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With RuPaul’s Drag Race bringing back their Rate-a-Queen system for season 17, Billboard decided to rate each of the new queens every week based on their performance. Below, we take a look at the show’s monologue-meets-interpretive dance challenge to see which queens thrived in this challenge. Spoilers ahead for episode 12. Since its debut nearly […]
This week’s collection of new music features a somber new track from Eric Church, who has set his upcoming album, Evangeline Vs. The Machine, for May. Jeannie Seely welcomes Hannah Dasher and Tiera Kennedy for a new collaboration, while Lukas Nelson, Valerie June and Riley Roth offer new music.
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Check out all of these and more in Billboard‘s roundup of the best country, Americana and bluegrass songs of the week below.
Eric Church, “Hands of Time”
Horns, guitars, passionate choral voices and Eric Church’s signature swaggering voice swirl together on this new release written by Church and Scooter Carusoe. The song builds into a punchy, rock-fueled anthem as Church sings of turning to simple pleasures — particularly music — to fend off the impact of the passing decades. “We ain’t as young as we used to be, but young at heart is so easy/ When you let some loud guitars and words and rhymes handle the hands of time,” he sings, giving praise to artists including Kris Kristofferson, Tom Petty and Bob Seger; suitably, the sound of a ticking clock winds down the song. “Hands of Time” is from Church’s upcoming new album, Evangeline Vs. The Machine, out May 2.
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Lukas Nelson, “Ain’t Done”
After parting ways with his longtime band Promise of the Real in 2024, Lukas Nelson transitions into his first solo outing with “Ain’t Done,” from his upcoming debut solo album American Romance, out June 20 on Sony Music Nashville. Written by Nelson and Aaron Raitiere, “Ain’t Done” pulls back on the hard-charging, full-band sound, opting for a more bare-bones sound bolstered by slabs of fiddle. He looks at life’s various shifts with an even-keeled perspective, in a song that seems in some ways to mirror his own current season of musical transition. “There’s a guarantee with every evening sun/ Nothing lasts and God ain’t done,” he sings. Though in a newly solo venture, Nelson’s new music still brims with the insightful songwriting and grizzled voice he’s known for.
Valerie June, “Sweet Things Just For You”
Valerie June previews her upcoming album Owls, Omens and Oracles (out April 11 on Concord Records) with this musical collaboration with Norah Jones (on backing vocals) and producer M. Ward. Breezy and straightforward, this romantic track finds June singing about absorbing the light and positivity from a significant other, and desiring to mirror that love and affection back toward them. Plucked guitar bolsters this sweetly sung piece of sincere affection, which offers a charming glimpse into June’s upcoming project.
Jeannie Seely, Hannah Dasher and Tiera Kennedy, “Who Needs You”
“Miss Country Soul” Jeannie Seely, who has performed more than 5,400 times on the Grand Ole Opry during her 58-year career, teams with a new generation of country artists — Tiera Kennedy and Hannah Dasher — on this twangy post-breakup anthem that feels perfectly suited for a girls’ night out. Written by Seely, “Who Needs You” features the three entertainers musing that 100-proof whiskey, a new romance and some moments of recreational smoking are all preferred alternatives to returning to an ex-lover. Seely’s voice brings in a slice of gritty wisdom, Dasher’s vocal purrs with sweetness, while Dasher offers up both humor and wit. “Who Needs You” is one of a slate of collaborations Seely is releasing, including work with Mae Estes (“Let’s Get Together”) and Madeline Edwards (“Anyone Who Knows What Love is (Will Understand)”).
Riley Roth, “Right Where We Left Off”
After releasing the 2024 TikTok wedding anthem “Give Me Away,” Riley Roth returns with a sentimental new song centered on paying homage to unbreakable friendship. Time and distance can’t chip away at the rock-solid bond these friends have forged over years of supporting each other through heartbreak, life pivots and a host of trials and triumphs. This sweetly sentimental track and churning, bubbly instrumentation fits her soft, conversational voice well. “Right Where We Left Off” was written by Roth with Lauren McLamb and Kyle Schlienger.
“I consider a hit song one that my 3-year-old knows,” Meghan Trainor says. The 31-year-old pop star and mother of two sons, Riley and Barry, says that her first-born has been jamming to Lady Gaga’s “Abracadabra” lately and also loves Billie Eilish and Miley Cyrus. When her own breakout single, “All About That Bass,” reached the top of the Billboard Hot 100 in 2014, she noticed that the song connected with both young children and adults. “So if I get kids involved in my songs as well as adults, I’m like, ‘Oh, that’s a hit,’ ” she says.
A decade removed from “All About That Bass,” a body-positive doo-wop riff that went viral years before TikTok, the former best new artist Grammy Award winner has fashioned a career as a chart stalwart with all-ages appeal. After her first two albums, 2015’s Title and 2016’s Thank You, produced six top 20 hits on the Hot 100 combined, Trainor spent the rest of the decade releasing one-off singles and collaborations, dabbling in film and TV projects and starting a family with her husband, actor Daryl Sabara. She returned to the Hot 100 in 2022 with “Made You Look,” which spawned a widespread dance trend online and peaked at No. 11, and “Criminals,” from her 2024 album, Timeless, reached the chart last year after serving as the theme song to the hit Netflix drama The Perfect Couple.
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Next on the to-do list for Billboard‘s 2025 Women in Music Hitmaker? Two more kids (“There’s so many dudes here — I want a baby girl”) and, maybe, leveraging her music career into a big-screen debut. “I want to be in a rom-com and then write the song for it,” she says. “Who do I have to talk to?”
Join us at Billboard Women in Music 2025 — get your tickets here.
Which of your own hits sticks with you the most?
I love the reactions I get from the audience. There’s nothing harder than when you’re onstage and you’re a songwriter and you’re like, “You don’t know this one?!” And when they do, you see me call out people who know every word. I know “Me Too” is always going to be fun. I know “Lips Are Movin’ ” is always going to be a blast.
BUNDÏ top and bra.
Munachi Osegbu
When you’re in the studio, do you think about what the potential hits will be?
Usually when I’m writing an album, I’ll have one song that’s my favorite and I’ll say, “This is the top girl. This is how I want the entire album to sound like and we need to beat her.” For [the 2022 album] Takin’ It Back, I had “Don’t I Make It Look Easy.” “Made You Look” came after, and every day we just tried to beat it.
Why do you think the TikTok audience loves you so much?
My songs are really hooky. My main thing when I’m trying to write a song is I want you to be able to sing the melody by the second chorus. I think my stuff was just catchy enough that [TikTok users] could use the sound or make a simple dance to it or have fun and show something. I’ve noticed “Made You Look” still being used to sell products. I’m like, “That’s my song!” I still freak out.
Annakiki top, Michael Ngo skirt, Silent Opus jewelry.
Munachi Osegbu
Hearing new artists like Chappell Roan and Sabrina Carpenter, what do you think a hit sounds like now?
I need you to answer this for me, Sir Billboard, because I’m literally about to start my next album. There’s so many open lanes. Chappell and Sabrina are bringing instruments in and beautiful melodies and taking risks. What Doechii is doing — she’s just changing the world through art and [her] talent is thriving. Going into my next album, I’m nervous but also excited because there’s no more rules.
Is there something to be said about writing for yourself versus working with others?
I love learning from others. I always [say], “Please put me in a room with a better tennis player than me so I can learn more about tennis.” And sometimes going into a session with new people is scary. It’s like blind dating. And then you have to go, “Let’s try to create magic together.” My goal on this album is to find as many writers I love that I can collaborate with. I love Daniel Nigro. I want to work with him so bad. If you’re reading this, that’s my dream. And Andrew Watt. Andrew, pick me, choose me, love me. We would do something magical.
Munachi Osegbu
This story appears in the March 22, 2025, issue of Billboard.
For over 14 years, Sway in the Morning with Heather B and Tracy G has remained a singular fixture in popular culture. Hosted by Sway Calloway, Heather B. Gardner and Tracy Garraud, the SiriusXM radio show has broadcast candid interviews with almost all of today’s biggest icons. According to Sway and Heather, who sat down with Billboard for a lengthy interview, the key to this hospitality is keeping an open mind around artistic expression. Whether it be rappers, actors, Olympic athletes or tech giants, the hosts take serious pride in being able to feature people from all walks of life.
This openness stems from both hosts’ experiences as recording artists. Sway released a handful of independent albums throughout the 1990s including, most notably, Concrete Jungle with King Tech, which led to Sway’s first radio gig. Heather B, meanwhile, starred in the debut season of MTV’s The Real World: New York before releasing the albums Takin’ Mine and Eternal Affairs in 1996 and 2002, respectively. Their backgrounds have helped the two hosts understand how important it is for creatives to be able to step into a welcoming space.
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“We have Dr. Ian Smith that comes on the show once a month and talks about ways to better your life, but then you might flip it around and have Robert Glasper come and do a jam session that Rapsody will come and rock on,” Sway tells Billboard. “I’m always an artist. The way we do radio is through artistry. It’s not just the science of radio.”
This underscoring of creative freedom has helped the radio program blossom into a cultural touchstone, with unforgettable moments like Kanye West’s infamous 2013 “How Sway?” interview. Now, Sway and Heather will help bring the show from its New York home over to California, anchoring it in Los Angeles to help spotlight West Coast creatives.
Billboard spoke with Heather and Sway about the show’s history, their move to L.A., and a few of their favorite interviews.
Sway, looking back on your career, what has kept you motivated to stay in radio for this long?
Sway: Curiosity, for one, keeps me here. I’m always curious about up-and-coming talent. Whether it’s comedians, actors, artists, people who work in tech, coders. Having a platform where we can be able to speak their voice and get them heard in places where they normally won’t be heard. For me, that’s phenomenal. The show reaches Canada [and] people call in from the West Indies. We had a caller who was listening from France! I’ve never in all my years had this kind of reach, and with it, we’re able to introduce people to a lot of new things in their lives. So coming to L.A. and being from the West Coast, it’s bringing things full circle.
Why did you guys decide now was the time to move the show out to Los Angeles?
Sway: The L.A. fires to me represented a change — a pivot in the environment. I wanted to help rebuild and expand the cultural scene in L.A, to create a platform for artists from L.A. I’m from the West Coast, I have a home in the valley in Tarzana. I did L.A. radio for 10 years in the ’90s and we were able to do a lot of groundbreaking things with my partner King Tech and the World Famous Wake Up Show. Through that show Eminem was discovered, you know what I mean? Through that show, Wu-Tang Clan was discovered, Nas. A lot of big artists go through mainstream radio because we had a syndicated show on that show. So you fast forward to 2025, it’s the same variables, but now we have a bigger platform with a bigger brand. We have a bigger voice, and more resources to do a similar thing. So we came out here to shake it up.
Heather: I think it was necessary. Sometimes, it’s very hard to explain to other people the feelings that you get. It was just a gut instinct. It’s time to elevate, it’s time to move forward, to do the unexpected. Something that people didn’t see coming.
Can you speak more about how you guys have stayed in sync all these years? What has kept your partnership going so strong?
Heather: Don’t even start! So part of it is, you’re usually supposed to have a working relationship, but on the weekends he forced his way into my home with dinners. Then dinners turned into lunch and dinners and now out in L.A., since we live really close to each other, it’s breakfast, lunch, and dinner. This is bonded by food!
Sway: And, and! On one hand, you have Heather B., who was really the first person from our culture to ever be on a mainstream platform consistently like MTV or Real World. Hip-hop culture hadn’t seen anything like that, our community hadn’t seen anything like that! Meanwhile, we’re already family because of the culture, but now we both got a chance to be on this mainstream platform and because of that it gave us global visibility. We have this all accumulated on this one show, so every day you get such a broad audience that we’re talking to and it allows us to share our experiences. I think Heather B. has one of the most powerful voices in radio. It’s real, it’s transparent, it’s rooted in experience and my voice is as well. So we were able to take our reach that we gained and encapsulate it into this show because of the experience.
With that being said, how are you guys feeling about the state of media right now? With everyone making podcasts and TikToks, how important is that experience when it comes to standing above the noise?
Heather: I think what people underestimate all the time is your story. Why are you trying to tell somebody else’s story? Why are you trying to add on to someone else’s experience? I think because of social media and a lot of things, people are always trying to alter their story and alter their experience [and] feel like it needs to be bigger. Just tell your story! And sometimes know when to shut up. If you don’t have anything else to say, give yourself a breath, step back, and just listen because it may be an opportunity for you to learn. That’s what experience has taught me.
Sway: It also teaches you to embrace change. You might have an actor like Bill Murray come on the show. Now, Bill Murray will come on our show and wonder, “What the heck do they know about me?” And they turn around and realize that our experience that you talked about has filled us with knowledge in areas that most people may not have. We found [Bill Murray] dancing in between breaks because he was having such a good time because we know how to talk about his career and keep him current.
With are some of your favorite interviews from over the years?
Heather: So part of my hustle when I was figuring things out was, I ran a catering business out of my home. I used to cook for Tyler Perry, and a full-circle moment happened on the show when he came in. I told him I used to cook for his place and he remembered the food! In the interim, I had done an independent film, and he saw the independent film. It was called B-Boy Blues. [He] saw the film, forgot that I used to cook for him, and I was the same girl from the Sway in the Morning show. Reached out to the director and said, “I wanna work with this woman.” The director sent it to me and he ended up casting me for a season of Sistas. That was a full-circle moment for me I was just blown away by.
Sway: We had The Rock on the show when he was promoting Black Adam. And I’m sitting here really trying to give him the best journalistic approach to this interview because we got layers to our skill set, right? And somebody like The Rock, you gotta really step it up. I’m trying to bring it, trying to find that thread. I’m being all formal with the guy, and he breaks formality with me! He says, “Sway, man. I gotta thank you. There was a time in the ‘90s when I used to come to the Bay Area and you used to put me on radio when nobody else would. You talked to me and you gave me a break when nobody else would. I’ll never forget that, so it’s great that this moment has come full circle. I am who I am and here you are again, giving me opportunity.” So that’s one of the highlights.
Halle Berry was another one — she came on our show and I had the chance to tell her how she’s been a cultural tentpole for our community over these different eras, and she broke out in tears. So to have Halle Berry be that emotional and make that kind of connection with her doing a radio interview, that became one of my favorite moments. [And] I would say, Chadwick Boseman. When Chadwick came just before his untimely passing to promote Black Panther, nobody really knew what he was going through. The whole cast was there and we made him comfortable enough to have a conversation in that interview, and he too got emotional. When that happens, it’s just confirmation that there’s a real human connection being made that supersedes the headlines or whatever metrics you may grow from that conversation. That’s our prerogative. We try to rise above that. When Will Smith came by with Martin, that was special.
Heather: That was special because, they don’t always get the acknowledgment, but we grew up and idolized both Will and Martin for different reasons. To see these two giants come together and do the Bad Boys franchise. That was a moment for me.
What about some of the more challenging interviews? What have you learned when it comes to handling conflict live on the air?
Sway: It takes two people to make it a conversation. So regardless of where that guest may be, I know where I’m at. So if I don’t participate in a confrontation then it can’t be confrontational. But you learn to take the emotion out of it, [and] don’t take it personally. A lot of people be in front of the camera acting. A lot of people be inauthentic in trying to make a moment. We’ve had a lot of people try to make a moment.
Heather: This is where the partnership of it all comes in. So he usually has to tell me to calm down, so we can even it out. I’m always like, “Say something, Sway!” You know? [laughs] So we learn from each other, and I think a lot of times I have to remember, “What would Sway do?” I don’t think he ever thinks, “What would Heather do?” ‘Cause he knows what I would do.
Sway: I had to stop her from punching a few dudes. I’m not even joking.
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DJ Vlad is shutting down any talk that his platform, VladTV had anything to do with the recent arrests of Bricc Baby, Big U, and other alleged Rolling 60s Neighborhood Crips members caught up in Operation Draw Down.
The major RICO case accuses Big U, real name Eugene Henley, of running a “mafia-like organization” tied to murder, extortion, human trafficking, and more.
With some people trying to connect VladTV to the indictment, Vlad made it clear in a TMZ interview that he ain’t got nothing to do with it. “I think in this particular case, VladTV doesn’t have anything to do with this case,” he said. He explained that while Bricc Baby was a regular on the show and Big U had done an interview years ago, they weren’t talking about anything current or incriminating. “There is no act of anything being talked about in our interviews,” Vlad stated.
For years, people have accused Vlad of setting up his guests by asking incriminating questions that could get them caught up. Some even call him “the feds” for how deep he gets into street politics. But Vlad has always denied those claims, saying he just gives people a platform to tell their stories, and whatever they say is on them.
Still, with Operation Draw Down making headlines, folks are once again debating whether platforms like VladTV help or hurt the culture. While some say media has nothing to do with these indictments, others feel like these interviews put unnecessary attention on street business. Either way, law enforcement clearly had their eyes on Big U and his people for a minute, with or without any interviews.
Showtime has won a ruling dismissing a lawsuit that claimed George & Tammy – a television series about country music legends George Jones and Tammy Wynette – unfairly turned her late husband into “the villain.”
The case, filed last year, alleged that Showtime’s series conveyed a “negative and disparaging portrayal” of the late George Richey, a songwriter and producer to whom Wynette was married for decades after her split from Jones.
But in a decision Tuesday, a federal judge ruled that Richey’s widow (Sheila Slaughter Richey) lacked the grounds to file the case. The show might have been “unflattering” to him, the judge said, but it did not meet the legal requirements for her to sue Showtime for “unjust enrichment.”
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“Normally, a plaintiff who cries unjust enrichment must have actually enriched somebody,” Judge Stephanos Bibas wrote.
In his ruling, the judge said Sheila’s dispute was really with Wynette’s daughter, Georgette Jones, who had licensed her memoir to Showtime as the basis for the series. But he suggested she had instead sued the network because of the potential for a larger judgment.
“Sheila could have sued Georgette for breaking their agreement,” Bibas wrote. “But George & Tammy had been a hit, and Showtime had presumably profited handsomely from Georgette’s breach. So instead of going after Georgette for whatever damages her breach caused, Sheila set out for bigger game.”
Released in December 2022, George & Tammy was well-received by critics — particularly Michael Shannon and Jessica Chastain’s respective portrayals of Jones and Wynette. Both were later nominated for Emmy Awards for their performances.
Sheila filed her case in January 2024, claiming the show had depicted Richey as a “devious husband” who engaged in physical abuse, facilitated Wynette’s drug addiction, and committed “financial and managerial manipulation” of the late country icon.
Accusations about a harmful depiction of a real-world person would typically be filed as a defamation lawsuit, but Sheila didn’t sue Showtime for defamation. And that’s likely because she couldn’t: Under U.S. law, defamation cases can only be filed by living people, not on behalf of the deceased.
Instead, Sheila claimed the show indirectly violated a 2019 legal settlement in which Georgette promised to not make disparaging statements about Richey. Since George & Tammy was based on Georgette’s 2011 memoir about her parents, the lawsuit alleged that Showtime had been unjustly enriched by Georgette’s decision to violate her agreement with Sheila.
In Tuesday’s decision, Judge Bibas rejected that legal workaround. He ruled that Sheila had simply not met the strict requirements to sue the networek for unjust enrichment — saying that Showtime might have profited from the show, but not at Sheila’s expense.
“The crux of Sheila’s claim is that Georgette wronged her by breaching the non-disparagement agreement and Showtime profited from that wrong,” the judge wrote. “But that is not enough for unjust enrichment. Instead, a plaintiff must usually allege that she is the one who enriched the defendant.”
Sheila didn’t hand over any money to the network, Bibas said, or perform any uncompensated services. And he stressed that Showtime had also not violated any of her intellectual property rights, since she did not “own the story that Showtime used.”
“The network’s right to turn George and Tammy’s story into a TV show came from the First Amendment and from buying the rights to dramatize Georgette’s book,” the judge wrote. “So Showtime did not exploit Sheila’s property rights by making the series.”
Though he rejected the current lawsuit, the judge gave Sheila a chance to refile an updated version next month, suggesting that additional evidence might help show that the network facilitated Georgette’s decision to breach her agreement. He gave her until April 18 to file the new complaint against Showtime.
Attorneys for both sides did not immediately return requests for comment on Monday.
Larry Tamblyn, the keyboardist/singer and co-founder of L.A. garage rock band The Standells has died at 82. The news was first announced on Friday by Tamblyn’s nephew Dennis and confirmed by the group’s Facebook page. “Sad news to announce tonight,” the group wrote on Saturday in a message that did not provide any additional information on the cause of death.
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“My uncle Larry Tamblyn passed away today. I have very fond memories of him and his family over the years,” Dennis wrote in the post that appears to have since been deleted. “He lived an incredible life. He was in a band called The Standells, whose hit song ‘Dirty Water’ is still played to this day whenever the Red Sox or the Bruins win a home game. They also played on an episode of The Munsters.”
According to People, the post continued, “A few years ago, The Standells played at Hotel Congress here in Tucson, Ariz., and Larry stayed with me. It was so great to hang out with him and catch up. He was still making music well into his later years. You will be missed, Uncle Larry.”
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The Standells were formed in Los Angeles by Tamblyn — who had a brief solo career in the early 1960s — along with guitarist Tony Valentino, bassist Jody Rich and drummer Benny King. Their debut single, “You’ll Be Mine Someday Gir/ Girl in My Heart” was released in 1963 under the name Larry Tamblyn and the Standels before they signed to the Liberty label and adopting their foreshortened name, with Gary Lane taking Rich’s place and Gary Leeds replacing King; Leeds left a short time later and was replaced by former Mouseketeer Dick Dodd, who also took over as lead vocalist.
The band’s first album, the mostly covers collection In Person at P.J.s, came out in 1964 and the group famously made a cameo on The Munsters sitcom in 1965, where they played the original “Come On and Ringo” and a cover of the Beatles’ “I Want to Hold Your Hand.” Though the group was originally formed by Tamblyn, he did not sing the lead vocals on what is the band’s most enduring hit, 1966’s Billboard Hot 100 No. 11 garage rock classic “Dirty Water.”
“Dirty Water” became the band’s calling card, acting as one of the anchors of both the 1972 Nuggets garage rock compilation as well as a sports anthem for a number of Boston-area professional teams, serving as the victory song at Red Sox, Bruins and Celtics games. The track, anchored by Dodd’s snarly vocals and a metronomic beat, became associated with Boston thanks to lyrics referencing the polluted Charles River, the Boston Strangler and shout outs to the city and its “lovers, muggers and thieves.” The Standells performed the song at Fenway Park during one of the Red Sox’s 2004 World Series games.
The song appeared on the band’s 1966 debut album, Dirty Water, which also featured covers of the Rolling Stones’ “19th Nervous Breakdown” and other originals written by “Dirty Water” producer/songwriter Ed Cobb (The Four Preps).
Though the group never again scored a hit on the level with the lascivious, grungy “Dirty Water” they did land at No. 43 with their follow-up single, “Sometimes Good Guys Don’t Wear White.” A second album, Why Pick on Me – Sometimes Good Guys Don’t Wear White, was released in 1966 while the group’s roster underwent another series of personnel changes before 1967’s The Hot Ones! cover songs album. Dodd — who died in 2013 — left in 1968 to go solo.
The Standells released two more albums, 1967’s Try It and 2013’s Bump, and continued on performing sporadically in the 1980s and 90s with a line-up featuring Tamblyn and a variety of former and new band members.
Tamblyn was not the only A-lister in his family. He was the brother of actor Russ Tamblyn (West Side Story) and uncle of actress Amber Tamblyn (Paint It Black). In addition to his work with the group, Tamblyn released an autobiography, From Squeaky Clean to Dirty Water: My Life with Sixties Garage Rock Trailblazers the Standells, in 2022. Tamblyn was inducted into the California Music Hall of Fame in 2013 by brother Russ.
Listen to “Dirty Water” below.
Basketball player-turned-rapper GELO earns his first No. 1 on a Billboard radio chart as “Tweaker” shoots from No. 3 to rule the Rhythmic Airplay list dated March 29. The track, released on Born to Ball/Def Jam and promoted by REPUBLIC, extends the musical breakthrough season for the rapper, born LiAngelo Ball.
The 26-year-old traveled an unusual route to Billboard’s charts, having first generated attention through with his brothers, Lonzo and LaMelo, for their on-court ability in high school. After graduating, LiAngelo played in international divisions and the NBA’s G-League and Summer League series; his siblings are active players in the NBA.
Back to his current gig – “Tweaker” takes over Rhythmic Airplay as the most-played song on U.S. panel-contributing rhythmic radio stations in the tracking week of March 14-20, according to Luminate. The single enjoyed a 7% increase in plays during the tracking week compared with the week prior. Knoxville, Tenn.’s WKHT-FM registered the most plays in the period, with Honolulu’s KPHW-FM and Greenville, S.C.’s WHZT-FM landing in second and third place, respectively.
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As “Tweaker” rises, GELO wraps, perhaps temporarily, a dominant stretch for Kendrick Lamar at the Rhythmic Airplay summit. Lamar ruled for the last seven weeks through a combination of three songs – “TV Off,” featuring Lefty Gunplay, for four frames, and two SZA collaborations: “Luther” (one week) and “30 for 30” (two weeks).
The debut single for GELO, “Tweaker” began generating attention in late December of 2024 after the rapper previewed a snippet on a livestream hosted by N3on. The single was officially released on Jan. 3 and erupted into a viral sensation, with several rappers praising the track while athletes and sports teams adopted it as a soundtrack for locker room anthems and other celebratory posts across social media. Thanks to the attention, the song clocked 12.4 million official U.S. streams in its first week and debuted at No. 29 on the Billboard Hot 100. (It ranks at No. 62 on the latest published chart, dated March 22).
Elsewhere, “Tweaker” holds at No. 7 on the plays-based Mainstream R&B/Hip-Hop Airplay chart, where it reached a No. 6 best, after a 3% loss in plays for the tracking week. It likewise repeats at its No. 7 peak on the audience-based R&B/Hip-Airplay chart for a third consecutive week, despite slipping to 9.3 million in audience impressions, down 3%.
Meanwhile, GELO’s follow-up single, “Can You Please?,” with GloRilla, is showing favorable momentum as it seeks its first radio charts. Although it remains below the cutoffs for this week’s Rhythmic Airplay and Mainstream R&B/Hip-Hop Airplay, the new cut soars 112% in plays and 75% in plays at the respective formats in the latest tracking week.
All charts dated March 29 will update on Billboard.com on Tuesday, March 25.
Blake Shelton, Eric Church and Lainey Wilson are the first performers to be named for the 2025 Academy of Country Music Awards. Hosted by Reba McEntire, the 60th ACM Awards will stream live exclusively on Prime Video and the Amazon Music channel on Twitch on Thursday, May 8 at 8 p.m. ET / 7 p.m. CT / 5 p.m. PT from the Ford Center at The Star in Frisco, Texas.
Shelton, a five-time ACM Awards co-host, will perform his current hit, the highly apropos “Texas.” The song is currently in the top 20 on both Hot Country Songs and Country Airplay. Shelton is set to release his 13th studio album, For Recreational Use Only, on May 9, the day after the ACM Awards. This will mark Shelton’s first album for BBR Music Group/BMG Nashville, following a long and successful run on Warner Music Nashville. Shelton co-hosted the ACM Awards in 2011-12 with McEntire and from 2013-15 with Luke Bryan.
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Church will perform on the heels of the release of his eighth studio album Evangeline Vs. The Machine, which is due May 2, six days before the show date.
Wilson will perform one year after winning the ACM’s top honor, Entertainer of the Year. Her fifth studio album, Whirlwind, was released in August. It reached No. 3 on Top Country Albums and No. 8 on the Billboard 200, both career highs for the artist.
Nominations for the 60th ACM Awards will be announced on Thursday (March 27). Additional performers, presenters and ACM Awards week will be announced in the coming weeks.
Established in 1966, the ACM Awards is the longest-running country music awards show. The Country Music Association Awards launched the following year. In 2022, the ACM Awards became the first major awards ceremony to exclusively livestream, in collaboration with Prime Video.
The 60th Academy of Country Music Awards is produced by Dick Clark Productions (DCP). Raj Kapoor is executive producer and showrunner, with Patrick Menton as co-executive producer. Damon Whiteside serves as executive producer for the Academy of Country Music, and Jay Penske and Barry Adelman serve as executive producers for DCP. John Saade will also continue to serve as consulting producer for Amazon MGM Studios.
This year’s ACM Awards will celebrate six decades of country music. A limited number of tickets to the show are available for purchase on SeatGeek.
DCP is owned by Penske Media Eldridge, a Penske Media Corporation (PMC) subsidiary and joint venture between PMC and Eldridge. PMC is the parent company of Billboard.
In 2019, Priscilla Renea’s solo career was stalled. She had released an album in 2009, and when it didn’t chart, she had turned to songwriting. Her second album, released in 2018, also failed to make much of an impact. So, Renea decided, a rebrand was in order.
For her new moniker, “I picked Melrose at first. That was terrible, a very short phase,” the 36-year-old recalls with a laugh. “Then I quickly settled on [the word] ‘money’ and went through a few last names like Money Jones, Money Smith. But when I heard the 2 Chainz lyric ‘hair long, money long’ [from 2012’s “I’m Different”], I was like, ‘Whoa. That’s it.’ ”
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Two years later, the artist now known as Muni Long hit the jackpot. Her seductive smash “Hrs and Hrs,” initially featured on her 2021 EP, Public Displays of Affection, went viral on TikTok and became the then-indie artist’s first No. 1 on Billboard’s Hot R&B Songs chart. In February 2022, it peaked at No. 16 on the Billboard Hot 100 — and helped her land a contract with Def Jam Recordings (through her own imprint, then called Supergiant, now rechristened Muni Long Inc.). In September 2022, the hit appeared on her debut set, Public Displays of Affection: The Album, and won the artist her first Grammy Award, for best R&B performance, at the 2023 ceremony. At the 2025 awards, she won the same Grammy trophy for “Made for Me (Live at BET)” — and declared onstage during her acceptance speech, “Please stop calling me Priscilla… It’s Muni Long now!”
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Born and raised in Gifford, Fla., Priscilla Renea Hamilton wrote her first song at age 8; at 21, she signed a contract with Capitol. But when her 2009 debut album, Jukebox, didn’t chart, she pivoted to writing — and amassed a string of impressive co-writing credits for Rihanna (“California King Bed”), Kelly Clarkson (“Love So Soft”), Ariana Grande (“Imagine”) and Pitbull (“Timber”). As Christopher “Tricky” Stewart — the Grammy-winning hit-maker who executive-produced Muni Long’s Grammy-nominated 2024 album, Revenge — puts it: “She’s a professional song assassin.”
Genny romper, Wolford tights.
Joelle Grace Taylor
But even with those songwriting successes, her second album as Priscilla Renea, 2018’s Coloured, also failed to gain traction. “I started writing songs to make money because I bought into the [idea of] ‘Well, if you write enough hits, then you can be an artist,’ ” Muni Long says. “I gave it my all… I did so much free work, got stolen from and taken advantage of so many times, so many bad deals. I’d also been the only Black person in the room writing all these pop songs for years. So I quit to focus on me… keeping these songs for myself.”
After her 2022 breakthrough, Long released “Made for Me” in 2023. Buoyed by a viral TikTok challenge and a remix with idol Mariah Carey, “Made for Me” peaked at No. 8 on Hot R&B/Hip-Hop Songs and No. 20 on the Hot 100. Two Adult R&B chart-toppers, “Make Me Forget” and “Ruined Me,” quickly followed. (All appear on Revenge.)
“She’s real — there’s no facade with her,” Def Jam chairman/CEO Tunji Balogun says. “In an era where things can sometimes feel forced or indirect, Muni is able to take personal experiences and write about them in a way that projects universally onto her fans. She’s just very unfiltered and people appreciate that.”
Dolce & Gabbana dress, On Aura Tout Vu cuffs and earrings.
Joelle Grace Taylor
The artist recently released a new single, “Slow Grind,” that she says is for an upcoming project she’s already working on: “It’s all songs to make love to; I’m a lover girl.” But Billboard’s 2025 Women in Music Rising Star honoree is also taking a moment to enjoy her long-awaited plaudits.
“There are things that you can’t viral your way, relationship your way or accolade your way into,” she says. “This award signifies to me that I’ve reached a place in my transition as an artist from trying and aspiring to now I am doing, I am becoming. And I only have further up to go.”
This story appears in the March 22, 2025, issue of Billboard.