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When “Ain’t No Love in Oklahoma” reached No. 1 on Billboard’s Country Airplay chart, it became Luke Combs’ 18th chart-topper on the tally. But this one was different from its 17 predecessors for the Sony Music Nashville artist. “Oklahoma” was the lead-off single from Atlantic Records’ Twisters soundtrack and his first hit spawned from a movie. Also, as the song spends its second week atop the chart, it brings Combs’ cumulative weeks spent at No. 1 on Country Airplay to 53, making him only the sixth artist in history to have spent more than a year at the summit.
Every one of those 18 No. 1s has been promoted to country radio by Sony Music Nashville senior vp of promotion Lauren Thomas, who oversees promotion for SMN’s RCA and Columbia imprints. And that feat earns the radio veteran, who joined SMN in 2009, the title of Billboard’s Executive of the Week.
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Here, Thomas explains how Sony Nashville and Atlantic worked together to promote both the song and the movie, how Combs’ previous No. 1, his remake of Tracy Chapman’s “Fast Car,” paved the way for a broader audience and how Combs integrated the song into his sold-out summer stadium tour. “Honestly, [‘Oklahoma’] is a Luke Combs song through and through and perfect for the live stage,” Thomas tells Billboard. “Luke did the perfect job of writing something for this massive film and soundtrack and making sure it was original to him as well.”
“Ain’t No Love in Oklahoma” is No. 1 for the second straight week on Billboard’s Country Airplay chart. What key decisions did you make to help that happen? We are fortunate to have a hit song along with an incredible track record with Luke at country radio. The team’s relationships paired with communication with our partners on our goals — and ultimately their support — drove this one home.
“Ain’t No Love in Oklahoma” is from the Twisters soundtrack, which Atlantic released. How did you and Atlantic work together to take “Oklahoma” to country radio, while also promoting the film? Working with Kevin [Weaver, Atlantic Records president, West Coast] and his team from the beginning was exciting. From the beginning, their team wanted to make some noise. With the teases of the trailer directly [to] moviegoers inside the theaters to the massive music video with Luke and all the film footage, we were given the ball to make this Luke’s next No. 1 single and their team trusted us to do so.
The song leans more into rock than Combs’ songs usually do. Did you receive any initial pushback from radio? Luke has a solid track record and his sound covers a wide range. Tempo from a superstar like Luke was embraced fairly quickly and given a real opportunity with immediate airplay from a world premiere across all chains.
Though written specifically for the soundtrack, what about the song do you think appealed to Combs’ existing fan base and did you work it as if it were a standard Combs’ single release or were there different elements that came into play because of the film?
Honestly, it’s a Luke Combs song through and through and perfect for the live stage. If you’ve never seen a Luke show before, it fits perfectly into his set. Whether a ballad or something more hard-hitting, they love Luke and are here for him and I think Luke did the perfect job of writing something for this massive film and soundtrack and making sure it was original to him as well.
How did you tie in with the success of the movie to help promote the song?
It was all Luke. Luke was on his massive sold out stadium tour at the time of the movie so there was an easy tie-in to have Luke talk about the song as well as what it was like to shoot the music video for such a big blockbuster — which, as Luke explained, was a very different process from a standard music video shoot, most notably having debris flying at him during filming. That, and of course the weekend the movie came out Luke invited Glen Powell and some of the cast up on stage for his shotgunning beer moments.
“Ain’t No Love in Oklahoma” is Combs’ 18th No. 1 on Billboard’s Country Airplay chart. What has been the strategy when taking him to radio in terms of picking singles and working with him and his manager, Chris Kappy? It is very much collaborative with Kappy, Sophia [Sansone] and our respective teams. Luke definitively knows his audience and speaks into the decisions we make — he leans in and always has with both his fans and our partners. It’s wild to think about the days of driving Luke around in a rental car to radio station shows and visits and now Kappy, Sophia and I get on bi-weekly calls to talk through things like multiple sold-out stadium dates. Wild.
Combs’ songs have now spent a cumulative 53 weeks at No. 1 on Country Airplay, making him only the sixth artist to have registered more than a year. Is there one thing you and your team have consistently done when taking Combs to radio that has resulted in such a huge number? It really is the perfect marriage of compelling music and communication to partners. Luke has done an incredible job of consistently delivering music that moves people in a variety of ways. The enthusiasm from Luke and his team is contagious and the Columbia promotion team carries that energy into the promotion of his music and the execution of our goals.
He took his cover of Tracy Chapman’s “Fast Car” to No. 1 in 2023 and that song also received some crossover play on pop formats. How did that increase his audience?
The whole collective team — management, marketing, press, promotion, etc. — came together to push this in front of new audiences. It really wasn’t one thing alone. The song and story behind it were everywhere and people who had never heard of Luke Combs now know who he is.
This might be a really silly example, but I have worked every Luke Combs number one. When “Fast Car” came out, it was the first time my dad spoke to me about Luke Combs’ music. He knew who Luke was but this song and story behind why Luke cut it was familiar and clearly spoke to him. In contrast, same story with my little brother. Working with [senior vp of pop promotion] Brady Bedard and the team at Columbia was a dream and opened the door for both Luke and that song to have another moment with audiences at the different formats.
The song also made history for Tracy Chapman and brought us one of the most memorable Grammy performances to date. They both just looked so happy. I will always be honored to have been a small part of that song.
What did you learn from this rollout that you can use with other songs from soundtracks, and do you think the Twisters’ soundtrack success will lead to more country artists having songs on soundtracks?
I think we always have to be open to different ways to promote music and this song helped our team do that. Having an extra bonus of a song being in a film and as the lead from the soundtrack just helps add the exposure of any song no matter the genre.
Country music is about storytelling so I think music supervisors should certainly pay more attention to the genre to help tell the stories of their films and shows. This soundtrack helped bring the genre to the forefront at a time when country music is shining. I can only hope that the music teams at these film companies realize the power a song can have to really amplify their story.
Young Disney Jr. viewers can now hear their favorite characters on SiriusXM, with the subscription service’s launch of Disney Jr. Radio.
SiriusXM announced Disney Jr. Radio, an exclusive channel themed to the TV network’s shows for the preschool demographic, on Wednesday (Oct. 2). It’s a companion to SiriusXM’s Disney Hits channel.
Playlists on the new Disney Jr. Radio will feature music from familiar shows like Mickey Mouse Clubhouse, Marvel’s Spidey and His Amazing Friends and SuperKitties, as well as speciality programming throughout the day surrounding Disney Jr. content for the younger audience.
Here’s a rundown of the current Disney Jr. Radio programming schedule on SiriusXM, as of Oct. 2:
7-8 a.m. ET: “Mickey Mornings” — hosted by Mickey, of course — will be a parent’s helper in the morning routine of getting dressed, brushing teeth and having breakfast. It also kicks off the day with fun learning songs appropriate for preschoolers.
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12-1 p.m. ET: “Disney Jr. Let’s Play!” is hosted by Disney Jr.’s favorite mermaid, Ariel, and encourages kids to get some midday play and movement in with upbeat, high-energy music.
3-4 p.m. ET: “Disney Jr. Hits,” with Spidey as host, features a mix of popular Disney Jr. songs for kids to sing along to.
6-7 p.m. ET: “Disney Jr. Live on Tour” brings top tunes from the Disney Jr. tour to your speakers, with the help of host Bitsy, from SuperKitties.
1 p.m. ET, 4 p.m. ET, 7 p.m. ET, 10 p.m. ET: Keep those hours in mind if they align with nap or bedtime — or “quiet time,” aka when mom or dad need to rest while their four-year-old fights sleep. “Disney Jr. Lullabies” is all about gentle, soothing versions of Disney Jr. melodies.
Take a look at the Disney Jr. Radio channel on the SiriusXM app to see if it’s a fit for your family.
At the end of 2022, pop singer-songwriter Mark Ambor felt lost in his music career. Despite recently signing a record deal and releasing his debut EP, Hello World, something didn’t feel right.
“I fell into this routine of teasing a song, [and] if it did well, putting it out, but I was feeling like I wasn’t saying anything I really mean,” he remembers. “I wasn’t digging deep or singing about things important to me.”
To clear his mind, Ambor, 26, embarked on a months-long international backpacking trip with his then-girlfriend — and returned feeling grounded with a whole new wave of inspiration for songs. He quickly wrote the whimsical, acoustic “Good to Be” and now refers to it as the first time he was musically “genuine and fully expressing myself.”
Just a few months later, he struck gold: While playing guitar in his bedroom, he wrote the lyrics, “You and me belong together/Like cold iced tea and warmer weather,” which would become the instantly catchy hook to the cozy, uplifting “Belong Together,” his ultimate breakthrough and first Billboard Hot 100 hit.
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Meredith Jenks
Ambor grew up with a musical background in Pleasantville, N.Y., playing the piano from a young age at his parents’ request. Though the skill took a backseat in high school, he rekindled his love for the instrument as he approached graduation, trading the classical pieces he previously learned for modern-day pop songs. He proceeded to pen his first song that summer, as he grappled with the emotions of having to leave his small hometown to attend Fairfield University in Connecticut. “I didn’t want to leave home,” he says, “and I tried to write a song to get those feelings out.”
He then returned to work that night as a barback and casually sent the song to his parents in a group chat. “My mom was like, ‘Dad and I love this song. Who’s the artist?’ ” he recalls with a laugh. “I was like, ‘Mom, what do you mean?’ It’s me!”
Ambor self-released a few songs while obtaining a marketing degree in college, and upon his graduation in 2020, decided to take six months to completely immerse himself in chasing his dreams as a musician before considering a different job. “COVID happened after I said that,” he recalls. “I got to spend time working on music at home.”
Thanks to a suggestion from a friend, he joined TikTok later that year. He steadily began to grow a following with his cool guy next door vibe: People gravitated not only toward his big smile and curly brown hair, but to his voice and disarming demeanor as well. He soon began posting covers — including breathtaking renditions of Coldplay’s “Yellow” and Billie Eilish’s “Happier Than Ever” — as well as a few originals, and ultimately caught the attention of then-independent manager Kyle Thomson, who admits he’s a “sucker” for a great voice over a piano melody and asked Ambor to send a few demos.
“It was so early on in both of our careers,” says Thomson. “I was excited to dive into something that I felt was going to be a fun project to build.” By the end of 2020, Ambor had signed a management deal with Thomson.
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Like Ambor, Thomson knew that some of his artist’s early work wasn’t playing to the singer-songwriter’s strengths. “At the beginning, he told me he wanted to make early 2000s festival, opera-rock music, like Passion Pit or Grouplove,” he says. “I was like, ‘That doesn’t make sense for what I think your qualities are. Why would you take your natural, raspy voice and distort it with synths?’ What he meant [initially] was that he wanted to make music that made him feel the same way that those bands made people feel.”
But after hearing “Belong Together” for the first time, Thomson knew that Ambor had succeeded in his mission. On the heels of his release of “Good to Be” in October 2023 — and its growing popularity on a global scale — Ambor began to tease the forthcoming new track in late December. And following a few months of building hype on TikTok, “Belong Together” arrived on streaming services on Feb. 16.
Ambor continued to stoke the fire well after its release, posting many videos on the platform of him walking the streets of major European cities while on tour and singing its dialed-up final chorus, several of which have compiled more than 10 million views each. Per Thomson, user-generated content and influencer marketing was crucial in making “Belong Together” “as big as humanly possible.”
By May 11, the single debuted at No. 87 on the Hot 100. It later reached a No. 74 high — and has spent 21 weeks and counting on the ranking. It has also reached Nos. 24 and 20 peaks on the Billboard Global Excl. U.S. and Pop Airplay charts, respectively. “Belong Together” has earned 141.6 million official on-demand U.S. streams and 610.2 million official on-demand global streams through Sept. 26, according to Luminate.
“It has been really surreal to write something that is so heartfelt and authentic to myself and then feel it resonate around the world the way it has,” Ambor reflects. “The way a song can mean something to a fan that’s different than my own experience, but it’s their own story that they’ve attached to a song of mine … that part blows my mind.”
Meredith Jenks
In August, Ambor’s debut album, Rockwood, arrived through Hundred Days/Virgin Music Group, despite some hesitation from the rest of his team to put out a full project too quickly. (Ambor notes the success of “Belong Together” helped in convincing them otherwise.) He split with the label soon after its release, and while he doesn’t divulge much on specifics, he emphasizes trusting his gut while continuing to grow his career.
“I think people sometimes get too caught in the industry of it all,” he says. “Maybe I’ll sign to a major; maybe I’ll stay independent forever. What really matters is putting out good music and meeting and talking to the fans.”
“He has the best work ethic of anyone I’ve ever met,” adds Thomson. “Mark thinks that he can be Taylor Swift, and I’m not going to stop him.”
A version of this story appears in the Oct. 5, 2024, issue of Billboard.
SiriusXM’s stock rose 2.6% on Tuesday (Sept. 10), the first full day of trading since it merged with Liberty Media’s tracking stock to create a single, streamlined public stock. SiriusXM said last December that it would merge its stock with Liberty SiriusXM Holdings to simplify and eliminate confusion around its multiple share classes and create […]
Until Morgan Wallen showed up on country radio, the genre hadn’t spawned a No. 1 hit on Billboard‘s Songs of the Summer chart since John Denver‘s “Annie’s Song” in 1974. But this year, Wallen’s collaboration with Post Malone, “I Had Some Help,” hit No. 1, while Shaboozey‘s “A Bar Song (Tipsy)” took No. 2. That follows last summer, when Wallen’s “Last Night” and Luke Combs‘ cover of Tracy Chapman‘s “Fast Car” topped the chart.
“It feels good to know there’s this much quality coming out of Nashville,” says Steve Stewart, director of country content for broadcast chain Cox Media Group. “There’s a great model that’s already been built and thriving, which is why so many artists from other formats have moved to Nashville.”
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“I Had Some Help” and “A Bar Song” took dramatically different roads to summer dominance. The former involved two megastars, one known for pop and hip-hop, the other a country fixture for years, joining for Post Malone’s long-awaited dip into the genre. The latter seemed to come out of nowhere, from a Nigerian-American singer-songwriter from Virginia who had put out two albums before Beyoncé collaborated with him on “Spaghettii” and “Sweet Honey Buckiin” earlier this year. Black artists have historically struggled to break into country music, but Shaboozey, who records for EMPIRE, a label most known for hip-hop, may have finally cracked the code and positioned himself for longterm commercial success.
“The power of great songs override everything,” says Tim Roberts, vp of programming and format captain for No. 2 broadcast chain Audacy. “Does it open more doors? Why wouldn’t it?” Adds Scott Donato, program director and operations manager at WGTY, a country station in York, Pa.: “He has an opportunity to continue this with multiple singles. I’m looking forward to seeing what he’s got next.”
The advanced chart metrics, in certain ways, suggest “A Bar Song” was even more dominant than the Post Malone-Wallen collaboration. Shaboozey’s smash topped the Hot 100 for eight weeks throughout the summer, while “I Had Some Help” led the list for just six weeks. But not everybody in country radio is convinced “A Bar Song” fits the format, given its interpolation of J-Kwon‘s 2001 hip-hop hit “Tipsy.”
“I don’t think you can argue that Shaboozey song is the biggest song of the summer, in any genre,” says Nate Deaton, general manager of KRTY.com, an online country station in Los Gatos, Calif. “It’s everything a song should be — except country. This whole concept of country evolving into a melting pot, for lack of a better word, of genres, is an interesting phenomenon. I don’t know if it lasts.”
Country radio has never been a format known for diversity or risk. But as radio ratings decline in general during the streaming era, the genre is one of the few retaining reliable listeners and hit-making clout.
“Country absolutely can keep it going,” says Randy Chase, executive vp of programming for Summit Media, a radio chain in Birmingham, Ala., that owns several country stations. “This is all about being aggressive. Country [radio] needs to move faster — I’ve said that for years. The big difference between country and Top 40, adult contemporary and rhythmic is the amount of music the industry is pumping out. It is still a firehose of music, while in the other formats, the faucet is just trickling.”
Last spring, while working with Post Malone on his upcoming country album, the hired studio songwriters took a break. Malone started noodling on guitar. “He’d be playing, like, old B-sides, Toby Keith songs, that nobody knew,” recalls Chase McGill, a Nashville veteran who has written songs for Morgan Wallen, Kenny Chesney and many others. “But he knew everything.”
When Malone’s F-1 Trillion came out in late August, the pop and hip-hop star had an advantage that previous country crossover hopefuls have lacked. He plunged into the country-music business, and into Nashville, working with respected local songwriters (like McGill, Taylor Phillips and James McNair), gigging at key local clubs (Tootsie’s Orchid Lounge and the Bluebird Cafe), collaborating with veterans (he performed with Dwight Yoakam on SiriusXM) and recording duets with other stars (Hank Williams Jr., Dolly Parton, Blake Shelton, Luke Combs and Wallen are on the album).
“That’s the difference when somebody brushes up against the genre vs. someone who immersed themselves into the genre,” says Randy Chase, programming executive vp for Summit Media, the Birmingham, Ala., broadcaster that owns nine country stations. “When people try to cross into country from other genres, a lot of times it’s on their terms, and they want to put their foot into the pool. He went all in, even with the risk that it could hurt him down the road.” Adds Tom Poleman, chief programming officer for top broadcast chain iHeartMedia: “He understands country music. It’s not like he’s just trying to learn how to be a country artist overnight.”
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Post’s duet with Wallen, “I Had Some Help,” debuted at No. 1 on Hot Country Songs and the Hot 100 in late May, scoring 76.4 million streams and, earlier this week, topped Billboard’s Songs of the Summer chart.
Adding “I Had Some Help” to heavy rotation was “a no-brainer,” says Steve Stewart, Cox Media Group’s director of country content. “Morgan continues to be one of the hottest artists on the planet, so that immediately gave us the green light.” Similarly, Summit’s country stations played “I Had Some Help” twice an hour throughout its debut day, then once an hour the next day and repeatedly through the weekend. “I heard the song about two weeks before it came out,” adds Summit’s Chase. “I said, ‘This is a country record that is also going to go pop.’”
Last week, F-1 Trillion landed atop the Billboard 200, Post’s first No. 1 since his pop album Hollywood’s Bleeding in 2019. (The new album also hit No. 1 on Top Country Albums in its debut week.) “There are legitimately 15-plus songs that could be radio singles,” says Scott Donato, program director and operations manager for WGTY, a country station in York, Penn. “It reminds me of late-’90s, early-2000s country. He’s been able to capture every corner of the format.”
Before Post Malone became famous as a hip-hop artist with 2015’s “White Iverson,” he performed at a Dallas-area Italian restaurant where he worked during high school, and later covered songs by Hank Williams and Bob Dylan in videos he posted online. He became an established star who could fill U.S. arenas, then began transitioning to country around 2018.
The marketing teams at Big Loud Records and major label Mercury/Republic Records, already working together on Wallen’s releases, soon began brainstorming Post Malone marketing plans from the conference room at Big Loud headquarters in Nashville. (The two labels are teaming up on radio promotion – Big Loud for country, Mercury for Top 40 and other formats.) “Post ingratiated himself within the creative community — opened up to writers, collaborators and session musicians — that were the throughline of this campaign,” says Patch Culbertson, executive vp and general manager of Big Loud, adding that his company helped make introductions to Parton, Shelton, Williams and others. “They had a great vision from the beginning.”
Big Loud execs persuaded Mercury’s team to start the album’s campaign earlier than planned, so it could set up a splashy CMA Fest appearance, in which Post and Shelton performed “Pour Me a Drink.” “He got the hit on TV, which is a whole different demo from what he was used to serving,” says Candice Watkins, Big Loud’s senior vp of marketing. “He got to meet the industry.”
In April, Post performed at the Stagecoach Festival, where Jordan Pettit, the Grand Ole Opry’s director of artist relations and programming, was in attendance. Pettis later spoke to Alex Coslov, executive vp of Mercury Records, and “there was immediate interest on their behalf to pursue his Opry debut as part of their launch plan,” Pettit recalls.
Post performed at the Opry for the first time in mid-August. “It began to take on the feel that this was not just a pop artist leaning into country music for a moment in time,” Pettit says. Coslov added to Billboard: “Our core strategy was built around showcasing the authenticity of Post’s entry into country music by highlighting his time in Nashville.”
Several country programmers say Post is the type of artist who will be able to toggle between genres, depending on his musical impulses, and may not be absent from Top 40 and hip-hop radio playlists for long after F-1 Trillion. (His first three albums combined for 11 billion to 12 billion on-demand streams apiece, according to Luminate, but he dipped on 2022’s Twelve Carat Toothache, with just 1.88 billion streams.) “This is a guy who went, ‘This is my art, here it is,’” says Tim Roberts, vp of programming and format captain for radio chain Audacy. “Could he make a whole pop album next year? Absolutely.” Post’s tour begins this Sunday in Salt Lake City, and “it really is all country-based,” according to Big Loud’s Watkins, although she expects pop hits, too.
So far, Post’s pop-to-country transition has far surpassed similar moves by Sheryl Crow, Jessica Simpson, Bon Jovi, Aerosmith’s Steven Tyler, or even Beyoncé, whose Cowboy Carter album was a culture-dominating hit earlier this year, but did not stick to country radio formats. “The Beyoncé songs weren’t great country songs; they were great Beyoncé songs,” says Nate Deaton, general manager of online country station KRTY.com in San Jose. “The Sheryl Crow country record was really good, but it didn’t have any hits on it — it didn’t have ‘Pour Me a Drink.’ It didn’t have one of those songs that was a standout runaway smash.’”
Deaton calls Hootie & the Blowfish frontman Darius Rucker’s debut country album, 2008’s Learn to Live, a more apt comparison: “He did the exact same thing that Post Malone did. He went to Nashville and ingratiated himself with Nashville songwriters. Darius got on a bus and went to all these radio stations, even though he was a big star.” For Post Malone, Deaton adds, “It would not surprise me at all to see an ongoing country career, a la Darius.”
When Luminate reported the fastest-growing music genres in the first half of 2024 (through the week of May 30), contemporary Christian music (CCM)/gospel unexpectedly placed in the top five. When analyzing overall consumption — track-equivalent albums, stream-equivalent albums and on-demand audio — the genre grew 8.9%, more than twice the overall industry growth rate of 3.9% for the same period in 2023.
CCM/gospel’s rise is even stronger on Spotify. Representatives for the platform say the genre has grown 30% in the United States and more than 30% globally in the past year. Over the past five years, the genre has grown 50% stateside and 60% globally.
“This past March alone, the Christian and gospel genre had its biggest streaming month on Spotify ever,” says Maritza “Ritz” McCain, Spotify’s senior editor, Christian and gospel.
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McCain also points to CCM/gospel’s global reach, noting that while the United States is the largest market for Christian music, global consumption is expanding in markets that include Brazil, Mexico, South Africa and the Philippines. She also cites promising growth in markets such as India, Indonesia and Germany.
According to Luminate, the top five CCM/gospel acts for 2024’s first half were Elevation Worship, Lauren Daigle, Phil Wickham, Hillsong Worship and Brandon Lake. Elevation Worship’s song “Praise,” featuring Lake, Chris Brown — a different Chris Brown from the “Run It” singer — and Chandler Moore, is the biggest CCM hit of 2024 thus far, having spent 24 weeks atop Billboard’s Hot Christian Songs chart.
Cole Flynn, head of marketing at Elevation Worship Records, attributes “six or seven” different factors that have contributed to the shift. For one, the consumption and promotion of CCM by a new generation of social media-savvy fans on those platforms is attracting new listeners.
“This whole generation has grown up with Spotify and Apple Music, and with the ability to access any kind of music they want to hear at any point in time,” says Leigh Holt of Hsquared Management, which manages Daigle and Riley Clemmons. “The barriers have been broken. There are more people who can say, ‘These are the ways I want to express my faith.’”
According to Luminate Insights, the share of listeners who are millennials and younger grew from 39% of overall genre listenership in 2022 to 45% in 2024. Additionally, the number of hours that CCM/gospel fans spent with music each month increased from 47.9 hours to 56.8 so far in 2024 — a 19% increase.
“Worship music does skew younger, agewise and listenerwise,” Flynn says. “People in their 20s and 30s are listening to Elevation Worship, whereas a typical Christian radio audience might be a little older.” He adds that this evolution has necessitated changes in marketing strategies for Elevation Worship, as it has with other CCM/gospel artists. “We’ve released music a little earlier, teased it out a little earlier, tried to get the music in people’s minds and on their phones earlier and give away a little more of the master content than we would have five years ago.”
Lauren Daigle
Jeremy Cowart
A new crop of young talent — who are also social media natives — includes 29-year-old Forrest Frank, 21-year-old Josiah Queen and 24-year-old Seph Schlueter. Frank’s “Good Day” and Schlueter’s “Counting My Blessings” each reached No. 2 on the Hot Christian Songs chart, with the former making its way into the upper echelons of Spotify’s Viral 50 chart this year. And Queen’s “The Prodigal” was in the top 15 on the Christian Airplay chart. All three are nominees for new artist of the year at the Gospel Music Association’s Dove Awards in October.
Queen’s debut album, also named The Prodigal, and Frank’s Child of God both debuted at No. 1 on the Top Christian Albums chart in July and August, respectively, and the latter ascended to No. 28 on the Billboard 200.
Like artists in other genres, many top sellers in CCM/ gospel make social media key to their marketing plans. Daigle, 32, has over 5 million monthly Spotify listeners, and videos of concert moments, shared on TikTok, earn millions of views. Elevation Worship has over 1.9 million TikTok followers, and one March TikTok post of its hit “Praise” has garnered more than 19 million views. Brandon Lake, 34, who has over 4 million monthly Spotify listeners, has attracted 4.3 million views since posting a TikTok video in July that used his song “That’s Who I Praise.” And Frank racked up over 9 million views with a video that uses his “Good Day.”
“Content is still king,” Holt says. “The artists who are winning are the artists who are the most authentic on social media. Even with Elevation Worship, their content is very ‘man on the street,’ very accessible to everyone. I feel like that has a lot to do with the growth, as well as fans having insight into artists’ lives. Forrest Frank is great on social media, and Josiah Queen is really fun — he kind of teaches a master class a bit on that. They’ve figured out social media in a very organic way.”
Unlike most genres, CCM/gospel is built around a central message rather than a particular sound, allowing for a greater range of musical styles, including the pop of for King & Country and Frank; Queen’s rustic, singer-songwriter style; Tauren Wells’ pop/R&B vibe; and Lecrae’s rap.
“The expansion of what Christian and gospel music sounds like has helped grow the listenership and, in turn, the consumption of the genre,” McCain says. “Artists like Lauren Daigle, NF and Montell Fish started with a Christian listener base and have grown to see success in broader audiences.” She adds that the inclusion of Christian/gospel artists on non-faith-based playlists such as R&B Weekly, Shine and Fresh Folk has also helped to expand the genre’s reach.
Also bolstering CCM/gospel’s presence are a number of recent collaborations with secular artists, including for King & Country with Timbaland, TobyMac with Sheryl Crow, Lecrae with John Legend, Anne Wilson with Lainey Wilson, Zach Williams with Dolly Parton and CeCe Winans with Carrie Underwood.
“It’s way easier to become a fan of one person and transfer that fandom to another, especially with great collaborations,” Holt says. “For King & Country has always kind of led the way in the Christian space, and that really brings different spotlights to the genre.”
As streaming consumption and social media promotion of CCM/gospel music have increased, so has the number of contemporary Christian radio stations in the United States. According to stationratings.com, the number of U.S. stations carrying the contemporary Christian format rose by 22 from July 2023 to July 2024.
Titan Christian radio chains K-LOVE and Air1, which are owned by the non-profit Educational Media Foundation (EMF) have more than 1,000 broadcast signals. So far this year, the company has added more than a dozen signals to its fold.
“We’ve seen direct correlations of [streaming] consumption mirror the amount of audience we’re getting at radio,” Flynn says of Elevation Worship. “At the top of the radio chart, their song ‘Praise’ gets an audience of 10 million a week — that’s a massive difference. Let’s say radio doesn’t drive direct streams, which is an argument these days. It does drive massive awareness. There’s an intangible with church listeners, worship leaders, people putting it in Sunday morning [church services] set lists that exponentially grow that reach beyond radio, but that might have been the first place they heard it. So [radio]’s a huge help for us when we’re trying to get a song out there.”
“The songs coming out of our community continue to impact our audience, not only across all digital platforms but on terrestrial radio to over 30 million weekly listeners,” Gospel Music Association president Jackie Patillo said in a statement provided to Billboard. “People are hungry for a message that encourages and inspires.”
Growth in streaming, social media and radio reach ultimately impact artists’ touring. Elevation Worship sold out its spring Elevation Nights ’24 Tour before it began, averaging 11,600 tickets sold each night. Meanwhile, Holt says Daigle’s Kaleidoscope Tour has also seen growth in ticket sales.
“It’s a very different market now for ticket buying, post-pandemic, with multiple tours out. There’s a lot of competition,” Holt says. “But our ticket sales have grown this year, and we are back to our pre-pandemic numbers, which has been exciting to see.”
NFL star brothers Travis and Jason Kelce are taking their services to the Wondery podcast studio. According to The Hollywood Reporter, the Super Bowl-winning siblings have signed a significant new deal taking their two-year-old New Heights with Jason and Travis Kelce podcast to the Amazon-owned podcast studio, which signed a distribution and exclusive ad-sales representation deal for the family talk show.
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“We couldn’t be more excited to team up with Wondery for the next phase of New Heights,” the Kelce brothers told THR. “We love this show, and the fanbase that has grown with us over the last two seasons. Wondery understands the shared vision and will offer a wealth of experience and resources to take us to New Heights! We are going to create some groundbreaking moments together through this partnership. We are thrilled to start Season 3.”
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While the specific terms of the deal were not announced, THR noted that a person close to the matter described it as being in the “nine figure” range and “very competitive.” The multi-year deal will give Wondery exclusive global distribution rights to all audio and video episode of the pod, as well as its back catalog and the rights to make international audio adaptations of the show.
“We’ve been watching the growth of the podcast, really since it was launched, and I have been building a relationship with Travis and Jason and getting to know them for a while now,” Wondery CEO Jen Sargent told THR. “Sports is a really exciting category for podcast listeners. It’s a strategic priority of Wondery’s and Amazon’s. So there were a lot of reasons to think about joining forces here on the New Heights podcast.”
Sargent added that Wondery is looking into live domestic and international events and potentially creating localized content.
The brothers — older sib Jason retired from the NFL last year after 13 seasons as a center with the Philadelphia Eagles and tight end Travis is a three-time Super Bowl champion with the Kansas City Chiefs — launched the podcast in 2022 with Wave Sports + Entertainment. The new deal will make the show available on all podcast services, as well as YouTube, with Wondery also offering ad-free listening to its Wondery+ subscribers.
Talking about their lives on the gridiron and off the field, the show drew a dedicated sports audience that exploded into a much wider fanbase when Travis started dating Taylor Swift last year. Since then, the Ambies-, Webbys- and Shorty-award-winning football talk on the show that usually ranks as one of the top sports podcasts on Apple and Spotify has been spiced up with some tidbits from Travis and Taylor’s romance.
Among the Traylor highlights over the past year were such scenes as Travis dancing to Swift’s “Shake It Off” during a live taping in April in Cincinnati — where both men attended the University of Cincinnati — and Travis gushing about Swift’s “insane” Eras Tour show at Gillette Stadium in December. Kelce also revealed the the moment the singer officially won over brother Jason during an episode earlier this year, in one of the many mentions of the pop superstar on the pod.
The Kelces have both been expanding their off-field activities lately, with Jason joining ESPN as an analyst and Travis signing on to host Amazon’s Are You Smarter Than a Celebrity? and booking a slot on Ryan Murphy’s upcoming FX horror show Grotesquerie, as well as circling the action comedy Loose Cannons.
Their mega-deal comes amid new of a few other huge signings recently, including Wondery’s similar distribution and ad sales deal with actor Dax Shepard’s Armchair Expert pod, which signed an estimated $80 million pact in July, as well as the just-announced $125 million deal Alex Cooper signed wit SiriusXM for her Call Her Daddy show.
Nearly a decade ago, as a college senior, rising country singer Kassi Ashton signed a record deal with Universal Music Group Nashville (UMGN)/Interscope Records. Now 30 — and following the success of her highest-charting single to date — the California, Mo. native will finally release her anticipated debut album, Made From the Dirt, on Sept. 20.
Foundation
Singer-songwriter Ashton is a study in contrasts: a motorcycle enthusiast who designs and crafts many of her stage and red-carpet outfits from scratch (including for this year’s Academy of Country Music Awards, where she was nominated for new female artist of the year). As a child, she competed in pageants mostly as a vessel for showcasing her music. Even then, her vocal prowess was apparent, thanks to influence from vocalists including Adele, Aretha Franklin and (later) the country-soul of Chris Stapleton. Ashton soon started writing original songs, enrolling at Nashville’s Belmont University to study commercial voice and music business.
Discovery
In 2016, as college graduation neared, Ashton signed a management and publishing deal with Nashville-based Creative Nation. By 2017, she scored a label deal with UMGN in partnership with Interscope. But the ensuing years were spent refining her sound and weathering setbacks, with none of her singles promoted at radio — and no debut album. “I never felt like I should quit,” she says. “When I signed, they wanted me to go straight to radio. I said no because I didn’t have a song I wanted to sing for the rest of my life.” Her first full-length was also delayed by the pandemic in 2020, but in 2022, she finally issued her debut country radio single, “Dates in Pickup Trucks,” followed by “Drive You Out of My Mind.” The two songs built momentum, but this year’s “Called Crazy” has resonated most, rising to No. 32 on Billboard’s Country Airplay chart. “It came so easy,” she says. “I felt like I was finding a pillar.”
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Future
Nearly a decade after inking her label deal, Ashton will release her long-awaited debut album, Made From the Dirt, on Sept. 20. She teamed with longtime collaborator Luke Laird, as well as Oscar Charles, to craft an eclectic mix of uptempo jams (“I Don’t Wanna Dance”), grungy rock gems (“Son of a Gun”) and a heartfelt tribute to her late grandmother (“Juanita”). “I couldn’t have made this album at 23,” Ashton says. “It would have been rushed and not steady with who I am as a person. I can’t wait to see how what I’ve put energy, time and tears into is connecting.”
A version of this story appears in the Aug. 24, 2024, issue of Billboard.
will.i.am has launched a new AI-driven radio service, RAiDiO.FYI, to evolve the static medium into a more personalized experience. With RAiDiO.FYI, users are able to have conversations with AI DJs about anything from music, to breaking news, to sports, to weather reports — and the service will create a listening experience designed to each user.
The new offering is part of FYI, a multi-faceted tech company which will.i.am founded to help “maximize creativity” for artists with the help of AI personas, file management, project management, design tools and more. Users can start listening for free on the FYI app, available for both iPhone and Android smartphones.
will.i.am says he had an “aha” moment when he was recently on a radio show and the DJ opened the request line. “The request line has always been always been awesome for radio with when the callers get to call in and talk to the DJ or talk to the guests, but they’re limited to one person at a time,” he tells Billboard. “And then after the broadcast you couldn’t talk the host.”
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While the relevance of AM/FM radio continues to wane, particularly with younger audiences, will.i.am’s RAiDiO.FYI promises to reinvigorate the medium by switching it from a passive, immovable experience to one that is much more engaging and playful.
“This is an infotainment revolution where you can go back and forth with information in a deep way, and I’m so excited to be launching that with FYI, and to all the folks out there listening,” says will.i.am.
In the future, FYI will continue to partner with content creators from various internet niches to publish their own stations on the radio, including stations dedicated to spots, tech, politics, music and more.