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When Ella Langley’s “You Look Like You Love Me” featuring Riley Green hit No. 1 on Billboard’s Country Airplay chart dated Dec. 14, it became the first song by a woman in 2024 to top the tally.
It also achieved the feat in 20 weeks, which is a veritable sprint given how long it can take songs to reach the summit on the slow-moving chart. But there was no denying the sexy track’s catchiness and uniqueness with its spoken-word verses and the chemistry between Langley and Green.
Langley, who is signed to SAWGOD/Columbia Records out of New York and Green, who is signed to Big Machine Label Group’s Nashville Harbor Records & Entertainment imprint, were already on tour together when the idea for the flirty duet came about. Langley and her co-writer, Aaron Raitiere, had written the song as a solo track, but “Ella and Aaron were wondering what it would be like with the male perspective,” says Ryan Dokke, senior vp of Nashville Harbor Records & Entertainment. “She asked [Riley] if he’d be up for writing a verse or two and it turned out to be something pretty special. They debuted it on tour together.” The song is also featured on Langley’s debut album, hungover, which came out in August.
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The song, which the pair performed during the CMA Awards, snagged the Country Music Association Awards trophy for vocal event of the year over such powerhouse contenders as Post Malone and Morgan Wallen’s “I Had Some Help” and Zach Bryan and Kacey Musgraves’ “I Remember Everything.” That recognition helped propel the song from 7-1 on the Country Airplay chart and earned Dokke the title of Billboard’s Executive of the Week.
Here, Dokke, whose team worked the song to country radio, talks about the steps that led to the song’s chart-topping success and what it means for rising stars Langley and Green.
Langley is signed to SAWGOD/Columbia and Green is signed to Big Machine Label Group’s Nashville Harbor. How did you work with Columbia in taking the song to country radio since Langley is the lead artist on the track?
Ella and I first met in 2021, and I knew immediately that I wanted to work with her in some capacity. When the potential opportunity to work with Columbia came into view, [BMLG founder/CEO] Scott Borchetta and [Nashville Harbor president/CEO] Jimmy Harnen immediately jumped in to land the plane. For me, I think having that relationship with Ella and her team as well as having Riley on the track made it easy for our team to dive in and get to work. [Columbia Records executive vp/head of promotion] Peter Gray and the entire Columbia team were fantastic partners. They placed complete confidence in our ability to move the song up the charts and cheered on the Nashville Harbor team the whole way!
The track jumped 7-1 on Country Airplay last Friday: the six-spot leap ties for the third-greatest to the top in the chart’s nearly 35-year history. What specific steps did you take to accomplish such a leap?
Ella and Riley delivering a BIG HIT song was certainly the biggest factor in its success at radio! Our promotion team at Nashville Harbor Records & Entertainment (Andrew Thoen, Liz Santana, Stella Prado) worked really closely with our country radio partners. There were several viral moments along the way that helped the song have more opportunities., The buzz around the CMA Awards win and performance was certainly important, but one of the biggest factors in making this historic leap was Ella herself, putting in the work – especially in the final stretch. She picked up the phone and was on the air talking with stations well into the eleventh hour.
You mention the CMA Awards performance/win and the tour. What other moments helped build momentum?
There were several moments that created a lot of chatter: The performance [opening for Morgan Wallen] at Hyde Park in London, which drew the UK’s biggest country crowd in history, and even when they popped up at Loser’s Bar & Grill in Nashville with Jamey Johnson over the summer. Seeing the passion for this song following those performances was what drove the demand for it at radio and it just continued to grow from there. They performed it on the TODAY Show, The Tonight Show with Jimmy Fallon and the CMA Awards and each time we saw the numbers spike.
“You Look Like You Love Me” is the first song performed/co-performed by a woman to reach No. 1 on Billboard’s Country Airplay chart in 2024. Langley ends the longest break – 51 weeks – between women (including groups with prominent female vocals) topping the chart since a record 61-week shutout in 2003-04. What does that say about the difficulty women are still facing?
Honestly, I was surprised that Ella was the first of the year. With women like Carly Pearce, Lainey Wilson, Carrie Underwood, Kelsea Ballerini, Megan Moroney – who just won the CMA Awards’ best new artist and of course, Miranda Lambert who are all making and releasing culture shaping music and are filling arenas – it put me on my heels for a second. I’m optimistic that we’ll see more opportunities in the coming year. Just too much great music for there not to be.
This song includes spoken verses. Did you face any resistance at radio since that is more a throwback to the ‘60s and ‘70s? Did you think about releasing a version without the spoken-word parts?
The song started with such red- hot heat and had such undeniable passion from fans on the internet and it was immediately streaming so well, the spoken verses were never really an issue.
Green also has a top 15 hit with “Damn Good Day to Leave.” How are these two songs setting him up to take him to the next level in his career?
Riley is in such a great place and there is so much demand right now. It all comes down to building a connection with fans. These songs might connect to two different audiences, and he wins with both. He is wrapping his biggest year yet and already we can see 2025 being even bigger – with a red- hot album, sold out tours in the U.S. and the U.K., a rabid internet following, and the respect of his peers – Riley Green’s time is definitely here!
Will you have any continued involvement in Langley’s country radio work or was that a one-off because of Green?
I think right now we are still celebrating a BIG WIN. That question will answer itself in time. Regardless, the Nashville Harbor team is proud to have been a part of Ella’s introduction to Country radio and we will continue to be huge fans of Ella and her music. She’ll also be on tour with Riley next year, so we’ll be close by cheering her on either way.
As Billboard Latin Artist on the Rise, Óscar Maydon talks about what convinced him to invest in his music career. Watch the singer reflect on his rising star. Keyword: JohnnieWalkerLMW2024 Óscar Maydon: What’s up, guys? It’s your friend, Óscar Maydon. And I am the Billboard Artist Latin… What’s up, guys? It’s your friend, Óscar Maydon. […]
Taylor Swift is officially 35 years old, and her Eras Tour crew is celebrating her birthday on Friday (Dec. 13). Her fan-favorite backup dancer, Kam Saunders, shared his final Eras “Bejeweled” solo via Instagram, and in the video, he and Swift share an adorable hug before he repeatedly tells the star, “I love you!” In […]
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UFC is heading to “The Big Guava.” Two premiere welterweight fighters are set to go head-to-head in the octagon as the main event for UFC Fight Night. American Colby “Chaos” Covington (17-4-0) faces off against fellow American fighter Joaquin “New Mansa” Buckley (20-6-0) on Saturday, Dec. 14.
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UFC Fight Night: Covington vs. Buckley takes place at Amalie Arena, Tampa in Florida, with a start time of 7 p.m. ET/4 p.m. PT. The main card is expected to begin at 10 p.m. ET/7 p.m. PT.
Want to watch UFC Fight Night: Covington vs. Buckley online? The MMA event is livestreaming on ESPN+ for subscribers only.
If you’re not a subscriber, a monthly subscription to ESPN+ goes for $11.99 per month. However, you can go with an ESPN+ annual subscription for $119.99 per year. This saves you 15% compared to the month-to-month subscription price for 12 months.
Check out the complete UFC Fight Night: Covington vs. Buckley fight card below:
Main Card, 10 p.m. ET/7 p.m. PT, ESPN+/ESPN2
Petr Yan vs. Deiveson Figueiredo (Bantamweight), Main Event
Cub Swanson vs. Billy Quarantillo (Featherweight)
Manel Kape vs. Bruno Gustavo da Silva (Flyweight)
Vitor Petrino vs. Dustin Jacoby (Light Heavyweight)
Adrian Yañez vs. Daniel Marcos (Bantamweight)
Navajo Stirling vs. Tuco Tokkos (Light Heavyweight)
Prelims Card, 7 p.m. ET/4 p.m. PT, ESPN+/ESPN2
Michael Johnson vs. Ottman Azaitar (Lightweight)
Joel Álvarez vs. Drakkar Klose (Lightweight)
Sean Woodson vs. Fernando Padilla (Featherweight)
Miles Johns vs. Felipe Lima (Featherweight)
Miranda Maverick vs. Jamey-Lyn Horth (Women’s Flyweight)
Davey Grant vs. Ramon Taveras (Bantamweight)
Josefine Lindgren Knutsson vs. Piera Rodriguez (Women’s Strawweight)
Subscribers to ESPN+ can livestream the early prelim and prelim portions of UFC Fight Night: Covington vs. Buckley for free. In fact, the prelims and main cards air on cable network ESPN2, so it’s streamable on DirecTV Stream and Fubo, as well as Hulu + Live TV.
Sign up for a five-day free trial from DirecTV Stream and watch UFC Fight Night for free.
In addition, you can get the Disney Trio — which comes with ESPN+, Hulu and Disney+ — starting at just $16.99 per month for both services in one package.
What Is Covington vs. Buckley’s Walkout Music for UFC Fight Night?
While the Ultimate Fighting Championship has yet to announce each fighter’s walkout music for the main event of UFC Fight Night, the fighters usually go out to the octagon to the same songs during their matches. Colby Covington typically walks out to former-WWE pro wrestler Kurt Angle’s theme song, while Joaquin Buckley prefers to walk out to “See Me Now” by Jeleel. So these songs will likely make an appearance during the MMA event.
UFC Fight Night: Covington vs. Buckley is streaming on ESPN+ on Saturday, Dec. 14, starting at 7 p.m. ET/4 p.m. PT. The main card begins around at 10 p.m. ET/7 p.m. PT on ESPN+.
Want more? For more product recommendations, check out our roundups of the best Xbox deals, studio headphones and Nintendo Switch accessories.
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On Dec. 12, stars descended upon Fifth Avenue in New York City for the opening of Kim Kardashian‘s new SKIMS flagship store for her highly acclaimed shapewear brand. Nia Long, Ciara, La La Anthony, and Cardi B were some of the celebs that came out to support the 44-year-old reality TV star’s latest venture — and they brought their best style forward.
The woman of the hour, Kim, shined in an ivory-colored bodycon dress despite having to move about the new store with a scooter due to a broken foot, according to FN. The star’s tight suit featured a strapless zip-up corset that hugged her in all the right places. She paired the look with a wavy banged half-up, half-down, hairstyle, and short PVC heels.
SKIMS Opening
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Since its launch in 2019, SKIMS has skyrocketed to remarkable success. The inclusive shapewear brand, known for offering a wide range of sizes, has expanded its offerings to include loungewear and dresses. In 2021, the company was valued at $4 million, The New York Times noted. SKIMS has also partnered with high-profile brands to further elevate its presence. In November, Kim teamed up with her sister Kourtney for a collaboration with Dolce & Gabbana. The limited-edition collection blended the iconic Italian lifestyle of Dolce & Gabbana with SKIMS’ “signature comfort” and innovative designs, according to a press release.
All The Baddies Who Slayed At The NYC SKIMS Store Opening Event
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1. Cardi B
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Cardi B, 32, stole the spotlight in SKIMS’ leopard print Terry Robe and a matching bodysuit, paired with coordinating shoes. She accessorized with fishnet leggings and a dazzling silver necklace, exuding a perfect blend of class, sex appeal, and elegance. Her look was completed with a chic updo and bangs that elegantly draped over one eye, tying everything together flawlessly.
2. Nia Long
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Nia Long, 54, turned heads at the Skims flagship opening event, donning SKIMS’ skintight cami bodysuit accentuated by a bold statement belt. The actress paired her sizzling outfit with a plush white cropped mink and a sleek, long ponytail, adding an extra touch of glamour to her look.
3. Ciara
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Ciara brought a mix of futurism and grunge to the event, sporting a black long leather coat, matching shorts, and black sunglasses. The 39-year-old singer finished the look with oversized fuzzy boots and radiant dirty blonde hair, sparkling as she mingled with celebrities like Paris Hilton and rising rap star Ice Spice.
4. June Ambrose
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Fashion icon June Ambrose turned heads in the brand’s Milky Sheer Mock Neck Catsuit, paired with her signature statement hat and heels. The 53-year-old designer completed her standout look with a luxurious leopard-print fur coat and black heels, exuding effortless style and sophistication.
5. Coco Jones
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Coco Jones kept her outfit chic and simple in a form-fitting black turtleneck mini dress, using a glossy black fur coat and knee-high boots to ward off the New York chill. The 26-year-old added a touch of elegance with lacy leggings and a mini purse, looking absolutely stunning.
6. Ice Spice
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Rapper Ice Spice brought her bold style to the event, wearing the brand’s Milky Sheer Mock Neck Catsuit paired with SKIMS’ Silk Lace-Up Corset. Her hair was styled in a sleek updo as she braved the cold New York winter without a coat — truly a daredevil moment.
7. Teyana Taylor
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Teyana Taylor channeled a futuristic vibe, resembling a scene straight out of Blade Runner. She wore a striking black leather kimono-style fur jacket with tall black leather boots. Accessories included black gloves with gold nail paint and a layered jewel necklace. Her hair was styled in intricate loops, adding an avant-garde touch to the look.
8. Gayle King
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Gayle King brought vibrant color and flair to the event, stepping out in a stunning red and pink floral trench coat, complete with white fur trim around the collar and wrists. She accessorized with bold red earrings, a red clutch, and crimson red boot heels, making a statement wherever she went.
9. FKA Twigs
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British sensation FKA Twigs, 36, turned heads at the SKIMS opening event in an oversized puffer jacket, braving the NYC cold in sheer stockings and black heels. She accessorized with a spiky purse and rocked a bold wet and shaved mullet, adding her signature edge to the look.
10. La La Anthony
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Media personality La La Anthony dazzled in a grey mini bandeau dress, paired with cozy grey over-the-knee boots and a stylish grey-and-white fur-lined jacket. The 42-year-old star, who is best friends with Kim Kardashian, completed her chic ensemble with striking red hair, glasses, and effortless confidence.
A year ago, SiriusXM launched a new streaming app filled with original and licensed content from its satellite radio service and set the price at $9.99 — far below the roughly $16 average monthly revenue it takes in per satellite subscriber. The hope was that a relatively affordable price and an improved app would help SiriusXM reach younger consumers and expand beyond its core in-car satellite radio listeners.
The new app was “just the beginning,” CEO Jennifer Witz said at the time, adding that SiriusXM would “continue to iterate and develop our product offerings throughout the next year and beyond as we strive to deliver our subscribers the best listening experience on the go, in the car, and wherever they choose to tune in.” The company’s satellite radio business was built on vehicles. If you buy a new or used car, you’ll likely get a free SiriusXM trial that’s extremely effective at convincing people to subscribe once their trial is over. The new streaming app was intended to attract people who would listen outside of the car.
But selling the radio experience in a smartphone app didn’t go well. As it turns out, the streaming app hasn’t produced a good return on marketing spending, Witz said on Tuesday (Dec. 10). Appearing at the UBS Global Media and Communications Conference, the executive cited “slow progress” in turning free trials into long-term retention. As a result, SiriusXM has already cut back its marketing spend on the app and expects to have fewer streaming trials — and thus fewer subscribers — in the future. That was a worse assessment than what Witz delivered on SiriusXM’s Aug. 2 earnings call. At that time, when asked about conversion rates for the app, Witz said they had been “challenged” but maintained positivity, adding that there had been some “positive results” with first-time trial adopters and that the company was “confident” it could attract “a different audience” that will be “incremental” to the existing car-based business.
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Now, after its underwhelming experiment with the app, SiriusXM will, in Witz’s words, be “leaning into our strengths.” In other words, the company is putting its focus back on satellite radio and the in-automobile listening experience. In alignment with that strategy, the company also announced the departure of Joseph Inzerillo, the chief product and technology officer who played an instrumental role in the app’s launch.
For all the strengths of the app — curated stations, celebrity musician stations, a smorgasbord of audio programming — the company gave up its competitive advantage when it tried to compete outside of satellite radio and the automobile. After all, the company is the lone satellite radio operator and, given the cost and complexity of launching satellites into orbit, has the market to itself. But when leaving the safety of satellite, it’s hard to beat Spotify, Apple Music, YouTube and Amazon Music at their own game. These are streaming-native platforms built for consumers’ desire for interactivity, while SiriusXM’s app attempts to fit a one-way satellite radio experience into a two-way, interactive medium. In the end, paid radio turned out to be a tough sell to a generation that has grown up on on-demand streaming.
So, SiriusXM is going to focus on what it does best, and in-car listening gives the company a huge audience to work with. It currently has 33 million subscribers and, according to MusicWatch’s Russ Crupnick, reaches 65 million total listeners. In an email to Billboard, radio consultant Andy Meadows said he believes “SiriusXM is better suited to compete for those coveted in-car listeners so [Tuesday’s announcement] makes sense from that standpoint.” Crupnick also sees in-car listening as a point of strength for SiriusXM, pointing to the uniqueness of the SiriusXM product as a distinct advantage. “The ease of use, breadth of content, and curation position them as far superior to terrestrial radio, and in a different place than music streaming or podcasts,” he says.
Building on in-car satellite listening, the SiriusXM streaming app will become more of a complementary product. “There is real opportunity with 360L,” said Witz on Tuesday, referring to the company’s in-car platform that serves as a dual satellite radio/streaming product. Because 360L includes streaming, it allows SiriusXM to serve personalized — a.k.a. more lucrative — ads and provide more targeted — a.k.a. more expensive — ads for advertisers. Of the app, she said it can provide data that helps SiriusXM determine spends on programming that resonates with listeners, given that satellite receivers are a one-way technology that doesn’t provide granular insights into listening behaviors. Similar to 360L, the app can also provide targeted advertisements.
For customers, bundling satellite and streaming costs as low as $25 per month. That’s about double the cost of an individual Spotify subscription, but SiriusXM subscribers can withstand the price. According to Witz, platinum satellite subscriptions, which cost upward of $29 per month, account for “about a third” of the current subscriber base. And providing the best of satellite and streaming will help SiriusXM compete with a “newer breed of streaming products” on Americans’ car dashes, says Meadows. “Anything SiriusXM, and traditional radio for that matter, can do to look, sound and function better across all devices is in their best interest long term.”
Miley Cyrus is getting her flowers with her song “Beautiful That Way” receiving a 2025 Golden Globe nomination this week — something the pop star humbly reacted to on X Thursday (Dec. 12).
Three days after the star’s contribution to Gia Coppola’s The Last Showgirl soundtrack received a best original song nod Dec. 9, Cyrus shared a recent photo of herself and wrote that it’s “an honor” to be nominated alongside her “friends and collaborators” Andrew Wyatt and Lykee Li, who helped write and produce the track.
She also shouted out the film’s leading lady, Pamela Anderson, who the “Wrecking Ball” singer said is “graciously sharing her moment with us.”
“I am continuing to root for her, it’s so fun to watch her shine,” Cyrus added. “Thank you Gia Coppola for inviting me to be a part of your gem ‘The Last Showgirl.’”
“Beautiful That Way” is up for best original song alongside “Compress / Repress” from Challengers, “El Mal” and “Mi Camino” from Emilia Pérez, “Forbidden Road” from Better Man and “Kiss The Sky” form The Wild Robot. On the same day Golden Globe nominations went live, the Hannah Montana alum released the ballad in full for the first time on YouTube.
“Spin baby spin/ The night always falls/ At least you had your day,” she sings over delicate strings. “Now the light shines on some other girl/ Who’s beautiful that way.”
Released in September, The Last Showgirl finds the Baywatch icon’s character — a showgirl named Shelly — navigating life after her show is abruptly shut down. According to Variety, Cyrus recently gushed about her lifelong connection to the actress, revealing that Anderson is “deeply embedded into my earliest memories with my mother.”
“We both worshipped Pam and still do,” the Grammy winner continued. “I took the emotion I have towards those times with my mom and the few times we’ve gotten to spend with Pam. I thought a lot about what this film means to her not just as an actress but as the special person that she is.”
Following a blockbuster run with 2023’s Endless Summer Vacation — which reached No. 3 on the Billboard 200 and spawned eight-week Billboard Hot 100 No. 1 hit “Flowers” — Cyrus is now working on her next album. In November, she revealed that the LP will be heavily inspired by Pink Floyd’s The Wall, “but with a better wardrobe and more glamorous and filled with pop culture,” she told Harper’s Bazaar.
“It was important for me that every song has these healing sound properties,” she added. “The songs, whether they’re about destruction or heartbreak or death, they’re presented in a way that is beautiful, because the nastiest times of our life do have a point of beauty.”
We’re just a couple weeks away from the end of year, meaning you have very little time left to listen to new music from your favorite queer artists in 2024! Billboard Pride is proud to present the latest edition of Queer Jams of the Week, our roundup of some of the best new music releases from LGBTQ artists.
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From Julien Baker and Torres’ excellent new duet to Shygirl & Yseult’s pounding new track, check out just a few of our favorite releases from this week below:
Julien Baker & Torres, “Sugar in the Tank”
After taking her collaborative powers to the next level as one-third of the beloved rock group Boygenius, solo star Julien Baker is back for another team up, this time with fellow alternative darling Torres’ for a proper country duet. “Sugar in the Tank” sees this match made in heaven crooning over banjos and guitars about all the various situations in which they love their significant others, ranging from the simple (like “sleeping on my dead left arm”) to the melodramatic (“swimming upstream in a flash flood wondering when I’m gonna drown”). The pair’s voices fit together like puzzle pieces, making “Sugar in the Tank” a must-listen for any country music fan out there.
Shygirl feat. Yseult, “F*Me”
If you’re looking for one more weekend out at the club before the holiday season arrives, then breakout electronic star Shygirl is here to help. Her new team up with French R&B singer Yseult “F*Me” is exactly the kind of electrohouse banger that you’ll need to dance your cares away this weekend. Shygirl amps up her already stunning production skills (with an assist from none other than Mura Masa), while Yseult delivers a sultry verse entirely en frances. As Shy insists that you can “have me when you like,” we’d suggest having a listen to this song right now.
Olly Alexander, “Archangel”
Olly Alexander has had a big 2024, performing in Eurovision and announcing the upcoming release of his debut studio album under his own name. So on “Archangel,” the singer is taking a moment to reflect. The moody, synth-driven new track follows Alexander as he remembers a life-affirming night with a lover who reminded him that he can “say whatever you want whenever you want.” The sound here is a nice switch-up, with Alexander pulling back the turbopop of his past few releases for something more intimate — “Archangel” immediately stands out as another excellent addition in the singer’s discography.
Tokischa feat. Nathy Peluso, “De Maravisha”
Sparks are flying on this stunning new collaboration between dembow star Tokischa and singer-songwriter extraordinaire Nathy Peluso. “De Maravisha” — a rough translation to “wonderfully well” — sees two icons gassing themselves up over a sweltering reggaeton beat, while both of them flex their incredible rap skills. There’s a lot of excellent bars to pick from here, but a personal fave arrives at the end of the song’s second verse as Tokischa details a steamy encounter in a bathroom with phenomenal flow.
Blond:Ish & Night Tales, “Shout It Out”
In these cold winter months, we all find ourselves yearning for the return of summertime — and now, rising DJ Blond:Ish is here to help with “Shout It Out.” The track sees the Canadian producer crafting a bubbling-under groove, with a sweltering rhythm section and a few horn blasts to create that late-night summer dance party feeling, while her special guests Night Tales offer chilled-out vocals over the top of the track. Even if you’re just in need of some good vibes this weekend, look no further than “Shout It Out.”
Check out all of our picks below on Billboard’s Queer Jams of the Week playlist:
What a year it’s been for the music business. With 2024 drawing to a swift close, Billboard put together a series of year-end stories running down the biggest developments in the worlds of record labels, publishing companies, live music, music law, radio, AI and sustainability over the past 12 months. And we certainly weren’t lacking […]
Less than 12 months ago, Hudson Westbrook was attending school and making a living breaking cattle in his native Texas, with plans to join his family working in the oil and gas industry. Instead, he’s released a self-titled debut EP, has a slate of hit streaming songs to his credit — including “5 to 9” and “House Again” — and has swiftly added his name to a growing crop of new artists forging their music on traditional country sounds and timeless songwriting.
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“It’s been crazy,” Westbrook tells Billboard of his whirlwind year. “It’s gone way better than I expected, and I’d be happy if we had even half of the success we’ve had so far.”
Growing up in Stephenville, Westbrook’s life revolved around sports and farm life. He was part of a state championship-winning high school football team. He also worked with cattle and was involved with Future Farmers of America, serving as a chapter president for 75 schools.
He began playing guitar in 2020 and wrote his first song after enrolling at Texas Tech last year. In April Westbrook released his breakthrough song “Take It Slow,” which has earned over 10 million Spotify streams. Soon after he released his first video, Hudson says various music executives began reaching out, so he sought advice from a fellow Texan and musician, Grant Gilbert, who pointed him toward the Warner Music Nashville-distributed River House Artists.
“He was like, ‘These are the best people I can guide you towards,’ and then I talked to a booking agent and they said the same thing — ‘I trust them. I’ve seen it firsthand.’” Westbrook says.
Now with River House, and managed by River House’s director of creative/A&R Zebb Luster, Westbrook has followed with a steady slate of resonant songs over the past several months, including “Dopamine,” the romantic “5 to 9” (11.5 million Spotify streams since its August release) and the sobering “House Again” (over 14 million Spotify streams since its October release). In the process, he’s seen his Spotify followers swell to more than 2.6 million monthly listeners.
“When I started writing, I really was pushing myself to get outside of my comfort zone and find who I am as an artist,” Westbrook says. “When we released ‘5 to 9,’ I was like, ‘This is real; I think this can work.’ I feel like that’s a major reason why this is working right now, is because I’m writing about stuff that I’m experiencing firsthand.”
Westbrook’s “House Again” reached No. 14 on Billboard‘s Hot Country Songs chart. In November came his seven-song, self-titled project, which reached No. 46 on Top Country Albums, while Westbrook rose to No. 25 on Emerging Artists. According to Luminate, Westbrook’s catalog has earned 79.6 million official on-demand U.S. streams.
Those streams have translated to burgeoning concert audiences, and Westbrook says he’s doing his best to connect with as many of his fans as possible.
“We did a free show at Billy Bob’s in Fort Worth and a thousand people showed up,” he recalls. “The merch line was four hours long, and I sat there and signed all those. Then, we went to open for Midland [in September] and the merch line was still going by the middle of their set.”
Westbrook seems poised to continue his ascendant trajectory in 2025. January will see the launch of his own headlining tour, while he will also play several country festivals in the summer. He also has his sights set on releasing a full album.
Westbrook, Billboard’s Country Rookie of the Month for December, opened up about his career journey, songwriting, and his favorite music.
What is the story behind “House Again”?
We came up with the hook and I was like, “What if this was about my parents’ divorce?” and we wrote about just little things that I experienced as a child, watching as my parents got divorced. I used to live in the country with tons of land around our house, then I had to move to a golf course [community] with like point zero of an acre around it. It was a big change. I feel like it was expressing my frustration as a kid, watching that happen and not being able to control any of it or figure out why it’s not working.
You worked with several top songwriters on your EP, including Marv Green. What was it like writing songs for this project?
It was great. I was very nervous. You’re a new artist, your whole life just changed. These people have been doing this for years and have written number ones and you’re like, “Screw me. I’m going into this room and anything I say is going to sound dumb.” I feel like the day we wrote “House Again” was the first day that really opened up, like “This was my idea. This was my experience.” I realized I have to make sure I speak up about my experiences, and that I’m writing about something that I experienced because I relate to that best and I can write towards that best.
Who would you like to write or record with?
I think Randy Montana is my dream [co-writer], and Dean Dillon. I love all the older dudes that have created country into what it is today. And then I think for collabs, Megan Moroney would be really cool, and Parker McCollum or Ella Langley.
What is a song you wish you had written?
“Like a Cowboy” by Parker McCollum, written by Chris Stapleton and Al Anderson.
What is your desert island album?
Benson Boone’s Fireworks & Rollerblades.
What is your take on the current state of country music?
I think everything new is going to go back to old. I think people are leaning toward sounds like Merle Haggard and Tracy Lawrence. I think we’re seeing that firsthand with Zach Top. People are leaning towards those older sounds.
What television show are you watching right now?
I started watching Landman on Paramount Plus. It’s a movie about what I would be doing if I wasn’t doing music. I watch it and I’m like, “Dude, there’s still something there.” I still would love to do that one day. I’ve never watched Yellowstone, but Landman right now is my stuff.
What is a holiday memory that stands out to you?
I think a Christmas memory that stood out to me is [from] three Christmases ago, when my grandpa was about to pass away. He sat all of us down and told us that he was going to pass away, but he prayed and said that everything was going to be okay. He was like, “Don’t worry about me. Y’all keep doing Christmas at my house. Y’all are always welcome to do Christmas here.” It was really sad, but it was really cool to watch him be like, ‘Y’all are still welcome here.”
What does being from Texas mean to you?
I’m always going to stay loyal to Texas. I live in Lubbock. If you live in Nashville — and not hating on anyone that lives [in Nashville] — but it can become a very cycle-based lifestyle. Write at 10, write at 2, play shows on the weekend — I love music, but I find beauty in separating yourself from what you love, so that you love it more once you do it again.