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When Playboi Carti released his long-awaited third album, Music, in the early hours of March 14, it was met with a tidal wave of interest — its songs immediately flooded the daily Spotify and Apple Music streaming charts, and it immediately became Spotify’s most-streamed album in a day in 2025. And the album — his first in nearly five years, since 2020’s Whole Lotta Red — will likely become his second No. 1 on the Billboard 200 when it officially debuts on the chart next week.
It’s been a long time coming, and fans were certainly ready. And Carti has been building anticipation for the release for an extended period, teasing songs on social media, putting up billboards in Los Angeles, dropping singles seemingly at random and debuting new tracks in live performances, including at Rolling Loud earlier this month. That was all according to plan. “It was always kind of teasing and never fully announcing, keeping fans engaged in the mystery until we finally announced the new album was dropping,” says Carti’s manager, Opium Records president/CEO Erin Larsen. And now, with Music poised to become the biggest release of Carti’s career, Larsen has earned the title of Billboard’s Executive of the Week.
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Here, Larsen breaks down some of the strategies behind the rollout of Music, and how the team helped build anticipation for the album. “Carti’s a perfectionist,” Larsen explains. “He wants to take his time building out the music and the world around it and really developing the sound for the album.”
This week, Playboi Carti released his latest album MUSIC, becoming the most-streamed album in a single day in 2025 on Spotify and likely leading to his second No. 1 album on the Billboard 200. What key decisions did you make to help make that happen?
Our pre-release campaign started in 2023 and that was the first time he revealed the “I AM MUSIC” logo alongside the first song release on Instagram. We focused on consistent branding throughout the longer campaign and creating different moments that tied in like the NBA jerseys, “I AM MUSIC” out of home, key press moments, teasing records during live performances, etc. It was always kind of teasing and never fully announcing, keeping fans engaged in the mystery until we finally announced the new album was dropping.
This is Carti’s first album in almost five years. Why the gap in projects, and what effect do you think that extended time between projects had on the anticipation for this eventual release?
Carti’s a perfectionist. He wants to take his time building out the music and the world around it and really developing the sound for the album. The music is a larger representation of his creative vision and I think every project he’s offered something different. He remains at the forefront of conversation when fans are wondering what direction sonically he’ll go with this album and we tried to create moments along the way to bring them into that process.
Playboi Carti photographed by Matthew Salacuse on Aug. 2, 2024 at Seret Studios in Brooklyn.
Carti has been teasing songs from this project in a variety of different ways, releasing videos solely to social media, performing unreleased songs at shows and dropping singles out of nowhere. How has that strategy helped to build towards the eventual release of the project?
This felt like an innovative approach on how to drop music. We didn’t play snippets. We dropped an entire song on YouTube or Instagram and fans tapped into those platforms to hear them because they weren’t available on DSPs. In the process, he built the hype up around the sound of the album, and we were able to see which tracks really resonated with people. The strategy really opened the conversation and made the fans feel like a part of the process.
After such an extended wait, and after a series of billboards that helped sow breadcrumbs, Carti announced the project’s release date the day before it came out. Why did you guys consider that to be the best way to announce it?
The “I AM MUSIC” branding became so integral in the rollout because it was synonymous with an upcoming Carti moment. We built the anticipation and continued to create moments to keep fans captive and engaged throughout the rollout. I think this approach intrigued new fans as well.
How do you build on this momentum moving forward for Carti?
We’re going to continue to drive awareness to the project, build the songs with strategic moments and continue to engage the core fans. His music always resonates well live and brings his vision to life, so touring will be impactful. We’ve got great partners at Interscope and will work with them to expose the music to different audiences, build records at radio, use digital marketing and socials as well as branding opportunities.
What moves the needle for an artist in 2025?
Beyond great music I would say authenticity, building a strong brand and finding a way to organically connect with your audience.
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Adrien Broner, a boxer and former world champion whose career was marred by legal issues, found himself connected to the ongoing matter involving alleged gang leader Eugene “Big U” Henley. In the complaint filed against Big U, Adrien Broner was named in the document and allegedly used trick dice to rob NBA players of $6.5 million in a high-stakes gambling game.
As seen on Total Pro Sports, a user on X highlighted a portion of the federal complaint against Big U that centered on a 2019 dice game and a boxer with the initials “A.B.,” assumed here to be Adrien Broner. The document states that Broner, by way of a cooperating witness, was hosting the high-stakes celebrity dice game where the scheme unfolded.
In a Los Angeles Times report, the cooperating witness alerted authorities about the buy-in dice game that took place in June 2019. Broner and other unnamed individuals were in attendance with known NBA players. Henley became involved because Broner reportedly didn’t “check in” with him and ordered people in his alleged operation to physically harm Broner and return the stolen money from the trick dice.
The witness added that NBA players and other entertainers would need to alert Henley of their visits to make certain no harm would come their way and that any parties or event they attend would be safe to do so. Failure to check in with Henley resulted in retaliation from the alleged “Big U Enterprise.”
The Times added in its reporting that Henley personally confronted Broner after he stole $1.5 million from a current NBA All-Star player and cheated a former NBA All-Star out of $5 million. Authorities oversaw the meeting between Henley and one of Broner’s victims, and in this same meeting, said that he would charge $100,000 to get the money back for the duped NBA players.
Adrien Broner last fought in 2024, losing to Blair Cobbs.
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Ye continues to lean into social media to express himself. He recently shared an unfinished version of his new album Bully online.
As spotted on Complex, Kanye West has taken to X, formerly known as Twitter, to release his newest project. On Wednesday (March 19), he dropped an unfinished version of the album via a black-and-white short film. His son Saint stars in the visual as he is seen beating different Greco-Roman wrestlers with a rubber mallet. Bully features a total of 10 songs with the only guest appearances coming from Playboi Carti & Ty Dolla $ign on “Melrose.”
The leak comes on the heels of a stream of some very disturbing posts by Ye. On Tuesday (March 19), he mocked Jay-Z and Beyoncé’s children’s intelligence in a manner that many found to be despicable. “No like literally and this is why artificial insemination is such a blessing—having r******* children is a choice,” he wrote. After severe backlash he deleted the post but later said he only deleted it to avoid any repercussions from the X platform.
You can listen to Ye’s new album Bully below.
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Source: Frazer Harrison / Getty
Ye continues to lean into social media to express himself. He recently shared an unfinished version of his new album Bully online.
As spotted on Complex, Kanye West has taken to X, formerly known as Twitter, to release his newest project. On Wednesday (March 19), he dropped an unfinished version of the album via a black-and-white short film. His son Saint stars in the visual as he is seen beating different Greco-Roman wrestlers with a rubber mallet. Bully features a total of 10 songs with the only guest appearances coming from Playboi Carti & Ty Dolla $ign on “Melrose.”
The leak comes on the heels of a stream of some very disturbing posts by Ye. On Tuesday (March 19), he mocked Jay-Z and Beyoncé’s children’s intelligence in a manner that many found to be despicable. “No like literally and this is why artificial insemination is such a blessing—having r******* children is a choice,” he wrote. After severe backlash he deleted the post but later said he only deleted it to avoid any repercussions from the X platform.
You can listen to Ye’s new album Bully below.

Jack Harlow and Doja Cat throw a dinner party for the ages in the sultry video for their new single “Just Us.” While their sizzling back-and-forth makes it seems like they can’t see anyone else in the room, the Neal Farmer-directed video makes it clear that if they look around they might just spot Oscar, Grammy and SAG award-winners at every table.
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Sprinkled around the room at the L.A. eatery where the pair trade NSFW lines about how much they need each other, like, right now, are a bearded Matt Damon, a chatty John Mayer, as well as British singer PinkPantheress, DJ Drama, Succession star Nicholas Braun, sports journalist Taylor Rooks and singer Malcolm Todd.
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Fully in his alpha flirt mode, Harlow starts out making eyes at Doja from across the room, trying to rope her in with some subtle come-ons. “I wish it was just in this b–ch/ But they can’t trust us in this b–ch/ ‘Cus I’m trying to buss nuts in this huh/ Let’s keep it on the hush hush in this b–ch,” he raps as Doja casts a dubious eye while rocking a skin-tight, shimmering red latex minidress. “I told her she so pretty/ And she just blushed in this b–ch/ She clutch clutching my huh/ I’m adjusting my huh/ She husky like mush mush in this b–ch,” he adds on the song produced by Hollywood Cole, Tay Keith, Angel Lopez, OjiVolta and Dylan Graham.
Rubbing up on Jack in the bustling kitchen, Doja gives as good as she gets, rapping, “Two hands in my fro/ Staring into my soul/ Leg up on that chair/ Hand on that arm/ Tongue in that throat/ I don’t play with my pen/ Leave it on a good note/ Keep you all on yo toes/ Leave the tv off for this show.”
Harlow has been manifesting this collab for years, admitting in a 2020 Instagram Live that he has long been infatuated with Doja. “I need to talk to you for a second though,” he said during the chat between the two. “People thought we were dating because your man apparently looks like me.” After Doja gave him props for being “great,” Harlow waited until she left to tell his followers, “I’ve had a crush on her for months.”
“Just Us” is the follow-up to Harlow’s previous 2025 single, “Set You Free,” which dropped last month and December’s hater baiting “Tranquility“; Harlow’s most recent album was 2023’s Jackman. Doja Cat teamed up with LISA and Raye in February for the single “Born Again,” with all three taking the stage at the 97th Annual Academy Awards earlier this month for a medley of James Bond classics.
Watch the “Just Us” video below.
Before her 2024 world tour had wrapped up, Tate McRae already had thoughts on how to level up her next live outing. “It’s a lot of back and forth and a lot of just brain dumping,” she says of her scattered ideating process with her creative director, Parker Genoway. “I come with a whole bunch of mood boards and random ideas… You dream as big as you can until you get the budget, then you have to narrow it down.”
Fortunately for McRae, that budget expanded, thanks to a massive first quarter of 2025. The 21-year-old singer’s So Close to What, her most mature and introspective album to date, arrived in February and gave McRae her first No. 1 entry on the Billboard 200, with 177,000 equivalent album units earned — which at the time was the largest debut week for a studio album by a woman artist in five months — according to Luminate.
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The chart-topping debut — along with a dozen Billboard Hot 100 entries from So Close to What and a high-octane performance of top 20 hit “Sports Car” on Saturday Night Live — helped cement McRae’s leap to pop’s A-list. It also set up her Miss Possessive arena tour, which began in Mexico City on March 18 and was followed by a handful of South American dates. She will head to Europe in May and will begin a North American run in Vancouver in August.
McRae pulled from a wide range of influences for her tour themes, including classic dance showcases. “It’s been really fun to dive into old musicals and old TV shows,” she says, “and bring out Fosse references and old Chicago references, and tap into that geeky musical side I think we all have.”
Meanwhile, Genoway — who collaborated with McRae on her Think Later tour and spearheaded her SNL and The Tonight Show Starring Jimmy Fallon performances earlier this year — points to McRae’s “It’s ok I’m ok” music video as an example of the singer’s opposing aesthetics, showcasing the intersection of grungy and glamorous. McRae says, “I’m referencing rap shows, I’m referencing Kendrick [Lamar] shows, Post Malone shows, and then I want to feel like a glam pop girl. It’s finding a cool in-between.”
The new tour includes a “thrust stage” in the shape of a giant T, and there are also cranes involved. “You try to make people walk in and be like, ‘What are we looking at right now?,’ and create your own world in there,” McRae says. Genoway adds that McRae should “feel like she’s in the middle of everything” surrounding the show, which also includes a B-stage and a mix of stage elevations.
As for McRae’s dance skills, “[Her] technical ability is unmatched,” says Genoway, who works as part of Silent House Productions. “Tate levels everyone up who works with her. She’s going to be at rehearsals late at night and so are you. She’s going to work hard and so are you.”
And although McRae is playing her biggest venues to date, her preshow routine has remained consistent. “I always take one Grether’s Pastille and suck on it,” she explains. Prior to a group prayer and a moment of meditation, McRae will warm up her voice by performing the ad-libs to Rihanna’s “B—h Better Have My Money.” “My dancers probably think I’m f–king crazy,” she says with a chuckle.
This story appears in the March 22, 2025, issue of Billboard.
Shakira‘s series of concerts in Mexico as part of her international tour Las Mujeres Ya No Lloran (Women Don’t Cry Anymore) marked her highly anticipated return after a seven-year absence and earned the Colombian superstar several unprecedented records. The tour also set a historic precedent by boosting tourism and generating millions in economic revenue across the three major cities of the country, which has the second-largest economy in Latin America after Brazil.
Among the many achievements La Loba accomplished in Mexico with her seventh and most ambitious international tour, the sale of 645,000 tickets for her 11 scheduled concerts stands out, according to figures from promoter OCESA. Of those tickets, 455,000 were for seven shows at Mexico City’s Estadio GNP Seguros (March 19, 21, 23, 25, 27, 28, and 30), marking the highest number of performances by any artist at this iconic venue (formerly known as Foro Sol), which has hosted stars like Paul McCartney, Coldplay, Taylor Swift, and Metallica.
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Additionally, 90,000 tickets were sold for her two concerts at the Estadio Akron in Guadalajara (March 16 and 17), while another 100,000 corresponded to two dates at the Estadio BBVA in Monterrey (March 12 and 13), where the Mexican leg of her tour kicked off.
Ticketmaster México reports that 2.5 million people visited its website to search for tickets to Shakira’s concerts since the tour was announced in the country last October, according to data provided to Billboard Español. This makes her the most searched act on Ticketmaster over the past year, according to the ticketing company.
“Of the 90,000 tickets sold for Estadio Akron, 37,000 were purchased outside the city, which implies tourism,” Gustavo Staufert, general director of the Guadalajara Visitors and Conventions Office (OFVC, by its acronym in Spanish), told Billboard Español, citing figures from OCESA and Ticketmaster México. “If we talk about double hotel occupancy, we’re looking at 40,000 rooms per night, which would generate around 80 million pesos (approximately $4 million) in direct revenue for hotels, and an estimated tourism revenue of 900 million pesos (approximately $44.4 million).”
The tour supporting Shakira’s album Las Mujeres Ya No Lloran has generated significant buzz in the Mexican destinations it has reached. Mexico City serves as the epicenter of the Latin American leg, where the seven scheduled shows at the Estadio GNP Seguros are expected to generate an estimated economic impact of 5.5 billion pesos (approximately $275 million), according to data from the CDMX Secretariat of Tourism provided to Billboard Español. “That figure only accounts for lodging, restaurants, and nightlife venues; it does not include revenue from ticket sales,” clarified Mexico City’s Tourism Secretary, Alejandra Frausto, in an interview.
In Mexico City, the show by the “Antología” singer is also generating around 20,000 jobs in logistics, security, transportation, and production, benefiting workers across various sectors such as hospitality, restaurants, and airlines, as well as street vendors and small businesses near the venues, noted Frausto.
According to data from Ticketmaster, between 30% and 40% of attendees at Shakira’s concerts in Mexico travel from another state in the country to one of the three cities hosting the shows. A request for information from Billboard Español to the Nuevo León Secretariat of Tourism and the Nuevo León Tourism Development Corporation (Codetur) regarding the economic impact of Shakira’s visit to Monterrey had not been answered at the time of publication.
A world-class show that “is worth it all”
To follow Shakira’s tour across Mexico, “her pack” goes to great lengths. That’s the case of Édgar Lima, a chemical engineer from Mexico City, who will attend all 11 dates his idol is performing in the country. In an interview with the newspaper Reforma, the young fan shared that he spent nearly 80,000 pesos (about $4,000) just on tickets, adding another 12,000 pesos (approximately $600) for transportation and accommodation in Guadalajara and Monterrey.
Experts point out that hosting shows featuring major music stars like the Colombian superstar not only mobilizes her fans but also brings benefits to the local economy and strengthens connectivity between national and international destinations.
The travel company Despegar, a sponsor of the tour, reported a significant increase in interest for flights and accommodations in the three main Mexican cities included in the tour, with an average growth of 43% during the concert dates (March 12 to 30). “Monterrey stood out with a 66% increase in hotel demand,” the company detailed in a statement.
The company added that most travelers to these cities came from Mexico City, Veracruz, Chihuahua, Mérida, and Cancún. Meanwhile, Frausto noted that Mexico City welcomed visitors from across the country, as well as international travelers from the United States, El Salvador, Colombia, and Peru.
A curious fact brought by the Colombian artist’s visit to Mexico was an increase in hotel and lodging reservations in the three Mexican cities hosting *Las Mujeres Ya No Lloran* coming from Las Vegas. “Tourism and music have always been connected, and Shakira’s return to Mexico is a clear example of how major events drive traveler mobility,” said Santiago Elijovich, VP & Country Manager Mexico at Despegar, as quoted in the statement.
Édgar Lima claims that every peso spent on attending Shakira’s 11 concerts in Mexico is worth it. “I believe she puts on a world-class show, and seeing them all makes me think that every investment is worth it and that every peso spent was the best decision I could make.”
SZA has a lot of powerful people in her corner, from Taylor Swift to Kendrick Lamar. While guesting on The Jennifer Hudson Show Friday (March 21), the “Saturn” singer revealed that she and the pop superstar have discussed collaborating as well as opened up about learning from the Compton rapper ahead of their Super Bowl performance and their upcoming Grand National Tour.
The topic of Swift first came up when host Jennifer Hudson pulled up a clip of the “Karma” artist and SZA posing together at the 2025 Grammys. “Every time she walks up to me or approaches me, I’m just like, ‘All right, this is happening, because that’s fully Taylor Swift,’” gushed the R&B hitmaker.
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“I think I mentioned that I would love to write with her and build some things together,” SZA continued. “I love her storytelling. She was open to it. I think she’s awesome. She’s so bossed up.”
SZA then took the chance to name some of her other favorite singer-songwriters who use their music as avenues for storytelling: Gracie Abrams, Lola Young, Doechii, Olivia Rodrigo and Chappell Roan.
The talk-show visit isn’t the first time the “Kill Bill” artist has praised Swift. In early 2023, when the former’s SOS and the latter’s Midnights albums were competing for a No. 1 spot on the Billboard 200, SZA clarified with a post on X that the competition was nothing but friendly, writing, “I don’t have beef w ANYONE especially not Taylor lmao I genuinely loved her album and the writing!”
Two years later, SZA is now gearing up to join Lamar on their joint tour, which kicks off April 19 in Minneapolis. The duo gave the world a taste of what to expect in February during Dot’s Super Bowl Halftime Show performance, which featured the “I Hate U” musician accompanying him on the field at New Orleans’ Caesars Superdome for two songs: “Luther” and “All the Stars.”
Ahead of the joint trek, SZA told Hudson that she’s “really excited to learn” from her longtime collaborator on the road. “I get to pick different tips and watch how he carries himself, how he emotes,” she said. “To watch him perform is to witness something magical.”
“One time he gave me the pointer of pretending to watch myself from above,” she continued. “He sees himself while he’s performing, and it actually changed a lot for me. It was weird, when I was watching myself from afar, I was like, ‘This not what I want to see, I want to see something different. I want to turn up.’ Then I just started, like, invoking a completely different energy and spirit within myself.”
Watch SZA discuss touring with Lamar and wanting to work with Swift below.
When newcomer Hudson Westbrook breaks into the chorus of “House Again,” his first single promoted to country radio, he draws the word “now-ow-ow-ow” across four greasy syllables.
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“It is not,” he allows, “the most normal way to do it.”
In fact, the line wasn’t written that way originally, but stretching the word creates an extra melodic effect and makes it linger, like the woman that the singer can’t get out of his mind. It fits the song’s images nicely, the word hanging around — just like her memory — haunting the hallways where every moment of lonely he “now” experiences seems to last forever.
That “now-ow-ow-ow” twist may be a defining moment in Westbrook’s growth. Just 20 years old, the former Texas Tech student has only been playing guitar for four years and writing songs for two, so he’s still figuring out who he wants to be as an artist and musician. But retooling that one key word in the chorus shows his ability to personalize a piece of music and bring out its central meaning.
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“Hudson likes to sit with songs,” says “House Again” co-writer Neil Medley (“Made for You,” “Hung Up On You”), who has penned about a dozen songs with Westbrook. “What I get back from him that we’ve written is always a little different, but it always falls right into what Hudson does best. I think if he were a video game, he unlocked a skill that day of knowing how to [tap into] his artistry. That was his voice that did that, and he made it so hooky.”
Neither Medley nor co-writer Dan Alley (“Country Song Came On”) knew Westbrook when they wrote with him for the first time on June 4, 2024, at the River House office in Nashville, where all three were signed.
“To be honest,” Alley says, “I had never heard of Hudson.”
Uncertain what to expect, Alley and Medley went through possible topics in a phone call the night before, though it turned out they didn’t need them.
“Hudson came in hot with probably five or six just really solid ideas right off the bat and blew me away,” Alley recalls. “One of them was basically the concept of a girl turning a house into a home. [We were] building a story around that, whether it was going to be positive, whether it was going to be negative.”Medley and Alley had both written songs before using a house-and-home foundation, so they dug in, looking for a different angle they could explore.
“I said, ‘Well, I want to write a song about a home that turned into a house again,’ ” Westbrook says. “They were like, ‘Well, that’s the hook.’ Honestly, I didn’t even know if the idea was writable.”
As Westbrook does routinely, they wrote it in chronological order from the first line.
“You got to set the scene before you sing about the scene,” he reasons.
They started with an image, “This kitchen used to be a dancehall,” that introduced the household theme while incorporating his Lone Star roots. Westbrook leaned emotionally on his parents’ divorce, inserting himself into a situation he had witnessed at age 7. Similarly to George Jones’ “The Grand Tour,” the song proceeded through the house, with nods to the bedroom, the window and the front door, each of them triggering some thought of the woman who no longer resided there. Medley concocted a video in his mind that helped capture the mood.
“I’m walking through these rooms in my head, and I can see what’s missing, what she left behind that used to mean something,” Medley recalls. “Everything we were trying — maybe not ‘Doorbell don’t ring,’ but the porch swing, the kitchen where they’re dancing together — we wanted to, for the most part, try to connect it with them as a couple.”
The lyrics played out primarily as a narration until the end of the second verse, when the singer finally lets loose with “What the hell did you do?” almost like a primal scream.
“It’s the primal ‘I’m screwed,’ ” Westbrook notes. “It’s the first time in the song that you really hear a point of anger.”
The whole process took place with strummed acoustic guitars ringing underneath.
“We kind of let Hudson run with whatever melody was in his head and didn’t try to really get in the way of that,” Alley says. “He’s just a very organic artist, and he loves to sing. He was singing a lot in the room, and everything was just kind of sticking.”
They recorded a very basic work tape; neither Alley nor Medley had a clue that day if Westbrook actually liked “House Again.” Westbrook didn’t know either, though he played with it periodically in the weeks afterward. He slowed it down about 10 beats per minute, and in the new tempo, that “now” lyric at the start of the chorus practically begged to get stretched out.
In September, he cut “House Again” at The Amber Sound, a homey studio in Nashville’s Hermitage neighborhood co-owned by producer Ryan Youmans (Muscadine Bloodline, Luke Grimes). They cast it sonically like Keith Urban’s “Blue Ain’t Your Color,” using bluesy triplets in tandem with a Hammond B-3 and a gritty electric guitar. Youmans revised a major chord near the end of the chorus as a minor one, heightening the self-pity in the text.
A day later, Westbrook returned to River House to do the final vocal with co-producer Lukas Scott (Austin Snell, David J). Scott used the room’s ambient side lighting to give the place a darker atmosphere, and Westbrook sang it like he meant it. The performance had some small quirks — he sings “pillow,” for example, as “pellow” — but those enhanced his authenticity.
“He does have unique little inflections and ways that he sings things, and sometimes, if he tries to change it, I tell him, ‘Don’t,’ ” Scott says. “His voice has so much character in the way that he sings those words.”
They got Kaylin Roberson to sing harmonies, allowing the song to subliminally hint at the woman who’s still inhabiting the singer’s mind, even if she’s no longer in his house.
“When you hear the female vocal and his vocal,” Scott says, “it can almost feel like there’s potentially a girl singing, and thinking the same thing.”
Westbrook thought initially that the song was too personal to appeal to anyone else, but River House vp/GM Zebb Luster suggested he might be overthinking it. The label released “House Again” to digital streaming partners on Oct. 18. It has rolled up more than 45 million streams since on Spotify alone, leading to a deal with Warner Music Nashville, which released it with River House to country radio via PlayMPE on Feb. 24. It debuted at No. 57 on the Country Airplay chart dated March 22. It’s at No. 31 on the multimetric Hot Country Songs list in its 19th charted week, creating a welcome dichotomy in his concerts.
“It did help get some stuff off my chest, and I do enjoy singing it with a fistful of anger every single night,” Westbrook says. “But how do you sing with a fistful of anger if you got 3,000 people singing along? You just can’t help but smile, so it’s been really cool.”
Selena Gomez figured it out five years ago. With Rare, her third solo studio album, the former Disney Channel breakthrough-turned multi hyphenate superstar distilled her skills as a recording artist into a slinky, sumptuous dance-pop record, full of self-empowering lyrics and midtempo earworms that understood precisely how to utilize her singular tone. Gomez earned the […]