibility period for the 2024 show, which will air live on ABC at 8 p.m. ET, is July 1, 2023 to June 30, 2024. The 58th Annual CMA Awards is set to broadcast live on Wednesday (8:00–11:00 p.m. ET) on ABC and next day on Hulu.
According to CMA rules, “singles, albums, music videos and qualified music products for the annual show must have been released or reached peak national prominence during the eligibility period” to qualify. More than 7,000 members of the country music industry vote for the nominees and winners through three rounds of voting.
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Here are Billboard’s predictions on who will emerge victorious in select categories, from Melinda Newman (executive editor, West Coast and Nashville) and Jessica Nicholson (staff writer, Nashville).
Entertainer of the year
Luke Combs
Jelly Roll
Chris Stapleton
Morgan Wallen
Lainey Wilson
Newman: Jelly Roll replaces Carrie Underwood in what otherwise is a replay of last year. Wilson, who won in 2023, continues to have a strong streak, but she faces steep competition from label mate Jelly Roll, who has smashed it on his first headlining arena tour. Stapleton is looking for his first win here in eight nominations, but it’s also hard to deny two-time winner Combs and Wallen, both of whom had sold-out stadium tours this year. An extremely tough and competitive category. It also shows what a good job country music has done in building the next generation of superstars: Stapleton is the most seasoned veteran in this category, and his first solo album only came out nine years ago.
Will win: Morgan Wallen
Nicholson: Each artist nominated here has had a stellar year, with album releases and/or massive tours. Wilson won this category last year, and could very well take it home a second time. Meanwhile, her labelmate Jelly Roll has been seemingly ubiquitous this year, thanks to his Billboard 200-topping album Beautifully Broken and its corresponding headlining arena tour. Combs has previously won twice in the category, while Morgan Wallen looks to take home his first EOY win. Both have both led massive stadium tours and logged chart-topping hits. Stapleton earns his eighth nomination in the category, on the strength of recent hits such as “White Horse” and this year continued his All-American Road Show Tour. Given Wallen’s stadium-headlining status and massive all-genre chart hits this year, it seems likely that he will earn the EOY win.
Will win: Morgan Wallen
Male vocalist of the year
Luke Combs
Jelly Roll
Cody Johnson
Chris Stapleton
Morgan Wallen
Newman: The line-up repeats from last year, when Stapleton took home his seventh trophy, extending his record for most wins in the category. With his bluesy, rangy growl, Stapleton has a once-in-a-generation voice and Combs has been the only male vocalist who has been able to break his strangle-hold on the category, winning in 2019 and 2020. Stapleton faces stiff competition again, but just throw on “White Horse” or any other song from Higher and it feels like Stapleton will win again.
Will win: Chris Stapleton
Nicholson: Stapleton has taken home this category for the past three consecutive years, and given his pair of chart hits this year (the top 5 Country Airplay hit “White Horse” and top 20 hit “Think I’m in Love With You”), he’s in a good position to take home the honor again this year. However, he has quite the battle ahead of him — particularly from stadium headliner Wallen, whose collab with Post Malone was a six-week Billboard Hot 100-topper. Meanwhile, Combs has continued his own headlining stadium tour and took successful creative risks on his concept album Fathers & Sons. Johnson has shown himself a torchbearer for traditional country, with two songs he recorded earning song of the year nominations. Jelly Roll was named new artist of the year last year and his career has only skyrocketed since, with a headlining arena tour, a No. 1 Billboard 200 debut album and his joyous, megawatt personality garnering loads of media attention.
Will win: Jelly Roll
Female vocalist of the year
Kelsea Ballerini
Ashley McBryde
Megan Moroney
Kacey Musgraves
Lainey Wilson
Newman: McBryde, who has been nominated five times, and Ballerini, who has been nominated seven, are both going for their first wins here, as is Moroney, who received her first nom this year. Wilson won the past two years, while Musgraves — who took home the trophy in 2019, received her first nomination since 2020. All are deserving, but it feels like Wilson is building a dynasty that could rival that of Miranda Lambert — who won six years in a row, and then, after losing to Carrie Underwood, came back and won again. (Underwood is no slouch here, having been nominated 13 times and winning five times).
Winner: Lainey Wilson
Nicholson: Each artist has had a strong year, with headlining tours and/or album releases. McBryde, who picks up a fifth nomination in this category, released The Devil I Know. Musgraves, who previously won this category in 2019, released Deeper Well. Moroney, who headlined her own tour and opened for Kenny Chesney this year, earns her first female vocalist of the year nomination this year on the strength of releases including “No Caller ID.” Wilson, the reigning CMA entertainer of the year, also won in this category the past two years, and has been headlining her Country’s Cool Again Tour and earned a top 20 Hot Country Songs hit with “Hang Tight Honey,” ahead of her August-released album Whirlwind. Ballerini picks up her seventh nomination in the category. This past year, she earned a top 20 Country Songs hit with her Noah Kahan collaboration “Cowboys Cry Too,” an early look at her October-released new album Patterns. Still, this looks like Wilson’s to lose.
Will win: Lainey Wilson
Vocal group of the year
Lady A
Little Big Town
Old Dominion
The Red Clay Strays
Zac Brown Band
Newman: This category has remained largely static—this year, The Red Clay Strays replace Midland, but the other four nominees remain the same as they have largely for the past five years. Old Dominion has won for the past six years… and Little Big Town for the six consecutive years before that and Lady A for three years in a row before that. You get the idea. Zac Brown Band has been nominated 13 times and not taken home the crown. Hot (relative) newcomers Red Clay Strays could pull off some kind of miraculous upset, but they haven’t broken through significantly yet. It’s another year for Old Dominion, who will try to look surprised when they win.
Will win: Old Dominion
Nicholson: The past year was fairly quiet for some of the nominees. Three of the nominated groups — Little Big Town, Zac Brown Band and Lady A — did not release an album during the eligibility period, though Old Dominion released the album Memory Lane, spearheaded by the title track and the Megan Moroney collab “Can’t Break Up Now.” However, ZBB joined Kenny Chesney on his 2024 tour, while Little Big Town revealed a co-headlining tour with Sugarland. New to the category this year is The Red Clay Strays, who earned a breakthrough hit with Hot 100 hit “Wondering Why” and followed with a sterling album Made By These Moments. Still, look for six-time vocal group of the year winners Old Dominion to extend their winning streak here.
Will win: Old Dominion
Vocal duo of the year
Brooks & Dunn
Brothers Osborne
Dan + Shay
Maddie & Tae
The War and Treaty
Newman: It’s the exact same duos competing this year as last year. In the last eight years, the award has gone to reigning champs Brothers Osborne six times and Dan + Shay two times. Brooks & Dunn hold the record for 14 non-consecutive wins spanning 1992-2006. The War & Treaty could score their first win here given the love Nashville feels for them and their immense talent, but we thought that last year. Dan + Shay have had a stellar year with a sold-out arena tour and hits from their album, Bigger Houses, and a holiday album. Feels like time for the pair to follow up its ACM Awards top duo win earlier this year with another CMA.
Will win: Dan + Shay
Nicholson: This year’s category features several previous nominees and winners. Brooks & Dunn, who have won in the category 14 previous times, are again nominated, thanks to their headlining Reboot 2024 tour (the duo also recently released the Reboot II album). Meanwhile, Dan + Shay released Bigger Houses, spearheaded by the single “Save Me The Trouble.” Brothers Osborne released “Break Mine” and issued a self-titled album, while The War and Treaty issued “Called Me By Your Name” and made several high-profile appearances this year. Maddie & Tae released “Heart They Didn’t Break” ahead of their 2024 EP What a Woman Can Do. Look for Dan + Shay to return to the winner’s circle here.
Will win: Dan + Shay
New artist of the year
Megan Moroney
Shaboozey
Nate Smith
Mitchell Tenpenny
Zach Top
Bailey Zimmerman
Newman: No offense to Mitchell Tenpenny, but given that he’s been having hits since 2018, it seems odd that he was nominated this year. Zimmerman should have been nominated last year but wasn’t. Zach Top is breaking through now and his star is shining brightly, but he hasn’t had the kind of year that Moroney, Shaboozey or Smith have, in part because he started later. Artists can be nominated twice for this award, and Moroney repeats her nomination from last year. It’s a solid crop of artists — and the category is loaded with acts that seem like they have long futures ahead of them. It’s a bit of a coin toss between Moroney, Smith and Shaboozey and it’s hard to bet against someone who dominated this summer’s country and pop charts like Shaboozey, but it feels like Moroney has the wind at her back.
Will win: Megan Moroney
Nicholson: Several of the artists nominated for new artist of the year reached new heights this year. Shaboozey scored a massive hit on several charts including 18 weeks (and counting) atop the Hot 100 with “A Bar Song (Tipsy).” Megan Moroney notched multiple Hot 100 hits, including “No Caller ID” and “Am I Okay?,” while Zach Top has garnered considerable buzz since releasing his debut country album Cold Beer & Country Music earlier this year, and has two songs on the Country Airplay chart at present. Nate Smith earned a multi-week No. 1 with “World on Fire,” and followed with another hit “Bulletproof.” Meanwhile, Tenpenny released his new album, The 3rd, in September. Zimmerman earned a No. 1 Country Airplay hit with “Where It Ends,” and had opening slots on tours for Wallen, Luke Bryan and Kane Brown. Still, Shaboozey’s cross-genre hit is tough to deny here.
Will win: Shaboozey
Album of the year
Award goes to artist, producer(s) and mix engineer(s)
Deeper Well – Kacey Musgraves; Producers: Ian Fitchuk, Kacey Musgraves, Daniel Tashian; Mix Engineers: Shawn Everett, Konrad Snyder
Fathers & Sons – Luke Combs; Producers: Luke Combs, Chip Matthews, Jonathan Singleton; Mix Engineer: Chip Matthews
Higher – Chris Stapleton; Producers: Dave Cobb, Chris Stapleton, Morgane Stapleton; Mix Engineer: Vance Powell
Leather – Cody Johnson; Producer: Trent Willmon; Mix Engineer: Jack Clarke
Whitsitt Chapel – Jelly Roll; Producers: Andrew Baylis, Brock Berryhill, Zach Crowell, Jesse Frasure, David Garcia, Kevin “Thrasher” Gruft, Austin Nivarel, David Ray Stevens; Mix Engineers: Jeff Braun, Jim Cooley
Newman: Last year, Wilson’s Bell Bottom Country won, but her follow-up, Whirlwind, won’t be eligible until next year because of the qualifying dates (July 1, 2023-June 30, 2024). Those dates are somewhat flexible and adjusted for when an album had its greatest impact — which is how Whitsitt Chapel, which came out June 2, 2023, finds itself here. Musgraves, Combs and Stapleton have all won before, and every solo album released by Stapleton has received a nomination, so it’s impossible to bet against him. But I’m going to anyway: An album like Whitsitt Chapel doesn’t come along very often, and it is only going to grow in importance as time passes. An album about salvation and redemption with bonafide radio hits like “Need a Favor” and “Save Me,” Whitsitt Chapel changed the tenor of country radio.
Will win: Whitsitt Chapel
Nicholson: Musgraves’ Deeper Well and Stapleton’s Higher are both up for Grammy best country album nominations as well the CMA album of the year honor, further heightening their credentials here. Combs crafted his familial-focused project Fathers & Sons to great acclaim, while Johnson’s Leather included hits including “Dirt Cheap” and “The Painter,” both of which are up for song of the year. Jelly Roll’s breakthrough album Whitsitt Chapel launched multiple hits for the Tennessee native, including “Halfway to Hell” and “Need a Favor.” Musgraves, Stapleton and Combs have all won in the category, but look for awards-show favorite Stapleton to take home the win.
Will win: Higher
Single of the year
Award goes to artist(s), producer(s) and mix engineer(s)
“A Bar Song (Tipsy)” – Shaboozey; Producers: Sean Cook, Nevin Sastry; Mix Engineer: Raul Lopez
“Dirt Cheap” – Cody Johnson; Producer: Trent Willmon; Mix Engineer: Jack Clarke
“I Had Some Help” – Post Malone (Feat. Morgan Wallen); Producers: Louis Bell, Charlie Handsome, Hoskins; Mix Engineer: Ryan Gore
“Watermelon Moonshine” – Lainey Wilson; Producer: Jay Joyce; Mix Engineers: Jason Hall, Jay Joyce
“White Horse” – Chris Stapleton; Producers: Dave Cobb, Chris Stapleton, Morgane Stapleton; Mix Engineer: Vance Powell
Newman: After Wallen’s “Last Night” wasn’t nominated last year despite spending 16 weeks at No. 1, it feels like his and Post Malone’s insanely catchy “I Had Some Help,” which was Billboard’s Song of the Summer, will take the prize here. But “A Bar Song (Tipsy)” has insinuated its way into listeners’ hearts and set the record for the most weeks at No. 1 on the Billboard Hot 100 for an artist with no accompanying acts at 17 weeks. Some voters may want to go more traditional Nashville, and could go for Stapleton or Johnson, both of whom have won before — but we think we’re going to be raising a glass to Post Malone and Wallen.
Will win: “I Had Some Help”
Nicholson: The single of the year nominees for 2024 are an array of sounds, from pop-entrenched smashes, blistering country-rock tracks and staunchly country entries. All five nominated singles connected with fans this year, but the double star power of Post Malone and Morgan Wallen could be enough to earn the win.
Will win: “I Had Some Help”
Song of the year
Award goes to songwriter(s)
“Burn It Down”; Songwriters: Hillary Lindsey, Parker McCollum, Lori McKenna, Liz Rose
“Dirt Cheap”; Songwriter: Josh Phillips
“I Had Some Help”; Songwriters: Louis Bell, Ashley Gorley, Charlie Handsome, Hoskins, Austin Post, Ernest Keith Smith, Morgan Wallen, Chandler Paul Walters
“The Painter”; Songwriters: Benjy Davis, Kat Higgins, Ryan Larkins
“White Horse”; Songwriters: Chris Stapleton, Dan Wilson
Newman: These are all strong selections, and all reached the top 10 on Billboard’s Country Airplay chart. Though this is a songwriter’s award, credit to Cody Johnson for having an unerring song sense with both “Dirt Cheap” and “The Painter.” “I Had Some Help” is a bit of an outlier here, given its bouncy, lightweight nature, which contrasts with the more serious nature of the other songs. That — and the fact that it was an enduring crossover smash — may play in its favor, but we like it more for single of the year than song. The intensity of “Burn It Down” and “White Horse” still hit every time we hear either, and a great song should continue to wear well. A very slight nod here to “White Horse” and its driving, western swagger.
Will win: “White Horse”
Nicholson: Cody Johnson seems to be a songwriter’s not-so-secret weapon in this category, as two Johnson-recorded songs made the final nominees: “Dirt Cheap,” a solo write from Josh Phillips, and “The Painter,” written by Benjy Davis, Ryan Larkins and Kat Higgins. The song of the year category generally goes to songs with detailed storylines and/or heartfelt sentiments, and while this year’s nominated songs ranged from rock-fueled heartbreakers (“White Horse,” “Burn It Down”) to smash radio hits (“I Had Some Help”), the sentimental fan-favorite “Dirt Cheap” could take home the win.
Will win: “Dirt Cheap”
Shaboozey’s “A Bar Song (Tipsy)” adds an 18th week at No. 1 on the Billboard Hot 100. Over the chart’s 66-year history, the song is now one week away from potentially tying for the longest reign, held by Lil Nas X’s “Old Town Road” (featuring Billy Ray Cyrus), which dominated for 19 weeks in 2019. […]
Between the ten-year anniversary of Tyler, The Creator‘s Camp Flog Gnaw festival and Netflix’s announcement that Beyoncé would headline the Christmas Day NFL halftime show in Houston, this was a prime week for those who love the medium of live performance.
Featuring performances from the likes of SZA and Doechii, a shade-throwing DJ set from Mustard and fiery renditions of nearly every song from his Billboard 200-topping Chromakopia LP, Tyler enjoyed a much-deserved victory lap at Dodger Stadium in Los Angeles on Saturday (Nov. 16). Over in Las Vegas, another Billboard chart-topping rap superstar was headlining a festival. Travis Scott played ComplexCon on Sunday night (Nov. 19), which birthed Netflix’s announcement that he would provide new music as the theme song for RAW’s new era on the streamer. Of course, Netflix then one-upped itself with the announcement of Beyoncé’s forthcoming halftime performance, which is expected to feature the live debut of tracks from her historic 11-time Grammy-nominated Cowboy Carter album.
Although live performances dominated the news cycle, new albums from FLO (Access All Areas), Cordae (The Crossroads), Maxo Kream (Personification), Young Nudy (Sli’merre 2), Kash Doll (The Last Doll) and Mary J. Blige (Gratitude) kept the worlds of hip-hop and R&B well-fed.
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With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Destin Conrad’s soul-baring “Nosebleed” to Cordae and Ye’s latest team-up. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Destin Conrad, “Nosebleed”
Destin Conrad kicked off 2024 with his Submissive2 project, and now he’s closing out the year with a new single titled “Nosebleed.” Co-produced by Louie Lastic & Astyn Turr, “Nosebleed” finds Destin crooning of the innately conflicting feeling of being perceived amid love completely overtaking your every thought. “It happens all the timе, your world and mine collide/ And the memory of you stays on my skin/ It doesn’t fade, it gets stronger than it seems/ Creeps into my bloodstream, please, don’t look at me,” he coos over little more than dry, acoustic guitar, his voice taking on the slightly hoarse feel of a person recovering from a fit of tears. Concealing emotions is a deceptively difficult thing to do, and Destin beautifully captures the moments of bargaining when the mask begins to slip. — KYLE DENIS
070 Shake & Courtney Love, “Song to the Siren”
Who expected Courtney Love to pop up on 070 Shake’s Petrichor album? If anyone answered yes then it’s time to play the lottery. Shake and Love pay homage to Tim Buckley with a dark cover of his oft-revisited 1970 classic “Song to the Siren.” The intoxicating collab with the Hole lead vocalist came as a pleasant surprise on the LP, as listeners are left floating to space while simultaneously feeling paralyzed and sinking to the depths of the ocean. “Here I am, here I am/ Waiting to hold you,” Love sings to close out the woozy cover. — MICHAEL SAPONARA
FLO, “Soft”
AAA, British girl group FLO’s debut studio album, has been many years in the making, and tracks like “Soft” prove that sometimes taking your time really does yield stronger results. Under the soulful rule of R&B architects Camper and MNEK, “Soft” finds the trio capturing the ’90s R&B-informed sultriness they spend most of their debut chasing. Airtight, melismatic harmonies smartly contrast with raunchy lyrics like, “‘Bout to make a movie, Spike Lee/ Try me, it’s godly/ That’s why you wanna be inside me.” Titillating start-stop production, rousing string arrangements and sexy snaps and guitar all combine for one of the best R&B deep cuts of the year. — K.D.
Cordae & Ye, “No Bad News”
The Crossroads is all about Cordae pushing his pen like it’s a fan’s first time hearing him rap. When the DMV native revealed Kanye West was on a song called “No Bad News,” some thought it would just be a sample of 808s & Heartbreak deep cut “Bad News,” but that wasn’t the case as Ye helmed hook duties on the joyful track. Cordae takes the baton referencing conversations with an incarcerated childhood friend who’s remaining upbeat even with an extensive sentence. He gives a rare glimpse into his family life while gloating about his daughter being “fly” but keeping the humbleness of her tennis superstar mother Naomi Osaka. Cordae has long looked up to West and “No Bad News” checks off another bucket list item for him. — M.S.
Odeal, “Blame U”
“Gorgeous, gorgeous girl, but you ain’t happy/ Channel all them words of affirmation at night/ ‘Cause someone somewhere’s hoping you ain’t happy/ And that’s me,” proclaims Odeal at the very beginning of “Blame U,” the closer from his latest project, Lustropolis. Co-produced with Ezra Skys, “Blame U” combines understated bass, haunting layers of falsetto, subtle synths and Afrobeats-nodding percussion to soundtrack Odeal coming to terms with the helplessness and hopelessness feels in the aftermath of his relationship’s demise. More of a SAD (seasonal affective disorder) anthem than a cuffing season heater, “Blame U” relishes its coldness, making it all the more alluring. — K.D.
Mudbaby Ru, “Button”
Come for Mudbaby Ru and stay for the Brandon Buckingham cameo. The Arkansas rapper is getting sharper with every song he drops as he continues to hone his skill set that feels like a savvy veteran who’s been at this for much longer than he’s been in the game. A warning message pre-empts the ominous clip featuring Ru with his crew brandishing weapons on the block. “I don’t give a f–k if we cousins/ Everybody in that b—h getting hit,” Mudbaby promises in menacing fashion. “Button,” he shouts like an exclamation point, to make certain bars hit harder and the formula works for Ru again within the addicting tune. The Geffen Records rapper is a definite artist to watch in ‘25. — M.S.
After leading her LSU Tigers team to an easy win over the Northwestern State Lady Demons on Friday (Nov. 8), Flau’jae Johnson is facing off a slightly more challenging opponent: an abrupt weather change. She’s just traveled 1400 miles to Brooklyn to shoot a new music video, and despite the weather app prognostications, she wasn’t expecting it to be as cold as it was, so she’s decided to dip inside a small Cumberland Street apartment in between scenes for her new visual — but not before taking picture with a fan who’d spotted her on the street.
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Kicking back in a chair for our interview, I ask why the 21-year-old Roc Nation signee chose to shoot in NYC rather than downtown Baton Rouge. It turns out, she wanted to give props to the inspiration for her song “Master Plan,” a Rakim-sampling cut from the forthcoming deluxe edition of her debut album, Best of Both Worlds.
“I’m paying tribute to what hip-hop started,” she says. “This is just a tribute to all of the people in New York who started it — from DJ Kool Herc to Grandmaster Flash & the Furious 5. I feel like New York is the mecca of hip-hop, so this is where we’re supposed to do it.”
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That rap fundamentalism is part of a discipline that threads her dual paths, as both an All-SEC guard and an aspiring rap star. The latter career began at the intersection of tragedy and inspiration: On May 19, 2003, her father, emerging Savannah, Georgia rap star Camouflage, was shot and killed in front of a local recording studio. It was six months before Flau’jae was born.
“My mama had told me the whole story about my father, and how he died and how he was a rapper,” she remembers. “I just really clung to it, because all I had left of him was his music.” By age eight, she decided she wanted to be a rapper, too, studying her father’s songs before recording her first song, with the help of her uncle.
By age 12, she’d competed on Lifetime’s The Rap Game competition show, flaunting impressive conviction and dexterity for a pre-teen. By the time she ended her high school career, she had also established herself as a hardwood phenom, earning a slot as a McDonald’s All-American after becoming Sprayberry High School’s all-time leading scorer.
Her dominance has continued at LSU, where she won a national championship in 2023. After making it to the Elite Eight last season, she has no plans of falling short again. “I already tasted a national championship, so anything less of it to me is going to be a failure,” she admits.
After the season, she continued her rapping ways, dropping off her debut LP, Both of Best Worlds, before performing at the 2024 ESPY Awards. Two weeks ago, Lil Wayne, who collabed with her on “Big Bag,” brought her out to perform at his Lil Weezyana Fest at the Smoothie King Center. It was the latest in a series of joint level-ups she hopes carries her through the rest of the LSU season, and what should only be the beginning of a lengthy rap career.
On the set of “Master Plan,” Flau’jae discusses with Billboard career beginnings, her father’s influence, her school-ball-rap career balance and more.
Your new single samples Rakim’s “Paid in Full.” Being from Georgia, were you always tapped in with the New York rap scene?
When I was younger, all I did was really listen to my father. So his style was so different. My mom told me he used to listen to all types of artists from people from New York, from the West Coast. He was influenced by ’Pac. So when I knew I really wanted to take rap seriously, I just went to get my research, just like with basketball: You go study the greats. I feel like that’s what you do in music. So I took that approach from basketball. I was like, “Whoever was the greatest, I want to go study them and find out how they did it.” So I just watched so many documentaries and tapped in. My Uncle G told me to study all the greats.
And I found [Rakim], and he’s in my top five forever. I just think as a lyricist, he just was way ahead of his time, even back then. And when I first was in the studio [making “Master Plan”], the first thing I thought when I heard that sample was like, “I’m thinking of a master plan.” So my hook, that’s the first thing I said in the studio. It was like destiny.
You’ve been rapping for a while, but what age specifically did you record your first song?
I was probably like eight. My mama had told me the whole story about my father and how he died and how he was a rapper and stuff like that. And I just really clumped to it. I was like, wow, this is because that’s all I had left of him was his music. So that’s all I used to listen to. So once I figured that out, I was like, yeah, that’s what I want to do. So I started rapping. My uncle kind of got me into it and it was history from there.
What did you guys use to record?
Oh man, just remixes. We would do remixes. I remember that in the little room when I recorded my EP, I performed it, and that’s when I really got my start. On a computer and a little beat-down mic — like a performance mic.
You mentioned listening to your dad growing up. What are your favorite lyrics from him?
A lot of ’em. But the main one is, “It’s too late to save us and we gotta save these kids.” It’s a song called “Ghetto.” That’s just a lyric where it’s just like when you get to a certain age, you realize a lot of the older people, we’re stuck in our ways. It ain’t much that we can do for a 20, 30-year-old. But the kids — they’re so precious and they’re going to create the future and they’re going to innovate and become our leaders. So we gotta try to put them in the best position to change the world because it is kind of over with for us in a sense of our mindset.
Your NIL deal and just overall activity has paid off. You recently bought 20 acres of land. What are your specific plans for it?
That’s more for my business portfolio. But something I’ve been working on for so long is building a resource center in my city of Savannah, Georgia. It’s going to be a sports and music resource center and also with tutoring just for financial literacy. And I’m trying to get all of my brand partners and people involved and create a curriculum for kids so they can go somewhere after school and just have a place to be safe.
Needless to say, you lead a very busy life. How do you balance recording music with schoolwork and ball?
It’s damn near impossible, but it’s like I’m doing the impossible right now. That’s what makes the journey so great because it’s so hard. I was telling my boyfriend the other day — nobody has ever done this before, so there’s no blueprint on how to do it. So I gotta create my own thing that works for me and that’s what I’ve been doing.
I’ve got my own studio in my apartment now — and now, when I create my demos, if I got 10, 12 [songs] lined up, I’ll fly my engineer down there. He’ll come for a week. We’ll package those demos up. Now they’re done and they sound good, because I can only do so much in the studio. I’m not a magician. So it’s like things like that. But the main thing is just keeping basketball the main thing. My performance on my court helps sell my music.
What about on the student end of things? How do you keep up on top of that?
Most of my classes are online. I’ve only got one class that’s in person. It’s an entrepreneurship class, but most of my classes are online, and my professors are usually super cool. I did miss an exam, so I gotta go make that up. But everything is usually online, so I’m cool.
Coach Mulkey is known to be a little strict at times. How’s it been dealing with that and trying to maintain your level of play on the court?
Yeah, she is. But she knows I’m going to take care of my business. So she don’t gotta worry too much about me. It’s just more so this year just about being a leader, because I’m an upperclassman now. So I gotta be able to lead the younger ones. So she’s just on me about being a consistent leader, having energy every day and being ready to lead. She’s like, “I know what you’re going to do, but people feed off your energy.” She knows the rap thing.
Does she have a favorite song from you?
She probably liked the song Lil Wayne said her name. Man, that’s probably it. She was eating that up. She was in the video and all. She really supports everything that I do. That’s why, in return, I make sure I give 110% on the court.
What was more nerve-wracking: performing at the ESPYs and Lil Weezyana or playing in the NCAA National championship game?
I ain’t gon’ lie — both of them. And it’s not even [about playing] in front of the people. When I’m in the game or I’m on the stage, I don’t see people. I only see my fans when I’m like, “They really rapping with me.” But I’m kind of so keyed in what what I’m doing that I’m in a state of tranquility. I’m in this place where nobody could really touch me, but I’m still nervous.
But it’s just like boom, go. As soon as the ball tips off, I ain’t nervous no more. As soon as the music comes on, I ain’t nervous no more. I know what I’m here to do, but that’s because of my preparation. There’s really nothing to be nervous about, just the optics of everything. It’s the same thing; getting ready for a game is just like getting ready for a show.
What level of “success” would mean success for you as a rapper?
I’m trying to be big as Taylor Swift. She changed my mind when I heard she came down to Louisiana and she sold out the Superdome — the Superdome. And then she had the Smoothie King Center just for merch. That’s the level that I want to be. Grammy nominations. That’s where I want to be. Like Drake. Longevity.
So to be clear, you do 100% plan on going to the WNBA and rapping?
For sure. Nobody’s done that yet, so that’s definitely my goal. So I gotta be the first. I’ve been the first to do a lot of things. But doing it on that level, it’s just so respectable. I really just try to learn from the WNBA vets that I talked to about what their skillset looked like, what their training looked like, [and] how they stay sharp. Then, I talk to musicians about [what] their skillset look like, [and] how they stay sharp. Just meshing those together. Best of both worlds.
In WNBA terms — bench player, starter, all-star, All-WNBA, MVP — what level of rapper are you right now?
Right now? I feel like I’m still coming off the bench and I don’t like that. I ain’t never came off the bench in my basketball career, but it’s like music is different. You got to take steps. There’s a million people putting on music every day. So you gotta take steps in building your brand. When I say off the bench, I say I’m coming off the bench to the world because they don’t understand how I can be good at both things. So they don’t really take my music as seriously. But can’t nobody rap with me. So in that regard, I would say All-Star, MVP, line them up, but as far as just my recognition, I feel like I’m still coming off the bench.
Singing an Ariana Grande song with the pop star herself? Imagine a world like that.
Except one lucky fan doesn’t have to — he lived it in real life. In a recent moment captured in a video posted to Grande’s Instagram Story, the “Yes, And?” singer overheard a nearby driver listening to her Thank U, Next fan-favorite “Imagine” on full volume. She then had her car pull up parallel to the fan’s vehicle and rolled down her window to say hi.
“What’s your name? Edwin, nice to meet you!” Grande said after singing along to her own whistle notes for a moment. “I was like, ‘How is this real? Is that me?’ This made my day!”
Edwin — whose filmed POV has also been circulating on social media — replied breathlessly, “Oh my god, I adore you. I can’t believe … I’m this close to you!”
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Afterward, the Grammy winner shared a video taken by someone who was in the car with her and wrote that she’d “made a friend.” “i couldn’t believe my ears !!!!!!” she added. “it was blasting. thank you edwin for making my day. im still crying.”
It’s been a long time since fans got to hear Grande sing even a little bit of “Imagine,” which peaked at No. 21 on the Billboard Hot 100 in 2019. She hasn’t toured since December of that year, when she concluded her global Sweeter trek in support of albums Sweetener and Thank U, Next — both of which topped the Billboard 200.
The Wicked star has since released two more LPs: 2020’s Positions and 2024’s Eternal Sunshine. Though she’s teased that a smaller run of performances may be in the works for the latter project, Grande has also leveled with fans recently about wanting to focus more on acting and musical theater and less on pop star activities going forward.
“I’m always going to make music, I’m always going to go on stage, I’m always going to do pop stuff, I pinky promise,” she said on the Nov. 6 episode of Las Culturistas. “But I don’t think doing it at the rate I’ve been doing it for the past 10 years is where I see the next 10 years … Whatever makes sense, or whatever roles we see fit, or where I could really do a good job or honor the material, I would really love to [act more]. I think it’s a lot better for me.”
Watch Grande and Edwin’s spontaneous meet-and-greet below.