Post Malone started his career running in hip-hop circles before putting a greater emphasis on poppier music in recent albums. Now, he has another pivot coming, as indicated by his latest single: “I Had Some Help,” a collaboration with country superstar Morgan Wallen.
The midtempo tune, which isn’t short on twang, sees Malone reflecting on his shortcomings, singing on the chorus, “I had some help / It ain’t like I can make this kinda mess all by myself / Don’t act like you ain’t help me pull that bottle off the shelf / Been deep in every weekend if you couldn’t tell / They say, ‘Teamwork makes the dream work’ / Hell, I had some help.”
This isn’t just a one-off foray into country for Malone, either: A press release notes the song will be featured on his “first-ever full-length country album this year.” Additional information about that project hasn’t yet been shared.
The new single comes shortly after Malone was one of the highlights of this year’s Stagecoach festival. Uproxx’s Philip Cosores noted, “Though he first emerged through the world of SoundCloud rap, Posty has proven to be good at most things he tries. His own original music has veered into a genreless mélange that reflects the omnivorous tastes of many young music fans, while he’s proven to be adept at everything from Nirvana covers to acting. As a proud Texan, it’s not surprising that he would also slay as a country cover band, curating a set of radio hits that felt like a rowdy bar with a great house band or jukebox.”
Every week, Billboard unveils the top 10 songs on the latest Hot 100 chart. The most recent rankings, for the chart dated May 11, are out now, so let’s run down who had this week’s biggest hits.
10. Taylor Swift — “Down Bad”
Last week, Taylor Swift had the top 14 songs on the Hot 100. She’s cooled off a bit this week, with only three songs in the top 10, including “Down Bad.”
9. Taylor Swift — “I Can Do It With A Broken Heart”
“I Can Do It With A Broken Heart” is one of the other two to survive in the region from Week 1 to 2. It’s the album’s second-most streamed song on Spotify so far with over 117 million plays.
8. Future, Metro Boomin, and Kendrick Lamar — “Like That”
Kendrick Lamar has released what feels like a thousand Drake diss tracks since “Like That,” but this one is still going strong in the top 10 this week. This is one of many songs returning to the top 10 this week following Swift’s dominant frame.
7. Hozier — “Too Sweet”
“Too Sweet” is officially the biggest song of Hozier’s career, as it topped the Hot 100 for a week in April. It’s no longer at No. 1 but it’s sticking around at No. 7 this week.
6. Teddy Swims — “Lose Control”
Swims hasn’t lost control has his breakout hit, a former No. 1, remains near the top of the Hot 100 chart.
5. Benson Boone — “Beautiful Things”
Boone’s “Beautiful Things” was the biggest non-Swift song on last week’s Hot 100, a status it didn’t manage to maintain this week thanks to some milestone achievements from other artists.
4. Sabrina Carpenter — “Espresso”
It’s starting to feel like the summer of Sabrina. After Carpenter’s “Espresso” became her first top-10 Hot 100 hit in April, it’s now her first top-5 song with its No. 4 placement this week. Between Swift and Carpenter, songs from performers on The Eras Tour make up four of the top 10 songs.
3. Shaboozey — “A Bar Song (Tipsy)”
Shaboozey has been blowing up since landing an appearance on Beyoncé’s Cowboy Carter album. His own “A Bar Song (Tipsy)” has become a hit in its own right and is now his first top-10 song on the Hot 100.
Despite all the impressive newcomers, it’s a pair of familiar faces occupying the top spot this week. Swift and Malone’s The Tortured Poets Department single debuted at No. 1 last week, and now it has held onto its place for a second frame.
This week’s top 10 on the #Hot100 (chart dated May 11, 2024). Tommy Richman and Shaboozey score their first top 10 hits, and Sabrina Carpenter reaches the top 5 for the first time.
Stagecoach Festival is a country music festival. Full stop. It’s not difficult to come to that conclusion, based on everything from the horse and boot iconography, the “Mane Stage,” the giant Yellowstone installation that takes over the entirety of Coachella’s Gobi Tent, and, of course, the attendees dressed in their finest denim, hats, and buckles.
However, the lineup might make an observer give pause. While the top of the bill has never strayed too far from its moniker as “Country music’s biggest party,” over the years, the rest of the lineup has evolved to the broadest definition of country imaginable. And we’re not just talking about Diplo, who has had his own stage for many years now for country fans who also want to dance. This year’s festival offered appearances from seemingly non-country acts like The Chainsmokers, Marshmello, The Beach Boys, Leon Bridges (Texas!), Wiz Khalifa, Nickelback, and, most importantly, Post Malone, although he did play a set of country covers.
If you don’t understand how all of this fits in at a country festival, you probably aren’t talking to people who would actually attend a country festival. Purely anecdotally, I didn’t need to leave my hotel room to get an impression of what the modern, young country fan is interested in. My neighbors, between the hits of the weekend’s headliners (Morgan Wallen, Miranda Lambert, and Eric Church), shuffled in songs by Jack Harlow and Kings Of Leon. For many, country music’s appeal is as much about the good-time vibes and broad emotional signifiers as it is about region, politics, and arrangements. And while some older generations might be put off by this, the change feels similar to Coachella’s evolution, where both are trying to reach a younger audience on their own terms.
Philip Cosores
Post Malone, one of contemporary music’s most loveable stars, embodies this perfectly. Though he first emerged through the world of SoundCloud rap, Posty has proven to be good at most things he tries. His own original music has veered into a genreless mélange that reflects the omnivorous tastes of many young music fans, while he’s proven to be adept at everything from Nirvana covers to acting. As a proud Texan, it’s not surprising that he would also slay as a country cover band, curating a set of radio hits that felt like a rowdy bar with a great house band or jukebox.
Sure, the weight of Beyoncé rumors might have been too heavy for some to fully enjoy the set. But, bringing out guests like Brad Paisley, Sara Evans, and Dwight Yoakam helped bridge any divide that might have been caused by booking the same guy that headlined the area’s Rolling Loud edition just a month earlier. Posty sounded great, but more importantly, he seemed to be having the time of his life. And, likewise, so did the audience, dancing with partners to the songs of George Strait, Alan Jackson, and Vince Gill.
Philip Cosores
In fact, maybe most surprising was that the weekend’s other breakout star, Jelly Roll, didn’t pop out at some point. Lord knows Jelly couldn’t resist several other surprise appearances, including slots with Willie Nelson, Ernest, and Nickelback. Jelly Roll also has a hip-hop background and face tattoos, and signifies that artist’s of Posty’s ilk can find success in the genre that likely would not have welcomed them a decade ago. But these days, the name of the game is less about tradition and more about having a good time with friends. This was best represented by simply walking across the polo field ahead of Ernest’s set, when “Sweet Caroline” blasted from every speaker. Everywhere you looked, you could see people singing along unabashedly, not worrying about looking cool. It’s a moment that would never happen at Coachella or Governors Ball, not because the reaction would be different, but because of what those festivals represent.
Stagecoach is not about representing an ethos these days, but about showing people a good time in any way that they’ll respond to. And if that could be summed up in a single artist, Post Malone fits the bill better than anyone.
Check out more exclusive photos of Post Malone at Stagecoach below.
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Country music fans don’t quite have a reputation for being the most welcoming. However, this year’s Stagecoach (the genre’s largest festival) debunked that myth featuring an abundance of genre newbies and outside sounds.
Since the lineup for Stagecoach 2024 was announced, ticketholders were interested to see what Post Malone would bring to the main stage. Many hoped that he’d bring out his “Levii’s Jeans” collaborator, Beyoncé, for a surprise performance. Although that didn’t happen, yesterday (April 27), Post’s set still managed to win viewers over.
Joined by Dwight Yoakam, Brad Paisley, and Sara Evans, users at home are gung ho about Post moving full steam ahead with his venture into country. Across X (formerly Twitter), viewers flooded the platform to praise Post’s performance.
“If Post Malone takes these country covers on the road, take all of my money. That was badass,” wrote one user.
I think after that #Stagecoach performance people can stop questioning whether or not Post Malone belongs in the country scene pic.twitter.com/AHEqcc1Cd3
We do not typically do this sort of thing, but today we are covering some new Taylor Swift music! So, come one, come all Swifties. The Pennsylvania pop phenom has just left off her 11th album called THE TORTURED POETS DEPARTMENT as of April 18. However, Swift stunned and most likely sent her die-hards into a frenzy when she revealed overnight that this was a “secret double album.” That is why there now two version available for streaming, with the elongated version being called THE ANTHOLOGY.
She tweeted out, “I’d written so much tortured poetry in the past 2 years and wanted to share it all with you, so here’s the second installment of TTPD: The Anthology. 15 extra songs. And now the story isn’t mine anymore… it’s all yours. As you can imagine, the Swifties are running up the streams and plays across all platforms. “Fortnight” with Post Malone is already one the album’s most tuned into tracks and for good reason. The opener has a lot of possible secret callbacks to past relationships and flings, as Genius has so astutely researched and theorized.
Listen To “Fortnight” By Taylor Swift & Post Malone
If you want a further lyrical breakdown, check out the link below. As for the song itself, “Fortnight” is a moody, soft, and smoky introduction to the LP. Jack Antonoff, one of Taylor’s most frequent producers, lays down some incredibly pretty synths that give it an 80s vibe. Post Malone chips in subtly with background vocals, but they add so much to the track. This first team-up goes over very well and it figures to be one the record’s strongest cuts.
What are your thoughts on this brand-new song “Fortnight” by Taylor Swift and Post Malone? Should they continue their work relationship moving forward, why or why not? Should Post have had more glaring contributions or did the background vocals work? How are you feeling about Swift’s new album THE TORTURED POETS DEPARTMENT: THE ANTHOLOGY? We would like to hear what you have to say, so be sure to leave your takes in the comments section. Additionally, always keep it locked in with HNHH for all of the latest news surrounding Taylor Swift and Post Malone. Finally, stay with us for everything else going on around the music world.
Quotable Lyrics:
And for a fortnight, there we were, forever running ‘Til you sometimes ask about the weather Now you’re in my backyard, turned into good neighbors Your wife waters flowers, I wanna kill her And for a fortnight, there we were, together running ‘Til you sometimes come and tug my sweater
Now, according to CBS News, the album’s impact can even be traced back to the stock market. On April 5, the outlet reported that “Levii’s Jeans,” a collaborative track with Beyoncé and Post Malone, boosted Levi Strauss’ stock value.
As the pair sang about their love for the brand’s tried and true denim, financial analysts connected it to a 20% increase in Levi’s overall public value. In a statement, the company’s CEO, Michelle Gass, shared her excitement for the peak in consumers’ interest. “I would just say that denim is having a moment, and the Levi’s brand is having a powerful moment around the world,” she said.
Gass also addressed the report that Beyoncé aided in the uptick in sales. “One of the things that really is significant about the Levi’s brand,” she said. “We also place a lot of emphasis and investment in making sure that Levi’s brand remains at the center of culture. And I don’t think there’s any better evidence or proof point than having someone like Beyoncé, who is a culture shaper, actually name a song after us.”
First, Uber and Lyft were fighting to offer the Beyhive a better promo code. Now, Levi has entered the mix. Maybe apartment management companies or mortgage lenders will take note.
The RX is Uproxx Music’s stamp of approval for the best albums, songs, and music stories throughout the year. Inclusion in this category is the highest distinction we can bestow, and signals the most important music being released throughout the year. The RX is the music you need, right now.
Beyoncé dreams of a world where everyone and everything can exist as they choose to. Where gatekeepers are without agenda beside guarding the integrity of the structure they earned the position and respect to protect. “Texas Hold ‘Em” lives in this utopia where patrons at your local dive bar dance in jolly unison and throw back shots of liquor.
When Beyoncé sings about laying your cards and throwing your keys up, it’s without a care in the world for what exists outside. Renaissance resides here too as its 16 songs are a safe space for Black, brown, and queer bodies who are not only in love with dance and ballroom but created a home for themselves there. In this utopia, there’s nothing to prove, there’s nothing to overcome, and there’s no one to fight. The sanctity of human autonomy is preserved and protected. You can be country today and dance under the disco ball tomorrow.
Cowboy Carter should’ve been born into this utopia. Instead, we have an album born out of disregard for Beyoncé’s country roots as well as her right to create as she pleases. When Beyoncé unveiled the cover for Cowboy Carter, she alluded to the criticism she faced after performing “Daddy Lessons” at the 50th CMA Awards. Beyoncé – born in Texas to parents with roots in Texas, Alabama, and Louisiana – had everything from her true intentions for the song to her country roots questioned. Ironic for the singer who was once considered “too country.”
As Beyoncé sings of dive bars, hoedowns, and tornadoes sweeping through the Lone Star State on “Texas Hold ’Em,” leads a “Riiverdance” with fingernails as her percussion, and cocks her weapon with promises to be “your shotgun ride ’til the day I die” on “II Most Wanted” with Miley Cyrus, it’s clear that questions about her country background are less about “preserving” the genre, and more about excluding stories that tell the truth about country. To bill Beyoncé’s Cowboy Carter as an album built to prove these critics wrong would be to shortchange it. Instead, it finds Beyoncé using the sound and environment she was born into to expand the possibilities of genre — and leave them behind.
Eight years after “Daddy Lessons,” Beyoncé returns to her “old friend” which she greets with chippy sarcasm on the opening track to Cowboy Carter. “Ameriican Requiem,” as much as it is a requiem, is a reckoning Beyoncé seeks. Between grand, orchestral vocal runs and twangy and croaking verses, Beyoncé speaks to her critics directly: “Can you hear me? / “Or do you fear me?” The exclusion of Black and brown people in certain spaces, especially ones they occupied in abundance for as long or longer than so-called gatekeepers, is an attempt to eliminate stories of strife and struggle caused by the same group who wants to whitewash those faults in hindsight.
However, these stories will constantly resurface in the art Black and brown people create, making it hard for these antagonists to brush them off with claims that things weren’t that bad or that they’re a lot better now, a contradiction that melts the brain if you think about it too hard. They fear the reminder, but the constant presence of these stories that track our progress and celebrate those from the past who opened the doors for today are too valuable to be erased.
Cowboy Carter resurrects stories of Beyoncé’s past as well as those from Black artists in the South. “16 Carriages” mourns the innocent life she once had as a child in the land of milk & honey with a future she naively hoped would be just as sweet and nourishing. Though her music dreams came true, the price at which they were granted produced an “undеrpaid and overwhelmed” child, a mother “goin’ so hard, now I miss my kids,” a battered relationship between her parents that ended in their separation after her father’s infidelity. The record, just like Cowboy Carter, thrives in the face of unfortunate circumstances.
“Ya Ya,” a blood-pumping, foot-stomping, and hand-clapping chant, salutes the legacy of the Chitlin Circuit, a string of venues in the South that was home to Black artists who wanted to perform their music as they were denied the opportunity to do so in white venues. Undeniable legends like James Brown, Jimi Hendrix, Ray Charles, Ella Fitzgerald, Billie Holiday, B.B. King, Little Richard, the Jackson 5, and Tina Turner all performed throughout the Chitlin Circuit. The Chitlin Circuit and Cowboy Carter are both born from the attempted exhalation by their respective distractors and oppressors. Their greatness won’t be questioned, but they should’ve been able to exist with better circumstances at their foundation.
Cowboy Carter doesn’t exist in the world that country is “supposed” to be in. Instead, it blends genres that go against tradition and brings us the brash “Spaghettii,” the bass-knocking “Tyrant,” the pop-leaning “Levii Jeans,” and the funky “Desert Eagle.” Things are much different in Beyoncé’s country, just as they were in her ballroom. With the inclusion of talented burgeoning artists like Tanner Adell, Brittney Spencer, and Shaboozey, she uncovers a side of country that deserves more time in the spotlight. It proves that country, just like other genres, is simply what you make of your roots and experiences that sprout from it. Everyone should be able to tell their story how they please. Cowboy Carter protects and advocates for the undisturbed existence of art from Black and brown creatives, and through 27 songs, Beyoncé stands as a winner in a fight that should’ve never existed.
Cowboy Carter is out now via Parkwood Entertainment/Columbia Records. Find out more information here.
Aside from today’s Easter holiday, many people all over the world have also been celebrating the release of BeyoncéCowboy Carter. The singer’s eighth album is also the second installation in a trilogy of albums she promised before the release of Renaissance. Cowboy Carter is a sprawling 27-track effort that captures Beyoncé in a full country swing, swapping 808s and uptempo dance production for the twang of a strumming banjo and a good ol’ time at the rodeo.
So far, Cowboy Carter has been met with positive reviews as it even went on to break a Spotify streaming record in the first 24 hours since its release. Throughout the album’s 27 songs, Beyoncé recruited help from names all over the industry. Some are frequent collaborators (The-Dream & Jay-Z) and others are new to working with Beyoncé (Shaboozey, Tanner Adell & Brittney Spencer). With all that being said, we dove into the album credits to see who helped Beyoncé make each of the songs on Cowboy Carter a reality. You can scroll down to check out the full list.
1. Ameriican Requiem
Guest Vocalists: Ink (Background Vocals) Producers: Beyoncé, Derek Dixie, Jon Batiste, Khirye Tyler, No I.D. & Tyler Johnson Co-Songwriters: Ink
2. Blackbiird
Guest Vocalists: Tanner Adell, Brittney Spencer, Tiera Kennedy & Reyna Roberts (Featured Artists) Producers: Beyoncé, Khirye Tyler & Paul McCartney Co-Songwriters: Beyoncé, John Lennon & Paul McCartney
3. 16 Carriages
Guest Vocalists: N/A Producers: Beyoncé, Ink, Dave Hamelin, Raphael Saadiq & Stuart White Co-Songwriters: Beyoncé, Raphael Saadiq, Ink & Dave Hamelin Drums: Lemar Carter Guitar: Dave Hamelin, Ink & Justus West Organ: Dave Hamelin & Gavin Williams Piano: Dave Hamelin Steel Guitar: Justin Schipper & Robert Rnadolph Synthesizer: Dave Hamelin Trumpet: Ryan Svendsen
4. Protector
Guest Vocalists: Rumi Carter (Intro Vocals) Producers: Beyoncé & Jack Rochon Co-Songwriters: Beyoncé, Ryan Beatty, Camaron Ochs & Jack Rochon
Guest Vocalists: Willie Nelson (Featured Artist) Producers: Beyoncé & Dave Hamelin Co-Songwriters: Beyoncé, Dave Hamelin, Jeff Gitelman & Leah Nardos Takele
15. Just For Fun
Guest Vocalists: Willie Jones Producers: Beyoncé & Dave Hamelin Co-Songwriters: Beyoncé, Dave Hamelin, Jeff Gitelman, & Ryan Beatty
16. II Most Wanted
Guest Vocalists: Miley Cyrus (Featured Artist) Producers: Beyoncé, Jonathan Rado, Michael Pollack, Miley Cyrus & Shawn Everett Co-Songwriters: Beyoncé, Michael Pollack, Miley Cyrus & Ryan Tedder
17. Levii’s Jeans
Guest Vocalists: Post Malone (Featured Artist) Producers: Beyoncé & Terius “The-Dream” Gesteelde-Diamant Co-Songwriters: Beyoncé, Austin Post (Post Malone), Nile Rodgers, S. Carter (Jay-Z) & Terius “The-Dream” Gesteelde-Diamant
Guest Vocalists: N/A Producers: Beyoncé, Dave Hamelin & Jack Rochon Co-Songwriters: Beyoncé, Ryan Beatty, Terius “The-Dream” Gesteelde-Diamant, Dave Hamelin, Mark Spears & Jack Rochon
25. Tyrant
Guest Vocalists: Dolly Parton Producers: Beyoncé, D.A. Got That Dope & Khirye Tyler Co-Songwriters: Beyoncé, Camaron Ochs, David Doman, Dominik Redenczki, Ezemdi Chikwendu & Terius “The-Dream” Gesteelde-Diamant
26. Sweet ★ Honey ★ Buckiin’
Guest Vocalists: Shaboozey (Featured Artist) Producers: Beyoncé & Pharrell Williams Co-Songwriters: Beyoncé, Collins Chibueze (Shaboozey), Hank Cochran, Harlan Howard, S. Carter (Jay-Z), Terius “The-Dream” Gesteelde-Diamant & Pharrell Williams
27. Amen
Guest Vocalists: Danielle Balbuena (070 Shake) Producers: Beyoncé, 070 Shake, Dave Hamlin, Derek Dixie, Ian Fitchuck, Sean Solymar, Tyler Johnson Co-Songwriters: Beyoncé, Camaron Ochs, Danielle Balbuena (070 Shake), Darius Dixon, Dave Hamelin, Derek Dixie, Ian Fitchuk & Tyler Johnson
Cowboy Carter is out now via Parkwood Entertainment/Columbia Records. Find out more information here.
Two Texas legends have teamed up in stylish southern fashion. Tonight (March 29), Beyoncé dropped her eighth studio album, Cowboy Carter, which features some festive collaborations. On a steamy song called “Levii’s Jeans,” Bey and Post Malone turn up the heat in their favorite denim garments.
“Levii’s Jeans” is full of sexy metaphors, as Bey sings “Boy, I’ll let you be my Levi’s jeans / So you can hold that ass all day long / Call me your sexy little thing / Snap a picture, bring it on.”
Posty chimes in with some southern twang, ruminating over a long-distance lover, and how they’re going to spend the time together once they reunite.
“Rodeo in your room, that’s you, break zoom, sweet perfect timin’ / Love it when you tease me in them jeans, girl, you don’t need designer / And when that thing gon’ hide your plane, baby girl, you the pilot / And I ram along, I could go on, but I’m goin’ on sight,” sings Posty.
The song arrives as an early contender for song of the summer, and is enough to put the unspoken beef between Dallas and Houston to rest.
You can listen to “Levii’s Jeans” above.
Cowboy Carter is out now via Parkwood and Columbia Records. Find more information here.
Beyoncé’s highly anticipated country album, Act 2: Cowboy Carter, has finally hit the airwaves. The anticipation for the project reached a high point yesterday when she dropped off the tracklist. However, the album showcases a diverse array of features and talent. Released tonight (March 29), the album serves unforgettable journey into the heart of country music, with an impressive lineup of collaborators and an abundance of heartfelt tributes. Miley Cyrus and Post Malone made guest appearances to name a few. Cyrus joins Beyoncé on the track “II Most Wanted,” while Malone lends his distinctive vocals to “Levii’s Jeans.” Additionally, country music legends Dolly Parton and Willie Nelson make appearances on the album, contributing to an interlude alongside Linda Martell, the pioneering black female solo artist who made history at the Grand Ole Opry. In addition, Beyoncé’s daughter Rumi Carter joins her for the track “Protector.”
Moreover, one of the standout moments on the album is Beyoncé’s rendition of Parton’s classic hit, “Jolene.” Following Parton’s interlude, Beyoncé’s soulful interpretation of the 1973 track serves as a powerful homage to the country music icon and adds a fresh perspective to the beloved song. The release of Cowboy Carter follows the surprise drop of singles “Texas Hold ‘Em” and “16 Carriages” during the Super Bowl, building anticipation for the full album. Serving as the long-awaited Act II of Beyoncé’s 2022 project, Renaissance, the album represents a culmination of the singer’s exploration into the country genre.
Moreover, Beyoncé’ recently revealed that her journey to “Cowboy Carter” began five years ago. Furthermore, this revelation was sparked by an incident at the Country Music Association Awards in 2016. Reflecting on her experience, she shared on social media last week that she felt unwelcome in the country music community at the time. However, this experience inspired her to delve deeper into the genre’s rich history, leading to the creation of Cowboy Carter and a newfound appreciation for its musical legacy.
With its diverse lineup of collaborators, heartfelt tributes, and Beyoncé’s unmistakable talent, Cowboy Carter is set to leave a lasting impression on the world of country music. As fans immerse themselves in the album’s captivating melodies and soul-stirring lyrics, they are sure to discover a newfound appreciation for the genre and Beyoncé’s groundbreaking contributions to its evolution. Are you excited to listen to the entire project? Let us know on HNHH which track is your favorite!
Tracklist: AMERICAN REQUIEM BLACKBIRD 16 CARRIAGES PROTECTOR MY ROSE SMOKE HOUR WILLIE NELSON TEXAS HOLD ‘EM BODYGUARD DOLLY P JOLENE DAUGHTER SPAGHETTI ALLIGATOR TEARS SMOKE HOUR II JUST FOR FUN II MOST WANTED LEVII’S JEANS FLAMENCO THE LINDA MARTELL SHOW YA YA OH LOUISIANA DESERT EAGLE RIVERDANCE II HANDS II HEAVEN TYRANT SWEET HONEY BUCKIN’ AMEN
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