songwriting
Time, it’s been said, goes by faster as people age.
But in country music, an entire lifetime can transpire in a scant three minutes. In George Birge‘s new “It Won’t Be Long” (No. 58, Country Airplay), the storyline follows the singer from a first-meeting kiss in the parking lot to a starter home, kids and a recognition of his impending senior years. In Russell Dickerson‘s “Bones” (No. 43), the protagonist sees the full sweep of a lifelong relationship, from the first glance to his future burial with his wedding ring wrapped tightly around his finger. And in Jordan Davis‘ “Next Thing You Know,” a 2023 Country Music Association (CMA) Award nominee for song of the year, a young man marries, raises some kids and lets the song — and, presumably, his life — figuratively fade to black in the end.
All of those titles put country music’s storytelling tradition on steroids, relating the life cycle of one human, or of two people’s relationship, in a compact plot. And they were all co-written by the same guy, Chase McGill, who has a special affinity for “life songs,” as he — and several other writers — call them. Since those three-minute biographies have only a small amount of space to hit the highlights, a key to making them work is to pick moments that everyone understands and paint them vividly.
“No one is so special that they’re the only person in the world that’s been through something,” McGill reasons. “If you write it like you know it and make it real, as special as you might be, someone else has been through it, too.”
Trending on Billboard
One of the strengths that has fueled country’s current uptick is the genre’s ability to tell stories. Throughout the decades, country’s narratives have included Reba McEntire‘s “The Night the Lights Went Out in Georgia,” Marty Robbin‘s “El Paso,” Luke Combs‘ “Where the Wild Things Are,” Kenny Rogers‘ “The Gambler” and HARDY‘s collaboration with Lainey Wilson, “wait in the truck.”
Those plots typically detail a short time frame, maybe a few years.
But a life song maximizes that storytelling, covering all — or most — of the passage from cradle to grave, or the whole of a relationship or of one generation.
A life song is “the ultimate challenge,” LANCO‘s Brandon Lancaster says. “To me, that’s always kind of been like the Everest of country music, if you can get to the summit and be like, ‘Wow, look at this mountaintop we just climbed in three minutes.’ “
People associate those kinds of songs with country music because they’ve seemingly always been there. In fact, while story songs were embedded in the genre from its beginning, it appears that the life song was cemented with The Browns‘ “The Three Bells,” a 1959 hit that topped both the pop and country charts. It conveyed the timeline of fictitious Jimmy Brown, using a chapel bell to mark key moments and create a template for the life song.
“Birth, marriage, death — it’s precisely that,” says songwriter Bobby Braddock (“He Stopped Loving Her Today,” “Time Marches On”).
Life songs would emerge sporadically after “The Three Bells.” Loretta Lynn‘s “Coal Miner’s Daughter”; Cal Smith‘s “Country Bumpkin”; the David Houston & Tammy Wynette duet, “My Elusive Dreams”; and George Jones‘collaboration with Wynette on “Golden Ring” — about the journey of a wedding ring, also penned by Braddock — are all strong examples.
Kathy Mattea‘s 1989 release “Where’ve You Been,” written by husband Jon Vezner with Don Henry, seemingly ushered in the golden era of life songs after winning the CMA Award for song of the year. The ’90s featured a large number of those sweeping plotlines: Wynonna‘s “She Is His Only Need,” George Strait‘s”Check Yes or No,” Lorrie Morgan‘s”Something in Red,” Patty Loveless‘ “How Can I Help You Say Goodbye,” Tim McGraw‘s “Don’t Take the Girl” and the Braddock-penned Tracy Lawrence hit “Time Marches On.”
“It’s pretty much an entire lifetime encapsulated into about two minutes and 40 seconds,” Braddock remembers of “Time Marches On.” “That was kind of a short record to be about somebody’s life.”
Typically, the verses in those songs do the heavy biographical lifting, offering narrative details, while the chorus and/or a bridge often deliver an overarching philosophy. A repetitive hook — usually in the chorus, but sometimes embedded in the verses — keeps the story cohesive. And singable.
“The most brilliant examples of that [repetition] can be found with comedians,” says artist-writer Skip Ewing, who co-wrote a couple of 1990s life songs: Bryan White‘s”Rebecca Lynn” and Collin Raye‘s “Love, Me.” “We love it when a comedian has a joke, it’s funny, and a little bit later on in the show, they’ll somehow bring that back into play and it connects the dots. And they might even do it a third time.”
“Love, Me,” a 1992 CMA song of the year nominee, used a letter nailed to a tree to connect the dots between a youthful verse-one elopement and the woman’s death-bed moments in verse two. The singer reveals himself to be their 15-year-old grandchild, giving the listener a sense of the couple’s decades together. But all the interim events in the story of their relationship are missing. That actually allows the listener to participate, filling in the life song’s blanks with their own experience.
“A lot of times it’s what we didn’t say,” Ewing notes. “You don’t have to tell someone much for their own mind to begin to put the story together.”
Life songs have been less prominent since the ’90s, though some certainly broke through, including Brooks & Dunn‘s “Red Dirt Road” and “Believe.” And LANCO’s Lancaster developed a greater understanding of country when he heard Randy Travis‘ 2003 single “Three Wooden Crosses” for the first time as a teen.
“I remember when that song ended,” Lancaster says, “feeling like I had just watched a three-hour movie, like I had just really gone through this journey and realizing it was in three minutes and really appreciating how that’s possible.”
LANCO’s new single — “We Grew Up Together,” released Jan. 27 — extends the current wave of life songs, taking on a larger time frame in its plot than the group tackled in its biggest hit to date, “Greatest Love Story.” Added to the current and recent recordings by Birge, Davis and Dickerson, life songs seem to be resurging as part of an ongoing ’90s country revival that counters some of the genre’s sound in the previous decade.
“The 20-teens capitalized on this very momentary thing — ‘Right now; let’s party right now,’ ” Lancaster says. “I do think that it’s a good time [for life songs] because I think that you’re starting to see more that falls in the category of storytelling.”
Ultimately, the story that life songs tell most often is a reminder that life is short and each moment should be lived fully. McGill embodies that message even outside of his songs. His daughters are fully immersed in gymnastics, and he is devoted to them, regularly attending their practices as they live through an age that only lasts so long.
“I bought my own stadium chair and take it to gymnastics every night, and I sit in a folding chair four nights a week,” he says. “I know that I’m in the sweet spot of my life.”
Subscribe to Billboard Country Update, the industry’s must-have source for news, charts, analysis and features. Sign up for free delivery every weekend.
George Clinton, Ashley Gorley, Rodney “Darkchild” Jerkins, Mike Love, Tony Macaulay and three members of The Doobie Brothers (Tom Johnston, Michael McDonald and Patrick Simmons) are the 2025 inductees into the Songwriters Hall of Fame. The organization’s 2025 Induction and Awards Gala is slated for Thursday, June 12 at the Marriott Marquis Hotel in New York City.
This is the first SHOF class to include no women since 2017. The SHOF, like most awards organizations, has been more mindful of gender diversity in recent years. The initial list of nominees included four women – Franne Golde, Sheryl Crow, Janet Jackson and Alanis Morissette – but none made it this year.
Trending on Billboard
Induction into the Songwriters Hall of Fame ranks with the Gershwin Prize for Popular Song as the ultimate honor for a songwriter. A songwriter with a catalog of notable songs qualifies for induction 20 years after their first significant commercial release of a song.
Love is being ushered into the SHOF 25 years after Brian Wilson, his colleague in The Beach Boys, was honored by the organization.
Love, Clinton and the three Doobies have all been inducted into the Rock and Roll Hall of Fame. Love was inducted in 1988 as a member of The Beach Boys; Clinton in 1997 as the leader of Parliament/Funkadelic; and The Doobies in 2020. The Beach Boys and P-Funk have also received lifetime achievement awards from the Recording Academy.
McDonald is a five-time Grammy winner. Simmons and Jerkins are both two-time Grammy winners. All three musicians have won record of the year — McDonald and Simmons as performers on The Doobie Brothers’ “What a Fool Believes”; Jerkins for co-producing Sam Smith’s “Stay With Me (Darkchild Mix),” the subtitle a nod to Jerkins’ nickname.
Gorley, one of the top songwriters in country music, has been voted into the all-genre SHOF before he made it into the Nashville Songwriters Hall of Fame, a rarity for a Nashville writer. Gorley and Jerkins are both 47, which made them the youngest songwriters vying for induction this year.
Twenty-six songwriters or songwriting teams vied for induction into the SHOF this year. Just six were elected – three from 13 nominees in the performing songwriters category and three from 13 nominees in the songwriters category, which is reserved for non-performing songwriters. The nominations were announced on Nov. 12. Voting closed on Dec. 22.
The SHOF has yet to announce the recipients of its two honorary awards – the Johnny Mercer Award (a career-capping award) and the Hal David Starlight Award (which goes to a hot current writer).
Here’s a complete list of the Songwriters Hall of Fame’s 2025 nominees for induction, with those inducted flagged INDUCTED: and bolded. The SHOF supplied the five songs listed after each nominees’ name, which they stress “are merely a representative sample of their extensive catalogs.”
Songwriters
Walter Afanasieff – “All I Want for Christmas Is You,” “Hero,” “License to Kill,” “Love Will Survive,” “One Sweet Day”
Steve Barri and P.F. Sloan – “Secret Agent Man,” “Eve Of Destruction,” “Where Were You When I Needed You,” “You Baby,” “Can I Get to Know You”
Mike Chapman – “The Best,” “Love Is a Battlefield,” “Ballroom Blitz,” “Stumblin’ In,” “Kiss You All Over”
Sonny Curtis – “Love Is All Around (Theme from “The Mary Tyler Moore Show”),” “I Fought the Law,” “Walk Right Back,” “More Than I Can Say,” “I’m No Stranger to the Rain”
Tom Douglas – “The House That Built Me,” “Little Rock,” “I Run to You,” “Grown Men Don’t Cry,” “Love Me Anyway”
Franne Golde – “Dreaming of You,” “Nightshift,” “Don’t Look Any Further,” “Don’t You Want Me,” “Stickwitu”
INDUCTED: Ashley Gorley – “I Had Some Help,” “Last Night,” “You Should Probably Leave,” “Play It Again,” “You’re Gonna Miss This”
INDUCTED: Rodney “Darkchild” Jerkins – “Say My Name,” “The Boy Is Mine,” “You Rock My World,” “Déjà vu,” “Telephone”
Dennis Lambert and Brian Potter – “One Tin Soldier (Theme from “Billy Jack”),” “Don’t Pull Your Love,” “Ain’t No Woman (Like the One I’ve Got),” “It Only Takes a Minute,” “Country Boy (You Got Your Feet In L.A.)”
INDUCTED: Tony Macaulay – “Baby Now That I’ve Found You,” “Build Me Up Buttercup,” “Don’t Give Up On Us,” “(Last Night) I Didn’t Get to Sleep at All,” “Love Grows (Where My Rosemary Goes)”
Roger Nichols – “We’ve Only Just Begun,” “Rainy Days and Mondays,” “I Won’t Last a Day Without You,” “Out in the Country,” “Times of Your Life”
Dan Penn and Spooner Oldham – “I’m Your Puppet,” “Cry Like a Baby,” “A Woman Left Lonely,” “Out of Left Field,” “It Tears Me Up”
Narada Michael Walden – “How Will I Know,” “Freeway of Love,” “You’re a Friend of Mine,” “Baby Come to Me,” “Who’s Zoomin’ Who?”
Performing Songwriters
Bryan Adams – “(Everything I Do) I Do It For You,” “Heaven,” “All for Love,” “Have You Ever Really Loved a Woman?,” “Summer of ‘69”
George Alan O’Dowd p/k/a Boy George – “Karma Chameleon,” “Do You Really Want to Hurt Me,” “Time (Clock Of The Heart), “Love Is Love,” “Miss Me Blind”
INDUCTED: George Clinton – “Atomic Dog,” “Flash Light,” “(Not Just) Knee Deep,” “I’d Rather Be With You,” “Give Up The Funk (Tear the Roof off the Sucker)”
Sheryl Crow – “All I Wanna Do,” “Soak Up The Sun,” “If It Makes You Happy,” “A Change Would Do You Good,” “Everyday Is a Winding Road”
INDUCTED: Tom Johnston, Michael McDonald and Patrick Simmons p/k/a Doobie Brothers – “Listen to the Music,” “Takin’ It to the Streets,” “Black Water,” “What a Fool Believes,” “Long Train Runnin’”
Marshall Mathers p/k/a Eminem – “Lose Yourself,” “Stan,” “Mockingbird,” “Houdini,” “Rap God”
David Gates – “Everything I Own,” “Make It With You,” “Baby I’m-A Want You,” “The Guitar Man,” “If”
Janet Jackson – “Black Cat,” “Together Again,” “Again,” “Got ‘til It’s Gone,” “Rhythm Nation”
Tommy James – “Mony Mony,” “Crimson and Clover,” “Crystal Blue Persuasion,” “Sweet Cherry Wine,” “Tighter, Tighter”
INDUCTED: Mike Love – “California Girls,” “Good Vibrations,” “The Warmth of the Sun,” “I Get Around,” “Fun, Fun, Fun”
Alanis Morissette – “You Oughta Know,” “Ironic,” “Hand in My Pocket,” “Thank U,” “Uninvited”
Dr. Dre, Eazy-E, Ice Cube, MC Ren and DJ Yella p/k/a N.W.A – “Express Yourself,” “Dopeman,” “Fu*k Tha Police,” “Gangsta Gangsta,” “Straight Outta Compton”
Steve Winwood – “Higher Love,” “Gimme Some Lovin’,” “I’m a Man,” “Valerie,” “Roll With It”
Modern-day America is full of conspiracy theories. Among them: Votes have been changed by space lasers, birds aren’t real and large corporations are injecting vaccines into over-the-counter foods.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
With his new single, Luke Bryan unintentionally found a conspiracy that’s been grossly overlooked: Honky tonks have manipulated the population with magnets.
To be clear, that is a kooky – and unfounded – proposition, but it is true that country bars have an irresistible attraction for many of their customers. That internal pull is at the heart of Bryan’s “Country Song Came On,” released by Capitol Nashville to country radio Oct. 28 via PlayMPE.
The single’s protagonist is ill-equipped to say no to the joint’s alluring features, and his plan to get a good weeknight’s sleep is derailed by the pursuit of a good time. “I’ve certainly been drawn in, no shortage of times, by the vibes of a bar, and the right songs and the right ambience,” Bryan says.
Trending on Billboard
He knows that scenario from both sides of the fence: he’s paid the cover charge as a patron, and sang cover songs on a hole-in-the-wall stage.
“From the time I was 16 years old till I got my record deal, I [played] most of my concerts in little bars and honky tonks,” Bryan says, “so I spent a good 12, 13 years playing in those environments and playing the Merle Haggard songs and the Waylon Jennings songs and the Keith Whitleys and all that. So it’s nice to find one like this that really is authentically me.”
“Country Song Came On” found its genesis in a second-floor writing room on April 18, 2022, at SMACKSongs’ Music Row headquarters in Nashville. Songwriters Neil Medley (“Made For You,” “Hung Up On You”) and Ryan Beaver (“Pretty Little Poison,” “Party Mode”) had been co-writing frequently for more than a decade, but it was the first time they worked with River House writer Dan Alley.
Once they settled on the “Country Song Came On” title, the rest of the piece unfolded naturally, as they explored a regular guy who cedes control of his evening hours to a greater power. “It’s not my fault,” Alley says with a laugh. “It’s the song’s fault, or it’s the barstool’s fault.”
Beaver toggled on acoustic guitar between a tonic chord and a two-minor, adding a seventh note into the latter triad to give it extra color. Most, though not all, of the song resides in that simple back-and-forth interplay, as they crafted a bluesy melody over the top.
“I tend to play a lot of voicings,” Beaver says. “If there’s an A-minor, I’ll play it a couple of different ways, just for it to feel fresh or new or different. An A-minor is an A-minor, but if you add a seventh, or you play that A-minor in [a different] position, it feels different, sounds different. We were probably just all entertaining ourselves, but it’s really a lesson in simplicity, going back and forth between those two chords a lot.”
They had the opening line of the chorus (“I was gonna drive by, wasn’t gonna stop”) and the payoff lines (“I wasn’t gonna drink / But then a country song came on”) and mapped out the chords and melodic progression of the first verse and chorus before filling in the rest. Even though the start of the chorus was obvious, it didn’t have a typical lift.
“That character is not going to sing a big chorus,” Medley says. “It just never felt for one second that we needed it. It just felt like this groove is going on, so why take it out of that? Let’s just continue.”
Midway through that chorus, they switched up the phrasing and melody just enough to propel it forward, and they cemented the club’s magnetism once they settled on the lyric for that passage: “Wasn’t gonna let the bar twist my arm / But I’m helpless in a honky tonk.” Bryan suggested that second line could be a title on its own. “’Helpless in a honky tonk’ – we should write that at some point,” Medley quips.
They had the bar’s band cover a George Jones hit in the second verse, and gave “Country Song” a very subtle bridge, then did a work tape to end the day. As much as they liked it, they didn’t get around to demoing “Country Song” until the fall, using a four-piece band. Alley sang lead, unintentionally copping a Blake Shelton sound. Shelton and Bryan were their leading targets once their publishers started pitching it.
“There’s a lot of space in it, [and] it’s kind of traditional, just to leave a little space and not get too many words jumbled in there,” Alley says. “That kind of leans towards the old school.”
Bryan quickly put it on hold when he heard the demo in January 2023. Producers Jeff and Jody Stevens booked a different set of studio players than in past Bryan sessions for a recording date at Nashville’s Starstruck Studios. Steel guitarist Eddie Dunlap and guitarist Sol Philcox-Littlefield got plenty of space to set the sonic tone.
“Due to the title, I think we thought ‘Country Song’ was going to need a lot of steel on it,” Jody says.
Philcox-Littlefield enhanced that attitude by playing a growling baritone guitar instead of the light Memphis soul licks featured in the demo. “[Bryan] wanted something country and something straight ahead,” Jeff says.
Those two musicians played the most prominent role in defining the sound, and divvying up the parts was effortless. “I’ve been recording this kind of band ever since 1993,” Jeff says. “If they’re working well together – and they almost always do – by the time the second run-through comes through, they’ve kind of got their spots figured out.”
It jelled so nicely that even after Bryan stopped singing at the 3:06 mark, the band kept grooving another 50 seconds. “We could have made that outro about half as long,” Jody says, “but I don’t think it’d be as fun.”
Bryan’s final vocal, also cut at Starstruck, was just as effortless, given the easy nature of the song. He made one important revision, replacing Jones in the lyric with “ETC” – short for Earl Thomas Conley, whose songs Bryan covered frequently when he was playing barrooms.
“If people don’t know what ETC is, they’ll get online or Google, and maybe go dive into some deep, deep, deep cuts of Earl Thomas Conley,” Bryan says.
The ETC alteration uniformly impressed the writers. “That was the moment I realized, not only does Luke love this song, but Luke really cares still, this many years into his career, about his craft and about songs,” Beaver says. “And he made it his.”
“Country Song Came On” is as magnetic as the bar it celebrates, and it debuted on the Country Airplay chart dated Nov. 30, easily surviving the internal vetting process. If anyone suggests the decision to make it a single was contentious, consider it another conspiracy theory.
“Through the years, I’ve had songs that I really believed in, that not everybody believed in, and they worked out,” Bryan says. “This one’s funny, because everybody’s really on the same page and excited to see it come out.”
Award-winning songwriter Rhett Akins has signed with Jonas Group Publishing (JGP). Additionally, Jonas Catalog Holdings will acquire songs from Akins’s extensive catalog, while Warner Chappell Music will continue its long relationship with Akins and administer the copyrights.
Akins, who is a two-time BMI songwriter of the year winner, eight-time CMA triple play winner, Academy of Country Music songwriter of the decade recipient and a Nashville Songwriters Hall of Fame inductee, has had songs recorded by Jason Aldean, Brooks & Dunn, Luke Bryan, Blake Shelton and more.
Jonas Catalog Holdings has also acquired songs from his Little Brocephus Music,Ritten by Rhettro Catalogs. The acquisition includes songs such as “Love You, Miss You, Mean It” (Luke Bryan), “What’s Your Country Song” (Thomas Rhett), “To Be Loved By You” (Parker McCollum), “Half Of Me” (Thomas Rhett/Riley Green), “It Matters To Her” (Scotty McCreery), and “Red” (HARDY/Morgan Wallen).
Trending on Billboard
Jonas Group Publishing launched in 2020 and is a division of Jonas Group Entertainment, founded by Kevin Jonas Sr. in 2005. Jonas Group Publishing is led by JGP president Leslie T. DiPiero and is home to songwriters including Akins, Justin Ebach, Terri Jo Box, Franklin Jonas, Bailee Madison, Amy Stroup and the catalog of Julia Michaels.
“Rhett is an extraordinary songwriter,” DiPiero said in a statement. “Personally, I have admired his work since I first came to town. He is a master of everything that is great about country music. It is an honor to represent his catalog of excellence, and our entire team is looking forward to contributing to his continued growth and success.”
“I’ve seen Leslie’s dedication to songwriters for many years,” Akins said. “She is a friend of and advocate for creators. The impact the Jonas family has made on the music world is remarkable, and it is obvious their love for music and family is their driving force. You put all that together, and I think you have a pretty unstoppable squad that leads with their values. I am very excited to join Kevin, Leslie, and the whole Jonas Group Publishing team.”
“We are honored to welcome Rhett to our roster, along with his incredible catalog,” Jonas of Jonas Group Entertainment stated. “Rhett is an immensely talented songwriter whose contributions have shaped the landscape of country music and beyond. His catalog reflects not only his incredible talent but also his ability to create songs that resonate with audiences around the world.
“We are thrilled to bring Rhett’s body of work into the Jonas Group Publishing family, which would not have been possible without the support and expertise of our trusted financial partner, Corrum Capital Management. We must also thank Access Media Advisory and Teresa Miles Walsh, Dave and Ruscell Pavlin, Matthew Beckett, and Milom Crow Kelley Beckett Shehan PLC for providing valuable assistance throughout the purchase of the catalog. All of us at JGP look forward to celebrating and amplifying Rhett’s extraordinary artistry.”
The vibe for the Nashville Songwriters Hall of Fame induction on Nov. 6 was a little odd.
Less than 24 hours after an election with results that many pundits see as a pushback against diversity, the Hall welcomed six new members whose output covered a nicely diverse stylistic landscape that touches on country, pop and R&B.
The class featured two performing artists — The Bellamy Brothers’ David Bellamy and late multigenre figure Tony Joe White — plus Liz Rose (“You Belong With Me,” “Crazy Girl”), Victoria Shaw (“I Love the Way You Love Me,” “The River”), Al Anderson (“Unbelievable,” “Love’s Gonna Make It Alright”) and Dan Penn (“Cry Like a Baby,” “Do Right Woman — Do Right Man”).
It was just the third time in the Hall’s 54-year history that two women were inducted together. Prior to Rose and Shaw simultaneously joining, Shania Twain and Hillary Lindsey (“Blessed,” “Jesus, Take the Wheel”) were installed in 2022, and Tammy Wynette and Kye Fleming (“Smoky Mountain Rain,” “Nobody”) were recognized in 2009.
“It’s extra special that there’s two women this time,” Shaw noted in her acceptance speech. “Someday we won’t have to point that out, but it’s still nice.”
Trending on Billboard
The diversity of the current class was represented by performances that ranged from swamp rock to gospel-flecked soul to pure country. Karen Fairchild applied a spiked tone to Little Big Town’s four-part harmony on Rose’s “Girl Crush,” Nikki Lane balanced a cutting vocal resonance against Kenny Vaughan’s smoky guitar on White’s bluesy “Polk Salad Annie,” and Garth Brooks milked the silence between the phrases in a folky rendition of the Shaw co-writes “A Friend to Me,” “She’s Every Woman” and “The River.” John Andersonoffered a greasy, driving interpretation of Bellamy’s “Redneck Girl”; Wendy Moten prefaced Penn’s induction with a dramatically dynamic version of the 1960s soul single “The Dark End of the Street”; and Vince Gill participated in Al Anderson’s segment by performing“Some Things Never Get Old,” a ballad Anderson recorded as a solo artist, with backing vocalist Carolyn Dawn Johnsonand bassist Glenn Worf.
Nikki Lane performs onstage during the 54th Anniversary Nashville Songwriters Hall Of Fame Gala at Music City Center on November 06, 2024 in Nashville.
Jason Kempin/Getty Images
Acceptance in the Hall is notable. It’s an unpredictable — and thus, insecure — vocation, and sustained success is often elusive. Bellamy recalled that his father pestered him to develop a backup plan in the early part of his career, assuming that songwriting wasn’t likely to pay the bills. Jim Stafford’s recording of Bellamy’s “Spiders and Snakes” changed that, starting a hit list that includes “Old Hippie,” “Kids of the Baby Boom” and “If I Said You Have a Beautiful Body Would You Hold It Against Me.”
“My dad called me — I was on the road somewhere,” Bellamy noted during his speech. “He had been to the mailbox and got my first royalty check. He said, ‘Son, I think you’re going to be able to make a living at this.’ ”
For Al Anderson, songwriting built upon his guitar skills, burnished during a run in the eclectic band NRBQ. He became adept at creating hooky, uptempo songs.
“He knows 400,000 chords,” fellow songwriter Sharon Vaughan (“Powerful Thing”) said while inducting Anderson. “During the writing of a song, he uses about 200,000 of them before you get to the second verse.”
Anderson was enthusiastic. He enlisted fellow writer Tia Sillers (“I Hope You Dance”) to speak on his behalf, and she stood at his side on a box, placing her at his eye level. But Anderson still got in a few words before leaving the stage.
“It’s a beautiful thing, writing songs,” he quipped. “You can’t beat it. It’s just the shit.”
Penn’s induction embodied the country/R&B blend that has become increasingly prominent in country circles. He fashioned hits for the likes of Ronnie Milsap,Johnny Rodriguez and T.G. Sheppard in the 1970s, though his journey was rooted more typically in pop and soul. His career started in earnest in the Muscle Shoals region and took off after he moved to Memphis, where he scored with James & Bobby Purify’s recording of “I’m Your Puppet” and James Carr’s “The Dark End of the Street.”
“Dark End” exemplifies Penn’s ability to fuse styles. It rose to prominence in the 1960s, when he still lived in Memphis, though he authored it during a break in a Nashville poker game. Despite its soul history, “Dark End” authors David Cantwell and Bill Friskics-Warren recognized it in the Country Music Foundation book Heartaches by the Number: Country Music’s 500 Greatest Singles. It fits both blue-collar genres in part because of its theme.
“We were always trying to come up with the best cheating song ever,” he was known to say, according to his inductor, songwriter Gretchen Peters (“Independence Day”).
White’s career path likewise wound through both Tennessee music capitals — son Jody White, in accepting his late father’s induction, recalled The Blues Brothers hanging out at the family’s house in Memphis and watching football at Waylon Jennings’Nashville home. White’s biggest copyright, “A Rainy Night in Georgia,” also transcended boundaries, providing soul singer Brook Benton with a classic recording and becoming a country hit for Hank Williams Jr.
“It just invokes a feeling of loneliness,” Jody said before ceremony, “and I think that’s what’s special about it. It’s hard to just make someone have that strong of a feeling by listening to your song.”
Rose is also a genre-hopper. While her songs have succeeded primarily in country, she’s co-written 17 Taylor Swift releases, and they include both country hits (“Tim McGraw,” “Teardrops on My Guitar”) and music from her pop era (particularly the 10-minute “All Too Well”).
Despite the ceremony’s proximity to a contentious election, the Hall of Fame demonstrated how songwriters can pull together even when they disagree. A bit surprisingly, during the course of the evening, neither presenters nor inductees mentioned the election.
“What’s great about this community, everybody’s walking in that room, [feeling] part of the music community as songwriters,” Rose said on the red carpet. “There should be no politics. We all love each other, and that’s being an American.”
Subscribe to Billboard Country Update, the industry’s must-have source for news, charts, analysis and features. Sign up for free delivery every weekend.
In 2003, Eminem made Oscar history with “Lose Yourself,” the first rap song to win best original song. Now he’s in contention for another top honor. He’s one of 26 songwriters or songwriting teams vying for induction into the Songwriters Hall of Fame this year.
Just six will be elected – three from 13 nominees in the performing songwriters category and three from 13 nominees in the songwriters category, which is reserved for non-performing songwriters. The six inductees will be celebrated at the SHOF’s 2025 Induction & Awards Gala in New York City, which is expected to be in June at the event’s usual home, the Marriott Marquis.
All but five of the 26 nominees are individuals. The five collaborations on the ballot are Steve Barri and P.F. Sloan; Dennis Lambert and Brian Potter; Dan Penn and Spooner Oldham; three members of The Doobie Brothers (Tom Johnston, Michael McDonald and Patrick Simmons); and five former members of N.W.A (Dr. Dre, Eazy-E, Ice Cube, MC Ren and DJ Yella).
Trending on Billboard
Almost all the nominees are still living. The only exceptions are Sloan, who died in 2015 at age 70, and N.W.A’s Eazy-E, who died in 1995 at age 30.
The youngest nominees are Ashley Gorley and Rodney “Darkchild” Jerkins, both 47. The list includes four women – Franne Golde, Sheryl Crow, Janet Jackson and Alanis Morissette.
Several songwriters who are strongly associated with songwriters who were previously inducted into the SHOF are on the ballot this year – Walter Afanasieff (his frequent collaborator Mariah Carey was inducted in 2022), Roger Nichols (his frequent collaborator Paul Williams was inducted in 2001), Jackson (her brother Michael Jackson was inducted in 2002) and Mike Love (his Beach Boys colleague Brian Wilson was inducted in 2000).
The list includes eight members of the Rock and Roll Hall of Fame – Crow, Eminem, Jackson, George Clinton (who is in the Rock Hall as the leader of Parliament/Funkadelic), Love (who is in the Rock Hall as a member of The Beach Boys), Steve Winwood (who is in the Rock Hall as a member of Traffic), the three aforementioned members of The Doobie Brothers and the five aforementioned former members of N.W.A.
The list includes three members of the Nashville Songwriters Hall of Fame. Sonny Curtis was inducted into that body in 1991, followed by Tom Douglas in 2014 and Oldham in 2020. Curtis, 87, has had many pop and country hits, including “I Fought the Law” and “Walk Right Back,” but he may be best-known for writing “Love Is All Around,” the pitch-perfect theme song from The Mary Tyler Moore Show.
Three of the nominees are past winners of the Grammy for producer of the year (non-classical). Narada Michael Walden won that award in 1988, chiefly for his work with Whitney Houston. Afanasieff won in 2000, Dr. Dre in 2001.
A songwriter with a catalog of notable songs qualifies for induction 20 years after their first significant commercial release of a song.
Eligible voting members have until midnight ET on Dec. 22 to turn in their ballots with their choices of up to three nominees in each of the two categories.
Here’s a complete list of the Songwriters Hall of Fame’s 2025 nominees for induction. The SHOF supplied the five songs listed after each nominees’ name, which they stress “are merely a representative sample of their extensive catalogs.”
Songwriters
Walter Afanasieff – “All I Want for Christmas Is You,” “Hero,” “License to Kill,” “Love Will Survive,” “One Sweet Day”
Steve Barri and P.F. Sloan – “Secret Agent Man,” “Eve Of Destruction,” “Where Were You When I Needed You,” “You Baby,” “Can I Get to Know You”
Mike Chapman – “The Best,” “Love Is a Battlefield,” “Ballroom Blitz,” “Stumblin’ In,” “Kiss You All Over”
Sonny Curtis – “Love Is All Around (Theme from “The Mary Tyler Moore Show”),” “I Fought the Law,” “Walk Right Back,” “More Than I Can Say,” “I’m No Stranger to the Rain”
Tom Douglas – “The House That Built Me,” “Little Rock,” “I Run to You,” “Grown Men Don’t Cry,” “Love Me Anyway”
Franne Golde – “Dreaming of You,” “Nightshift,” “Don’t Look Any Further,” “Don’t You Want Me,” “Stickwitu”
Ashley Gorley – “I Had Some Help,” “Last Night,” “You Should Probably Leave,” “Play It Again,” “You’re Gonna Miss This”
Rodney “Darkchild” Jerkins – “Say My Name,” “The Boy Is Mine,” “You Rock My World,” “Déjà vu,” “Telephone”
Dennis Lambert and Brian Potter – “One Tin Soldier (Theme from “Billy Jack”),” “Don’t Pull Your Love,” “Ain’t No Woman (Like the One I’ve Got),” “It Only Takes a Minute,” “Country Boy (You Got Your Feet In L.A.)”
Tony Macaulay – “Baby Now That I’ve Found You,” “Build Me Up Buttercup,” “Don’t Give Up On Us,” “(Last Night) I Didn’t Get to Sleep at All,” “Love Grows (Where My Rosemary Goes)”
Roger Nichols – “We’ve Only Just Begun,” “Rainy Days and Mondays,” “I Won’t Last a Day Without You,” “Out in the Country,” “Times of Your Life”
Dan Penn and Spooner Oldham – “I’m Your Puppet,” “Cry Like a Baby,” “A Woman Left Lonely,” “Out of Left Field,” “It Tears Me Up”
Narada Michael Walden – “How Will I Know,” “Freeway of Love,” “You’re a Friend of Mine,” “Baby Come to Me,” “Who’s Zoomin’ Who?”
Performing Songwriters
Bryan Adams – “(Everything I Do) I Do It For You,” “Heaven,” “All for Love,” “Have You Ever Really Loved a Woman?,” “Summer of ‘69”
George Alan O’Dowd p/k/a Boy George – “Karma Chameleon,” “Do You Really Want to Hurt Me,” “Time (Clock Of The Heart), “Love Is Love,” “Miss Me Blind”
George Clinton – “Atomic Dog,” “Flash Light,” “(Not Just) Knee Deep,” “I’d Rather Be With You,” “Give Up The Funk (Tear the Roof off the Sucker)”
Sheryl Crow – “All I Wanna Do,” “Soak Up The Sun,” “If It Makes You Happy,” “A Change Would Do You Good,” “Everyday Is a Winding Road”
Tom Johnston, Michael McDonald and Patrick Simmons p/k/a Doobie Brothers – “Listen to the Music,” “Takin’ It to the Streets,” “Black Water,” “What a Fool Believes,” “Long Train Runnin’”
Marshall Mathers p/k/a Eminem – “Lose Yourself,” “Stan,” “Mockingbird,” “Houdini,” “Rap God”
David Gates – “Everything I Own,” “Make It With You,” “Baby I’m-A Want You,” “The Guitar Man,” “If”
Janet Jackson – “Black Cat,” “Together Again,” “Again,” “Got ‘til It’s Gone,” “Rhythm Nation”
Tommy James – “Mony Mony,” “Crimson and Clover,” “Crystal Blue Persuasion,” “Sweet Cherry Wine,” “Tighter, Tighter”
Mike Love – “California Girls,” “Good Vibrations,” “The Warmth of the Sun,” “I Get Around,” “Fun, Fun, Fun”
Alanis Morissette – “You Oughta Know,” “Ironic,” “Hand in My Pocket,” “Thank U,” “Uninvited”
Dr. Dre, Eazy-E, Ice Cube, MC Ren and DJ Yella p/k/a N.W.A – “Express Yourself,” “Dopeman,” “Fu*k Tha Police,” “Gangsta Gangsta,” “Straight Outta Compton”
Steve Winwood – “Higher Love,” “Gimme Some Lovin’,” “I’m a Man,” “Valerie,” “Roll With It”
Bernie Taupin is slated to receive the Outstanding Career Achievement Award during the Hollywood Music in Media Awards (HMMA) to be held on Nov. 20 at The Avalon in Hollywood, Calif. The show, now in its 15th year, honors composers, songwriters and music supervisors for their contributions in music for film, TV, video games and more.
Submissions for all HMMA categories are open through Oct. 31. The complete list of final nominations will be announced on Nov. 4.
Taupin, of course, is best-known for his long, hit-studded and award-winning collaboration with Elton John. The pair were inducted into the Songwriters Hall of Fame in 1992 and received that organization’s top honor, the Johnny Mercer Award, in 2013. In 2020, they received both an Oscar and a Golden Globe for best original song for co-writing “(I’m Gonna) Love Me Again” from the hit biopic Rocketman. Earlier this year, they received the Library of Congress’s Gershwin Prize for Popular Song, as well as an Ivor Novello for Outstanding Contribution to British Music. Most recently, Taupin cowrote (with John, Brandi Carlile, and Andrew Watt) the original song “Never Too Late” for the Disney+ documentary Elton John: Never Too Late. The song is performed by John and Carlile.
Trending on Billboard
Remarkably, their only songwriting collaboration to receive a Grammy nomination was the soundtrack to the 1971 teen romance film Friends (no relation to the later TV megahit), which won best original score written for a motion picture or a television special. Go figure.
Taupin has also had some notable successes independent of John. He co-wrote Heart’s “These Dreams” and Starship’s “We Built This City,” both of which topped the Billboard Hot 100. He received a Grammy nod for best country song for cowriting “Mendocino County Line,” which was recorded by Willie Nelson & Lee Ann Womack. His song “A Love That Will Never Grow Old,” sung by Emmylou Harris for the Brokeback Mountain soundtrack, won a Golden Globe for best original song. Taupin was inducted into the Rock and Roll Hall of Fame in the musical excellence award category in 2023. Fittingly, John did the honors in inducing him.
Past HMMA Career Achievement Award recipients include Marc Shaiman, Kenny Loggins, Smokey Robinson, Diane Warren, Earth Wind & Fire, Glen Campbell, Dave Mason, John Debney, and Christopher Young.
Tickets are available now at: https://www.tickettailor.com/events/2024hmmawards/1419072. For more information, visit hmmawards.com.
In 2022, Riley Green notched his first No. 1 Billboard Country Airplay hit with the Thomas Rhett duet “Half of Me.” Now, as he prepares to release his third studio album, Don’t Mind If I Do, on Friday (Oct. 18) on Big Machine Label Group, he’s seeing a fresh career surge with another duet, the flirty “You Look Like You Love Me,” a collaboration with fellow Alabama native and singer-songwriter Ella Langley.
Explore
See latest videos, charts and news
See latest videos, charts and news
The song went viral earlier this year, but has proven to have staying power, currently at No. 10 on the Hot Country Songs chart and at No. 30 on the all-genre Hot 100.
Trending on Billboard
“I didn’t know that song was going to be the hit that it has become,” Green tells Billboard. “I thought it was a cool song and the talking in the verses were a great nod of the cap to traditional country music. Both of us being from Alabama and growing up in similar areas, we have the same kind of twang and our voices just kind of mesh well together. I’ve been a fan of hers for a long time, so it’s been awesome seeing her success with this.”
That “nod to traditional country music” has been one key to the song’s success, as retro country sounds continue to make waves again in the format.
In a time when artists are putting out sprawling, pop-flavored albums, Green’s tightly-woven, 18-track project magnifies his devotion to country songwriting. Green wrote over half of the songs on the album, with a couple of his solo writes being among the standouts. That laser focus on writing comes naturally for Green, who has long taken inspiration from Georgia native and Country Music Hall of Famer Alan Jackson.
“Alan wrote a lot of his own songs. I’ve co-written with some great writers and have had some big hits from co-writes and I’ve never stopped co-writing, but there’s also something authentic about writing a song by yourself,” Green says. “I think you perform those songs a little different, maybe. I grew up listening to CDs and listening to ’em top to bottom, so I want to always make my albums an experience to listen to.”
One of Green’s solo writes, the poignant story song “Jesus Saves,” unfurls the tragic life events that led a military veteran to end up by the side of the road, holding up a ragged cardboard sign.
“Some of those things that the guy had been through in that story were things that if any of us had gone through it, maybe we’d be in the same position he was,” Green says. “I think that was a way to try to help people be a little more compassionate. And I just remember that with that song after I wrote it, when I listened back to it, I felt something from it. I was the same way when I wrote [2020 hit] ‘I Wish Grandpas Never Died’ and listened back for the first time. It choked me up a little bit. So, there’s always something special about songs that can do that. When fans feel that same way, it’s motivating and makes you want to continue to write those kinds of songs.”
On another solo write, he teams again with Langley for the love song “Don’t Mind If I Do.” From touring together to releasing multiple duets over the past few months, Green and Langley’s musical collaborations feel like a throwback to the 1970s, when artists like Conway Twitty and Loretta Lynn, as well as George Jones and Tammy Wynette, released numerous collaborative albums together.
Asked if Green and Langley might consider such a project, Green says, “Well at this rate, I think we’re working on it. We’ve got two songs this year, but I think that’s probably part of the success we’ve had. I think people kind of long for that storybook type of thing, the George [Jones] and Tammy Wynette, or Johnny [Cash] and June [Carter] and all that. You haven’t seen it in a long time—maybe Tim [McGraw] and Faith [Hill] would be the closest thing we’ve seen and I don’t have a problem leaning into that at all. I think she writes great songs and I love her voice so I think if there’s something else that comes along that fits, we’ll probably do it.”
Given the two artists’ creative chemistry, both vocally and in performance, Green says he understands why some fans have speculated that their compatibility extends into the romantic realm.
“With ‘You Look Like You Love Me,’ it’s a girl picking up a guy in a bar song, so I can totally see where that led fans to think something and then we go with ‘Don’t Mind If I Do,’ which is a more heartfelt love song,” Green says. “But we’re just great friends and I’m really a fan of her music, so it’s awesome to have this success with her on both these songs.”
Beyond “Don’t Mind If I Do” and “Jesus Saves,” the new album also catalogs a range of emotions, encompassing heartbreak anthems (“That’s a Mistake”), smoldering romance songs (“Worst Way”) and an older song, “Alcohol of Fame,” a lighthearted nod to boozy nights out.
“I had that title, ‘Alcohol of Fame,’ and I remember thinking, ‘How has someone not already written this?’ You have to start looking it up to make sure it wasn’t already a song, because it was such an obvious thing, but it’s a fun song to play,” Green says. “I wrote it a couple of years ago and it’s nice to finally be recorded and included on an album.”
For the tour announcement for Green’s 2025 Damn Country Music Tour, he again eschewed modern standards—instead of announcing with a social media graphic or brief video, Green turned to a retro, cinematic treatment.
He gathered with his tourmates, among them Langley, Erik Dylan, Vincent Mason, Jake Worthington, Drake White and Lauren Watkins, to create a parody of the 1977 Burt Reynolds film Smokey and the Bandit, complete with Green’s character “Duckman” nodding to Reynolds’ iconic role, while Langley’s “Smoke Show” pays homage to Sally Field’s character Carrie. Together, Green and Langley evade the cops in a Pontiac Firebird Trans Am, while they use the CB radio to call out to the tour’s other opening acts, inviting them to join to head out on the road.
“Growing up, Reynolds was one of the coolest guys there was,” Green says. “I’ll never forget [in the movie] Happy Gilmore when a limousine pulled up and they said, ‘You must be Burt Reynolds or something.’ I feel like that’s how we all felt growing up. That was the most famous person around.”
“You Look Like You Love Me” has notched Green and Langley their first CMA Awards nomination in the musical event of the year category. At the Nov. 20 ceremony, Green is also thinking about who might take home entertainer of the year since he’s worked with so many of the nominees.
“There’s been so many people that have had such big careers. Luke Combs has been great and I toured with him last year. Lainey [Wilson] is having such a big moment and it’s really hard not to mention Morgan [Wallen], he’s had such a big moment. We went and played a show in the U.K. together [at BST Hyde Park in London] and it was the biggest country show they’ve had there. I don’t really need much more than that to kind of look his way.”
Outside of music, Green launched his Duck Blind bar in Nashville earlier this year, working with Nashville entrepreneur Steve Ford to open the space in the former Winner’s Bar and Grill location in Midtown, rather than adding another “star bar” on downtown Broadway.
“There’s nothing against anybody that’s got a bar on Broadway, I just never hung out on Broadway and I don’t know many artists that do. I’ve hung out in Midtown and everybody I’ve ever met—songwriters and other artists—has been in Midtown, so it’s cool for me to put my name on something that has been nostalgic for me. It’s also full circle for me to own a bar and have up-and-coming artists coming there to play, showcase their songs and hopefully get a start like I did.”
For the immediate future, don’t look for Green to launch too many other business ventures. “I don’t really need any more projects right now,” he says, before hedging his bet. “But I didn’t think I was going to be in the bar business this year either, so who knows?”
Last year, Zach Bryan saw two of his songs spend weeks atop Billboard‘s Hot Country Songs chart, including the 20-week chart-topper “I Remember Everything” with Kacey Musgraves and the six-week No. 1 “Something in the Orange” (which also reached the top 20 on the Country Airplay chart). Earlier this year, he also won his first Grammy, in the best country duo/group performance category for the Musgraves collaboration.
Explore
See latest videos, charts and news
See latest videos, charts and news
But during a recent interview with one of his musical heroes, Rock & Roll Hall of Famer Bruce Springsteen, Bryan opened up about why he doesn’t want to be considered “a country musician.”
Trending on Billboard
“Everyone calls me it,” Bryan told Springsteen as part of Rolling Stone‘s Musicians on Musicians series. “I want to be a songwriter, and you’re quintessentially a songwriter. No one calls Bruce Springsteen — hate to use your name in front of you — but no one calls Bruce Springsteen a freaking rock musician, which you are one, but you’re also an indie musician, you’re also a country musician. You’re all these things encapsulated in one man. And that’s what songwriting is.”
Springsteen said that Bryan has been “connected to the country genre,” but also noted that after attending one of Bryan’s shows, he saw “so much — and I don’t want to call it rock — just energy in your performance. You bust all those different genre boundaries down.”
“That’s why you’re a hero to me, because no one’s ever come up to you and said you were in any sort of lane,” Bryan responded. “When I first started making music, I told Stefan and Danny, my managers, I was like, ‘I want to be in a lane where, when people look back, they can listen to my music and it’s supremely whatever you were doing.’ You were the only person in my head that has ever done that.”
Elsewhere in the interview, Bryan opened up about his own battle with imposter syndrome. Springsteen asked Bryan when he first considered himself “a serious songwriter.”
“I still don’t!” Bryan responded, saying, “To this day I have really bad impostor syndrome. But I had a lot of friends in the Navy, and we’d go out to the bars and we’d always have these times, and I’d go back to my barracks room and I’d sing about it. I never had anything else to express myself. You work so much you never really have time to talk about these things. So I’d go home and I would write, and I never in a million years thought I would become a songwriter because I never thought I had the talent. And that’s not a humble thing, it’s just I never in a million years thought I would be sitting here with you. Because we would hear your songs, and they’re beautiful and poetic and genius. When I play [my songs], I’m like, ‘There’s no way people enjoy these like they would enjoy a Dylan song or a Springsteen song or anything like that.’”
Springsteen also spoke candidly of his own feelings about songwriting, saying, “Songwriting’s hard. And I don’t think I felt really comfortable with the idea that I was writing good songs till I was about 22 or 23, when I was coming up with the songs for my first record, a record called Greetings From Asbury Park, N.J., which came out in 1973.”
Springsteen also complimented several of Bryan’s songs, particularly “Revival” and “Open the Gate,” noting that they are “songs you’re gonna be singing till you are as old as me.”
Springsteen released his latest album, Only the Strong Survive, in 2022, while Bryan released his latest project, The Great American Bar Scene, in July.
Who gets songwriting credit on a song and who doesn’t can sometimes lead to an uncomfortable conversation. But at the 2024 Billboard Latin Music Week, that topic took the spotlight in the riveting (and informative) Why Are There 50 Writers On My Song? panel on Monday (Oct. 14).
Moderated by Pierre Hachar, managing partner at The Hachar Law Group, panelists included regional Mexican singer-songwriter Eden Muñoz, renowned producer-songwriter Sergio George and Colombian hitmaker Keityn. At one point during the conversation, the group reflected on why, today, even managers can get a songwriting credit.
“I think it is clear that the composers deserve the credit,” said Keityn while discussing the subject. “The credits go to the one who deserves it and that is the actual composer.”
Trending on Billboard
The conversation also touched on how nuanced the concept of songwriting credit can be, particularly when someone is in the studio who doesn’t technically write the song but contributes somehow to the idea or inspiration of the lyrics.
Below, find the best quotes from the panel:
Eden Muñoz: “The credit has to go to whoever participates in the writing process. When you’re in a studio, you know who is a composer and you know who is not. It’s something that you can almost feel. You can’t just be sitting around in the session and expect credit. It’s extremely important to set limits in the studio. It’s how I work today. I separate the songwriters and take them to a different table and they are the only ones in that room.”
Sergio George: “In my opinion, anyone who contributes to the process should have songwriting credit. I remember I was in a songwriting camp, there were like four to five people, and there was one person who gave some ideas of how the song could be. That person actually had nothing to do with my music, but got credit because if it wasn’t for her, the song would not have been made. That’s true of the arranger, because some arrangements are so emblematic and make the song. We should be fair all around.”
Keityn: “The 50 songwriters thing is not even about the artist, songwriter or producer, to be honest. Platforms like Spotify, when they do the breakdown of who gets credit on their platform, it is always based on the actual split, and they label them as songwriters. I don’t understand why everyone who is in the split [gets listed as] as a songwriter.”
Muñoz: “Today, we are in a business where managers [have the] sin of arrogance and want to be everywhere and get songwriting credit. I remember back in the day, the manager would sometimes even hide, but now it seems like they are glued to one another. Sometimes the manager acts more like the artist.”
The 2024 Billboard Latin Music Week coincides with the 2024 Billboard Latin Music Awards set to air at 9 p.m. ET on Sunday, Oct. 20, on Telemundo. It will simultaneously be available on Universo, Peacock and the Telemundo app, and in Latin America and the Caribbean through Telemundo Internacional.