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Read ArticlesBillboard Editorial Director Hannah Karp presents Shaboozey with a Billboard Hot Country Songs No.1 chart plaque to celebrate his record breaking achievement with his song “A Bar Song (Tipsy).”
Hannah Karp:
Good evening, everyone. I’m Hannah Karp. I’m Billboard’s Editorial Director. And I am thrilled to have with us, tonight, an artist who scored his first three Hot 100 Hits this year. The first two “SPAGHETTII” and “SWEET ★ HONEY ★ BUCKIIN’” were collaborations with Beyoncé, who of course made history this year, as the first black woman ever to top Billboard’s Hot Country Songs Chart with her hit “TEXAS HOLD ‘EM.” But a few weeks ago, this fast rising star that we have in the house tonight, made even more history when he replaced Beyoncé atop the Hot Country Songs Chart with his own hit “A Bar Song (Tipsy)” marking the first time that two black artists have topped the 66 year old chart back to back. Give it up. So now, “Tipsy” is in its third week at No. 1 on the Hot Country Songs Chart having hit No. 3 on the Hot 100 and No. 5 on Billboard’s Global 200 Chart. And it’s continuing to climb the Country Airplay and Pop AirPlay Charts. Ladies and gentlemen, please welcome Shaboozey to the stage. Shaboozey, it is our pleasure. It is our pleasure to present you with this plaque to commemorate your historic No. 1 and here’s to many, many more. And we are so excited to hear your new album coming out at the end of the month.
Hannah Karp Presents Shaboozey With Billboard Hot Country Songs Chart Plaque for “A Bar Song (Tipsy)” | Country Power Players 2024
NASHVILLE – The Music Business Association conference kicked off successfully in Nashville this week, with the annual gathering bringing together more than 2,100 music industry professionals representing attendance from over 750 companies and more than 30 countries, the trade group’s president, Portia Sabin, announced on Tuesday (May 14) in her annual address on the state of the Music Biz organization.
What’s more, Sabin said proposals for programming at the conference, which is crowd-sourced from industry executives, saw a 30% increase this year, “reflective of everything our industry wants to discuss — from hot topics like AI, gaming, and social impact, to perennial favorites like synch, music and money, and marketing. And don’t worry, we still have the critical but non-sexy topics like metadata and neighboring rights.”
With a full-court press of panels and seminars on many of the industry’s challenges and opportunities, Sabin also reported that about 325 speakers/panelists are set to take part in this year’s conference. She additionally noted the the trade group’s membership has grown by 106 companies and organizations since last year’s gathering, with Deezer, Audiomack, Pirames International, SonoSuite, the NMPA (National Music Publisher’s Association) Louisiana Entertainment (a division of Louisiana Economic Development) and Toronto Metropolitan University joining the fold.
Beyond the convention, Sabin reported that the organization continues to stage its Music Biz Roadshow event series in places like Dallas, Miami and Huntsville, Ala., with programs for local indie musicians that have included topics like “Tech Solutions in Music,” “The State of Independent Distribution” and “Where’s My Money and How Do I Get It?” Those events have featured companies like the Mechanical Licensing Collective, CD Baby, Bandcamp, TropiSounds, Songtrust, Symphonic Distribution, Syntax Creative, Switchchord and Music Audience Exchange. “If your company wants to be a part of a Roadshow this year, please let my team know – they are some of the most fun and inspirational events we do and we’d love to have you join us,” Sabin said.
Besides going on the road, the trade group has also created a new virtual series, Music Biz Passport, which explores a different international market each time. “These events are meant to connect music business executives from the U.S. with international trendsetters so they may both learn what does and doesn’t work in these communities, and build new partnerships that will ultimately make our industry stronger,” Sabin elaborated, adding that upcoming events will focus on local music industries in Finland, Latin America, Southeast Asia, the Middle East and North Africa.
On the good works front, Sabin reported that Music Biz has partnered with the Music Health Alliance to set up the MHA Mental Health Fund. Since its launch, backed by a $50,000 contribution from the SCARS Foundation — an organization created by Sully Erna and the band Godsmack to support mental health initiatives — the fund has grown to $355,000 and served more than 500 music industry professionals through 5,246 outpatient counseling and psychiatry visits.
Meanwhile, the organization’s scholarship foundation has raised $60,000 and given out 12 scholarships to deserving music business students to the tune of $5,000 each, Sabin reported, thanking the scholarship committee for their hard work as well as “Lisa Robinson and Aaron Tochini for going above and beyond.”
Finally, Sabin celebrated another big accomplishment the trade group achieved during the year: persuading Luminate to abandon its implemented plan to unweight physical sales data, thus changing the chart methodology. Following the initial change to unweight sales data, Sabin, the retail coalitions and other stakeholders pulled together to partner with Streetpulse to collect that data from indie stores. After indie music retailers began boycotting reporting to Luminate, Music Biz worked with the coalitions to negotiate a deal that brought indie store data back into the Luminate system. As a result of that effort, the number of stores reporting to Luminate has more than doubled to 315 stores, up from the 140 retailers that previously reported to Luminate before the imbroglio.
“I want to thank everyone who was invested and made their voices heard on this issue, from retail stores to labels to distributors to individual artists – and of course to Rob Jonas and Luminate for coming to the table and being good partners,” Sabin said. “Those who’ve been around since the NARM days know that physical retailers are the original heart of Music Biz, and this year’s Record Store Day was another off-the-charts success… proving yet again that physical is a vital part of our industry.”
Sabin closed by noting that the conference is moving to Atlanta next year and will take place May 12 to May 15 at the city’s Renaissance Waverly Hotel. “It’s a great property that’s close to The Battery and Braves Stadium; and we’re especially excited that we were able to buy out the entire hotel, meaning everyone there will be a Music Biz attendee,” she said. “Sounds like sleepaway camp, right?”
Music Biz 2024: President Portia Sabin Talks Growth, Luminate’s Indie Retail Sales Expansion & More
Shaboozey accepts his Billboard Hot Country Songs No.1 chart plaque for his record breaking achievement with his song “A Bar Song (Tipsy).”
Shaboozey:
I was told this was going to be like a dinner. So I didn’t prepare a speech at all. But um, I just want to say I’m like super grateful and super honored to just be here on this stage. You know, I never thought in my like wildest dreams that I would be here getting an award like this, you know there’s so many people here I want to thank. There’s so many people that you know, I think you know, we should all be up here together. So, you know, this is not just for me, this is for everybody that’s really just making change in this space. You know, Mike and Tanya, I see y’all know. I mean, I remember hearing “Hey Driver” for the first time and just crying my eyes out. I see Reyna Robertson here as well. I know there’s a couple other people that may not be here, may be here, Tanner, Willie, everybody, I just you know, super. You guys mean a lot to me and everything you guys have done in this, you know, we’re here together. And my message is has always been my message has been integration and just bringing people together and just sharing stories. You know, it’s never been about anything. Other than that, so, you know, thank you so much. And also thank Beyoncé, too. What am I talking about, the Queen. Thank y’all so much. Love y’all seriously.
Shaboozey Accepts Billboard Hot Country Songs Chart Plaque For “A Bar Song (Tipsy)” | Country Power Players 2024
Metro Boomin stands poised in quiet confidence, silhouetted against the backdrop of the Great Pyramids of Giza. With an aura of timeless grandeur, the three pyramids echo the iconic rhythm of his “Young Metro 3x” producer tag. Framed meticulously by his photographer, Gunner Stahl, the moment is frozen in time, capturing not just an artist, but a convergence of history, culture and creativity. As the desert sun bathes the scene in a golden light, Metro Boomin’s presence among the pyramids becomes more than a photograph – it’s a testament to the enduring legacy of artistry and innovation.
In this juxtaposition of ancient wonder and contemporary music, Metro’s presence before the pyramids speaks volumes. It demonstrates hip-hop’s enduring influence and its ability to transcend time and space, from Missouri to the Middle East. Metro Boomin’s April 30 concert at the Kundalini Grand Pyramids venue sold out in record time, whereby Live Nation, the organizer, announced a second night in his routing through the Middle East (including a show in Abu Dhabi’s BRED Festival). The majority of the audience knew the words to at least one if not several of his songs and collaborations played during his nearly two-hour set, suggesting that Metro Boomin’s music has found a home in hearts of youth culture worldwide.
Per Billboard Explains, Metro Boomin’s Billboard Hot 100 breakthrough as a producer came with Future’s “Honest,” which hit No. 55 in 2013. Over the next three years, he produced 23 more Hot 100 hits. He earned his first No. 1 on the Hot 100 for his work on Migos and Lil Uzi Vert’s collab “Bad and Boujee,” which topped the chart for three weeks in 2017. The episode explains that Metro boasts a remarkable tally of 16 top 10 hits on the Hot 100, including noteworthy productions like The Weeknd’s “Heartless” in 2019 and his collaborative effort with Future and Kendrick Lamar, “Like That,” which clinched the No. 1 spot on the Hot 100 for three weeks this year.
His collaborations with prominent rap artists on groundbreaking albums have been stellar, with seven top 10 entries on the Billboard 200. According to Billboard Explains, notable highlights include Double or Nothing with Big Sean, which peaked at No. 6 in 2017, Savage Mode II, which ascended to No. 1 on the Billboard 200 in 2020, and his solo project Heroes and Villains, which claimed the top spot on the Billboard 200 in 2022, maintaining a record-breaking 18-week reign atop the Top Rap Albums chart. So far in 2024, Metro’s collaborative album with Future, We Don’t Trust You, and the follow up album, We Still Don’t Trust You, both debuted at No.1 on the Billboard 200.
Despite the accolades, Metro maintains a subtle balance of confidence and humility, driven by what feels like a clear sense of purpose in how he approaches making music and chart-topping hits. Throughout his two shows at the Kundalini Grand Pyramids venue, Metro praises his audience and carries with him a sense of wonderment at performing against the backdrop of some of the oldest structures in the world. “I’ve always wanted to see this [the pyramids] with my own eyes, but I could never even fathom doing a show and performing in front of something as crazy and legendary and history as this,” says Metro. “I’m grateful for everyone, for the whole country.”
Metro displays this love in his Cairo shows, wrapping himself in an Egyptian flag as the epic intro of “Superhero (Heroes & Villains)” with Future and Chris Brown plays out in one of his closing tracks in the set. He seems completely unfazed that he is performing solo. He emcees his set, engaging frequently with the audience while delivering a mixtape of his massive body of work, masterfully scripted together in a way that tells a story of what it means for a kid from St. Louis, Miss., to end up making music that captivates the entire world.
When asked about his first hip-hop memory, and what song or album compelled him to pursue the genre artistically and professionally, Metro points back to the year 2000, with the release of Nelly’s Country Grammar. Still in kindergarten at the time, there was no going back for Metro, and with the support of his mother, Leslie Joanne Wayne, he went on to become the most sought-after hip-hop producer of his generation, and a catalyst for reviving the genre’s placement on the Billboard charts.
As reported by Billboard, with We Still Don’t Trust You arriving atop the Billboard 200 only three weeks after We Don’t Trust You debuted at No. 1, that marks the shortest gap between new No. 1s by an artist since Future replaced himself at No. 1 in 2017 in successive weeks with his self-titled album (March 11, 2017, chart) and HNDRXX (March 18, 2017), both of which debuted at No. 1.
According to Metro Boomin, this success came as a result of what he calls “really caring,” coupled with the urgent need to continue competing with oneself, in order to do better than whatever he did last. But there was a deeper force at play beyond just his individual work ethic, which propelled his consecutive albums with Future to unprecedented heights.
In June 2023, Billboard reported that “rap had yet to produce a Billboard 200-topping album or Billboard Hot 100-topping single” that year, while industry executives grew concerned over the genre’s growth and potential stagnation. So for Metro, things got personal.
“I really took it personally, in the past couple years, seeing different outlets and people sh-tting on hip-hop, saying ‘hip-hop is dying, hip-hop is this, it’s been this long since there was a hip hop No 1…’ says Metro Boomin. “Just trying to spin that whole hip-hop is dying narrative, at the same time trying to celebrate 50 years of hip-hop. I felt they were trying to wash our genre and culture away, I’m still in the game, and I take it personal. Those kind of things disturbed me, at the same time, it was the kind of fuel I needed.”
Reflecting on his roots and the impact of his work on hip-hop, Metro’s passion for the genre is radiant. This undeniable drive propels him to continuously elevate his presence on the Billboard charts and within the genre at large. With each chart-topping hit and sold-out show, Metro Boomin not only cements his own legacy but also pays homage to hip-hop while ensuring its continued relevance for generations to come. Because for Metro, hip-hop is not dead, it’s very much alive and thriving.
Metro Boomin at the Giza Pyramids: From Missouri to the Middle East, Redefining the Narrative of Rap
There’s a lot to like on Billboard’s Rhythmic Airplay chart for Future, Metro Boomin and Kendrick Lamar, whose collaboration “Like That” climbs to No. 1 on the radio ranking list dated May 18. The song rises from No. 3 after a 12% increase in plays made it the most-played song on U.S. monitored rhythmic radio stations in the tracking week of May 3-9, according to Luminate.
Thanks to the 12% surge on already strong airplay, “Like That” wins the Greatest Gainer honor, awarded each week to the song with the largest increase in plays among the chart’s 40 titles. A pair of Texas stations, KBBT-FM in San Antonio and KBFM-FM in McAllen, lead the way with the most “Like That” plays in the latest tracking week, while Fresno, Calif.’s KBOS-FM rounds out the top three.
“Like That” awards Future his sixth Rhythmic Airplay No. 1. Here’s a review of his half-dozen champs, all of which ruled for one week except “Way 2 Sexy,” a two-week occupant of the penthouse.
- “Jumpman,” with Drake, on the chart dated Feb. 2, 2016
- “Mask Off,” June 24, 2017
- “Life Is Good,” featuring Drake, March 21, 2020
- “Way 2 Sexy,” Drake featuring Future & Young Thug, two, Oct. 23, 2021
- “Wait for U,” featuring Drake & Tems, July 2, 2022
- “Like That,” with Metro Boomin & Kendrick Lamar, May 18, 2024
Producer Metro Boomin, meanwhile, picks up his second visit to Rhythmic Airplay’s top slot as a credited artist. His prior leader came with “Creepin’,” a teamup with The Weeknd and 21 Savage that led the list for three frames. As a producer, he’s been behind several more No. 1s at the radio format, including the aforementioned “Jumpman” and “Mask Off,” Migos’ “Bad and Boujee,” featuring Lil Uzi Vert and The Weeknd’s “Heartless.”
For Kendrick Lamar, “Like That” becomes the MC’s fifth No. 1 on Rhythmic Airplay and first since 2018. The Pulitzer Prize winner’s collection of champs now looks like this:
- “Humble.,” three weeks at No. 1, beginning June 3, 2017
- “Loyalty.,” featuring Rihanna, one, Sept. 30, 2017
- “Love.,” featuring Zacari, one, Dec. 30, 2017
- “Pray for Me,” with The Weeknd, two, April 14, 2018
- “Like That,” with Future & Metro Boomin, one (to date), May 18, 2024
Elsewhere, “Like That” extends its Rap Airplay reign to a third week at No. 1, with a 13% gain in audience for the latest tracking week. It repeats at its No. 3 best on Mainstream R&B/Hip-Hop Airplay, though it added 14% more plays in the week. Continued progress at the rhythmic and R&B/hip-hop formats pushes “Like That” 20-17 on the all-genre Radio Songs chart. There, it improved to 29.4 million in total audience, up 13% from the prior week.
Future, Metro Boomin & Kendrick Lamar Take ‘Like That’ to No. 1 on Rhythmic Airplay Chart
During Whoopi Goldberg’s recent appearance on Kelly Clarkson‘s talk show, the two women shared a bonding moment when they discovered that they had both used prescription medications for weight loss. Their comments, however, garnered backlash from viewers who are either opposed to the practice or feel entitled to more transparency on the three-time Grammy winner’s part — and Goldberg is having none of it.
In a clip from the latest episode of The View posted Wednesday (May 15), the actress came to Clarkson’s defense while revisiting the topic of health with her co-hosts Sara Haines, Joy Behar, Sunny Hostin and Alyssa Farah Griffin. “Apparently our conversation about weight has a lot of people talking,” she began before showing a snippet of Monday’s (May 13) Kelly Clarkson Show episode.
In the snippet, Goldberg revealed that she’s been losing weight with the help of “the wonderful shot that works for folks who need some help.” Clarkson responded that she had also been prescribed an injectable weight loss remedy to help with her weight retention and thyroid issues. In February, the “Stronger” singer revealed that she’d been diagnosed pre-diabetic.
“Everybody thinks it’s Ozempic,” Clarkson told Goldberg. “It’s not, it’s something else.”
On The View, the Sister Act alum reminded viewers that “a lot of people are taking the shot because they need it,” before admonishing people for criticizing Clarkson’s use of a weight loss prescription. “They kick her behind when she’s bigger, they kick her behind when she’s lost the weight, and now they’re kicking her behind because she said it out loud,” she said.
“It seems like this generation shares everything,” Goldberg continued. “What they ate for dinner, who they ate for dinner, all kinds of stuff. You have people like myself who, it’s like, ‘When I’m ready to tell you, I’ll tell you. When I’m comfortable, I’ll let you know.'”
“We have to let people do what they need to do to get where they need to get to,” she added. “Stop being mad that they’re not doing it your way. It’s not like we really know what you’re doing.” She then joined Griffin in cheering, “Leave Kelly Clarkson alone!”
The topic of Ozempic and similar drugs has been a sensitive one in recent months, with the medication’s proven weight-loss properties causing a new surge in off-label prescribing. Ozempic itself is an FDA-approved injectable originally formulated to help adults with type 2 diabetes manage their blood sugar.
Clarkson previously discussed her weight loss in a conversation with Kevin James on her show, which is also when she revealed that her doctors had told her she was pre-diabetic. Around the same time, she said that moving to New York with her two young children — whom she shares with ex-husband Brandon Blackstock — had jumpstarted her weight loss by forcing her to walk around the city constantly.
Watch Goldberg defend Clarkson on The View below.
Whoopi Goldberg Tells Haters to ‘Leave Kelly Clarkson Alone’ After Weight Loss Backlash
Lainey Wilson performs her song “Wildflowers and Wild Horses” and “Country’s Cool Again” at Billboard’s Country Power Players 2024.
Read the lyrics below and stay tuned for more Lainey Wilson news.
Lainey Wilson’s “Wildflowers and Wild Horses” Lyrics
In the middle of the night
I hear a cornfield coyote cry
Up at the moon, no matter what
Sky, I’m layin’ under
In the eye of a hurricane
When I got one foot in the grave
I’ll dig my boots into the dirt
And face the rollin’ thunder
I’m five generations of blazin’ a trail
Through barb-wired valleys and overgrown dells
I’m barefoot and bareback and born tough as nails
Whoa, whoa, whoa
I’m four-fifths of reckless and one-fifth of jack
I push like a daisy through old sidewalk cracks
Yeah, my kinda crazy’s still runnin’ its courses with
Wildflowers and wild horses
It’s in the water, in my veins
That bread of Heaven falls like rain
So I’m taken care of either way
Make somethin’ outta how I’m made
Until I hitch a ride on Glory’s train
I’m five generations of blazin’ a trail
Through barb-wired valleys and overgrown dells
I’m barefoot and bareback and born tough as nails
Whoa, whoa, whoa
I’m four-fifths of reckless and one-fifth of jack
I push like a daisy through old sidewalk cracks
Yeah, my kinda crazy’s still runnin’ its courses with
Wildflowers and wild horses
I’m five generations of blazin’ a trail
Through barb-wired valleys and overgrown dells
I’m barefoot and bareback and born tough as nails
Whoa, whoa, whoa
I’m four-fifths of reckless and one-fifth of jack
I push like a daisy through old sidewalk cracks
Yeah, my kinda crazy’s still runnin’ its courses with
Wildflowers and wild horses
Yeah, my kinda crazy’s still runnin’ its courses with
Wildflowers and wild horses
Wildflowers and wild horses
Lyrics © Sony/ATV Music Publishing LLC
Songwriters: Paul Sikes / Lainey Wilson / Trannie Anderson
Lainey Wilson Performs ‘Wildflowers and Wild Horses’ & ‘Country’s Cool Again’ | Billboard Country Power Players 2024
Milo Yiannopoulos has resigned from his position as Yeezy’s Chief of Staff, according to Rolling Stone. In a copy of his resignation letter obtained by TMZ, he blamed Ye‘s plans to venture into the porn industry for his departure.
In the letter, Yiannopolous wrote that he “cannot be complicit in the production or dissemination of pornographic films and literature” for a variety of reasons, including that such films “represent an imminent danger to my life as a recovering addict and an unacceptable risk to my spiritual and physical health as a former homosexual.”
Closing his statement, Yiannopoulos said that he would effectively resign “by Friday, May 31, 2024, or the first pornography shoot, whichever is sooner,” while adding that he would return to Yeezy “if, at some time in the future, the company publicly and permanently abandons any plan to produce, distribute, or profit from obscene content.”
Milo first began working with Ye after the rapper’s failed 2020 presidential campaign, when he enlisted the far-right political pundit as an advisor in 2022 to help with his 2024 run. Yiannopoulos was also at the center of a controversy earlier this year involving Yeezy and marketer/internet personality Julieanna “YesJulz” Goddard. Goddard, who joined Yeezy to help with the rollout of Vultures 1, claimed to have been unfairly terminated among other things.
The artist formerly known as Kanye West has reportedly linked up with porn industry veteran — and Stormy Daniels’ ex-husband — Mike Moz to form Yeezy Porn. TMZ reported that other important employees have left the company in recent weeks, with Milo reportedly saying he plans to return to the company if Ye hits the eject button on the whole porno thing.
Billboard has reached out to Yeezy for comment. Read Yiannopolous’ full resignation full below:
Milo Yiannopoulos Says No to Porn, Resigns from Ye’s Chief of Staff Position
Jelly Roll‘s hard-fought journey from prison inmate to Billboard chart-topper is well-known, and was even the focus of the Hulu documentary Jelly Roll: Save Me. Onstage and in interviews, he is unfiltered and down-to-earth in relating to his audience and sharing his story.
But now with three No. 1 Country Airplay hits to his credit, Grammy nominations, his hit album Whitsitt Chapel, and his 44-city Backroad Baptism Tour in 2023, Jelly Roll opens up about one thing he’s splurged on, which he calls a “frivolous habit” — and it involves socks.
Speaking with Audacy’s Sabrina from Queens, Jelly Roll said, “Don’t judge me for this, y’all. I promise I grew up very humble, but I only wear socks once. I buy socks in bulk…it’s the most frivolous thing I’ve done with my success. I’m sorry, I hope I didn’t let nobody down with that but when you’re fat, you can’t have stinky feet too, so you gotta have fresh socks!”
Leading up to the Academy of Country Music Awards on Thursday (streaming on Prime Video), Jelly Roll is celebrating his first year of being nominated. His name is there in the categories of male artist of the year, music event of the year (for “Save Me” with Lainey Wilson), single of the year (“Need a Favor”) and the night’s biggest honor, entertainer of the year.
“The entertainer of the year [nomination], that’s crazy talk,” Jelly Roll told Audacy’s Katie Neal. “I just couldn’t wrap my head around being nominated four times. Before I even seen what the four noms were, I seen the stat that it was the first time someone went from zero nominations to EOTY nomination since Billy Ray Cyrus in 1993.”
The ACM Awards will take place at the Ford Center at the Star in Frisco, Texas on Thursday night and will be hosted by Reba McEntire.
Jelly Roll Spills on His Most ‘Frivolous Habit’ Since Becoming Famous
The War and Treaty accepts the Groundbreaker award at Billboard’s Country Power Players 2024.
Tanya Trotter:
Well, I would first want to thank God for getting us here. And I have to thank my best friend, my lover, my partner in crime, my songwriting partner and my husband, Mr. Michael Trotter Jr. I just can’t believe that we’re standing up here, to be very honest.
We journeyed into Americana music a few years ago, we called a young lady by the name of Rissi Palmer and we were in … and we were like, homeless in Maryland, asking her what does she think about us doing country music or Americana music? And she says, “I don’t see why not. I think you can do anything you put your mind to.” And we charted on that path. We love The Civil Wars, we love Shovels & Rope, we loved all those bands.
And we began our journey in our turtle top Ford van, up and down 95 with our little son in the back, putting cheeseburgers up under his seat when we stopped at McDonald’s for the $1 meal. And we’re just grateful for where it has led us. We want to thank. I’m gonna let my husband talk. We want to thank you UMG, want to thank Cindy Mape, our family at UMG, we want to thank our lawyer, Jeff Covin, our team. We started our management company about nine or 10 months ago. And we want to thank Virginia Prater, who was our first booking agent and our young team Jolene and Michelle.
Keep watching to learn more!
The War and Treaty Accepts Groundbreaker Award | Billboard’s Country Power Players 2024
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