This is The Legal Beat, a weekly newsletter about music law from Billboard Pro, offering you a one-stop cheat sheet of big new cases, important rulings and all the fun stuff in between. This week: Shaboozey gets into a thorny legal battle with his former label; Beyoncé and the Foo Fighters move to stop Donald Trump from using their songs; another lawsuit erupts over the control of the Ramones; and much more.

THE BIG STORY: Shaboozey’s Looming “Bar” Fight

Amid the massive success of Shaboozey’s “A Bar Song (Tipsy),” an acrimonious legal battle is brewing in Los Angeles Superior Court. 

On Wednesday (Aug. 21), the breakout country star (born Collins Obinna Chibueze) filed a lawsuit against music publisher Warner Chappell and his former record label, Kreshendo Entertainment, accusing them of breach of contract. Two days later, Kreshendo sued him right back, accusing him of “a strategy of fraud and misrepresentation.” 

The dispute? The extent to which Shaboozey is still bound by a deal he signed with Kreshendo back in 2016, when he was a relatively unknown artist. Both sides agree that the deal was terminated in 2019, but they are at odds over Shaboozey’s continuing obligations to his old label. And Warner has gotten roped in because it administers his publishing rights, which play a key role in the dispute. 

The litigation is getting underway just as “A Bar Song” has emerged as one of the biggest hits of 2024. A genre-blending hit that interpolates J-KWON‘s 2004 rap hit “Tipsy” into a bouncy pop country track, the track has spent seven weeks at No. 1 on the Billboard Hot 100, marking the longest chart-topping stint of the year. 

In its lawsuit, Kreshendo says it was that sudden success that sparked the legal battle: “Shaboozey had no issue with any of these terms for years. It was only after he recently released the ‘Bar Song,’ which has become a huge hit, that he has taken sudden issue with the terms he expressly agreed to.” 

We’ll keep you posted as the dispute moves ahead in court… 

Other top stories this week…

FAMILY FUED – A California appeals court issued a final ruling allowing the Michael Jackson estate to proceed with a $600 million sale of the singer’s catalog to Sony Music, rejecting objections from his mother Katherine Jackson that aimed to block the deal. She’d argued that the deal “violated Michael’s wishes,” but the court ruled that the superstar’s will gives his executors (John Branca and John McClain) “broad powers” to ink such transactions. 

HOLD UP – Beyoncé‘s record label and music publisher sent a cease-and-desist to Donald Trump‘s presidential campaign over its use of the megastar’s song “Freedom” in a social media video, prompting the campaign to quickly pull down the offending post. The Bey track serves as the official theme song for the campaign of Democratic presidential nominee Kamala Harris — likely the reason why the Trump campaign used it. 

ANTI-HERO? – Elsewhere in Trump world, the Foo Fighters publicly claimed that they had not authorized the former president to play their 1997 anthem “My Hero” at a rally with Robert F. Kennedy Jr. and would seek to prevent him from doing so in the future. The campaign later claimed that it had, in fact, obtained proper licenses to perform the song. Either way, the band said that any royalties received as a result of this usage would be donated to the Harris/Walz campaign. 

DAME’S UNPAID TAXES – Just a week before a court-ordered auction of Damon Dash’s one-third stake in Jay-Z’s Roc-A-Fella Records, there was a stunning new wrinkle: He owes more than $8.7 million in unpaid taxes — and New York state says the proceeds from the Roc-A-Fella sale must be used to pay them. The new claim complicated an already complex situation, in which Dash’s stake in the storied record label is being sold off by U.S. Marshals to pay off an $823,000 civil judgment. 

HEY, HO, LET’S SUE – Opening up a new front in the never-ending legal war over the Ramones, Joey Ramone’s brother (Mitchel Hyman, better known as Mickey Leigh) sued Johnny’s widow (Linda Cummings-Ramone), accusing her of infringing the band’s trademarks by carrying out an “unrelenting quest” to associate herself with the Ramones. 

DIDDY CASE UPDATE – Sean “Diddy” Combs asked a federal judge to dismiss a case filed in February by Rodney “Lil Rod” Jones, arguing that the “salacious” lawsuit was filled with “blatant falsehoods” designed to pressure him into paying a lucrative settlement: “Running to nearly 100 pages, it includes countless tall tales, shameless celebrity namedrops, and irrelevant images.” 

SNEAKER SETTLEMENT – The sneaker company Vans and a Brooklyn art collective called MSCHF reached a settlement to end a long-running trademark lawsuit over Tyga‘s “Wavy Baby” sneakers — a parody of the company’s classic Old Skool brand of shoes. The artists said Tyga’s pricy sneakers were akin to an art project, and thus protected by the First Amendment. But Vans called it “blatant” infringement of the company’s IP, and federal courts repeatedly agreed with that assessment. 

OUTKAST TRADEMARK CASE – The legendary rappers sued an EDM duo called ATLiens, the same name as one of OutKast’s best-known songs. Big Boi and André 3000 claimed that the name (a combo of “aliens” and their hometown of Atlanta) is a novel linguistic term that had been “invented by OutKast” — and that the rival group is confusing music fans by using it. 

SHKRELI SEIZURE – A federal judge ordered convicted pharma executive Martin Shkreli to hand over his copies of Wu-Tang Clan’s Once Upon a Time in Shaolin, rejecting his claims that he had a right to retain duplicates of the one-of-a-kind album even after he forfeited it to federal prosecutors. 

Post Malone donned a cowboy hat and dominated the charts: on this week’s Billboard 200 (dated Aug. 31), new album F-1 Trillion blasts in at No. 1 with 250,000 equivalent album units earned in the U.S. in the week ending Aug. 22, according to Luminate. F-1 Trillion marks Post Malone’s third career No. 1 album, but notably, the full-length is a full-on country project that sounds far removed from his last two chart-toppers. 

A slew of country greats helped Post Malone with the project — several of which score debuts alongside Posty on this week’s Hot 100, where 18 songs from F-1 Trillion bow, including every collaboration. “I Had Some Help” with Morgan Wallen remains at the head of the pack, though, logging another week at No. 2 on the Hot 100, after previously spending six nonconsecutive weeks at No. 1.

What’s the secret behind Post Malone’s country switch-up? And what genre should he explore next? Billboard staffers discuss these questions and more below.

1. F-1 Trillion debuts with 250,000 equivalent album units — more than twice as many as the debut total for last year’s Austin album (113,000), although a far cry from 2019’s Hollywood’s Bleeding (489,000). On a scale of 1-10, how are you feeling about this debut if you’re Post?

Jessica Nicholson: An 8. With this being his first official foray into the country genre (he’s posted covers of country songs online over the past several years), this is a great accomplishment, especially given that the solo tracks on his Long Bed extension of the album lean into elements of Texas swing, honky tonk and 2000s country, rather than only the rock and hip-hop-inflected country of his Morgan Wallen collab. Still, one would think the numbers would be a bit higher, given the slate of big-name collaborations proliferating the album.

Jason Lipshutz: A 9. Simply put, Post Malone got his groove back with F-1 Trillion, following a pair of albums that produced some solid hits but didn’t do enough to iterate on his earlier success. This country album was boosted by a big hit in “I Had Some Help,” but a debut of 250,000 equivalent album units indicates that Posty’s country change-up conjured interest beyond its lead single — fans wanted to explore this new side of his artistry, and he scored one of the biggest debuts of 2024. Maybe he never returns to the commercial peak of his Hollywood’s Bleeding numbers, but the performance of F-1 Trillion suggests that Post Malone’s time in the spotlight will persist well past that peak.

Katie Atkinson: 10. He went outside his typical lane, assembled The Avengers of country music, and came in to release week with a six-week Hot 100 No. 1 lead single. Honestly, what’s not to be happy about? This country pivot has been received with open arms by the music-buying public, and I wouldn’t be surprised if Post’s country era extends beyond one album.

Lyndsey Havens: You could say I’d be feeling… 1 trillion out of 10. Metrics aside, this is an artistic project that Texas native Post Malone has wanted to make for most of his career. And yes, while he collaborated with superstars and legends alike on Hollywood’s Bleeding, helping the pop-rock-rap album score such an impressive first-week debut, you could argue the features on F-1 mean a bit more. To have almost every heavy hitter across country music – including the queen herself, Dolly Parton – was surely the best stamp of approval Post could desire. Even more so than his first foray into the genre debuting at No. 1, Post made an album that the country community not only rallied behind wanted to be a part of. And that is well worth celebrating.

Melinda Newman: An 8. A No. 1 album is a No. 1 album, no matter what the sales/streaming numbers are. And after missing the mark with both Austin and 2022’s Twelve Carat Toothache, Post has to be happy to reach the summit again, even if, to paraphrase a popular song, he had some help. At the same time, there has to be a nagging twinge of doubt questioning if he can hit No. 1 as a solo artist, though the popularity of F-1 Trillion will undoubtedly propel his solo numbers. Plus, all the tracks charted on the Hot 100, thanks to streaming. He’s got to be thrilled by that.

2. With F-1 Trillion becoming Post Malone’s first No. 1 album since 2019 and “I Had Some Help” with Morgan Wallen leading the Hot 100 for six total weeks, are you surprised that his country pivot has been as successful as its chart rankings indicate?

Jessica Nicholson: No. He has made a strong showing of connecting with both the Nashville industry and with country music fans. His album includes collaborations with a range of country artists, highlighting his respect for the genre by including both modern-day hitmakers like Lainey Wilson, Luke Combs and Morgan Wallen, but also legends including Dolly Parton and Hank Williams, Jr. He wrote with Nashville writers for the album, and has showed up at nearly every Nashville country music venue possible, from the Grand Ole Opry to the Bluebird Café. But he’s also connected with fans through appearances at Stagecoach and his recent Marathon Music Works show — and for the country music audience, that intentionality in connecting with fans still goes a long way.

Jason Lipshutz: Not if you actually listened to “I Had Some Help,” and heard how naturally Post’s voice adapted to a country-pop sound alongside a Nashville superstar like Wallen. The ease with which he entered that lane suggested that he could maintain that stance for a full country album, especially one where he’d be flanked by established genre stars. And sure enough, F-1 Trillion is rife with guest stars that Posty can play off of, as well as a handful of solo tracks that were saved for the deluxe edition of the album. It was a foolproof formula for this project, and I’m not surprised that listeners have embraced it.

Katie Atkinson: Absolutely not. I remember assigning a story back in 2021 about all the times Post had “gone country.” It’s quaint to look back at that list, because the genre lines are so very blurred now – especially with a borderless artist like Post Malone – that all his country moments were so obviously inherent to him then and now. I mean, he’s from Texas, for starters. But the smartest thing he did with his first country outing is to get more than a dozen of the genre’s biggest stars to collaborate with him and co-sign his Nashville bona fides. Like, are you going to say this man isn’t country – because he has face tattoos, because he’s made rap music, etc., etc. – when Hank Williams Jr. says he is?

Lyndsey Havens: Not at all. The one thing I have learned from my years as a Post Malone fan is that he can’t really surprise us – he’s shown his range from the start. Take his debut album Stoney, a project on which his breakout hip-hop hit “White Iverson” fits perfectly alongside a warbly acoustic ballad like “Feeling Whitney” (in which he sings of putting on “a little Dwight” Yoakam). Plus, the first and only video Post has uploaded to the YouTube account created under his birth name, Austin Post, is a cover of Bob Dylan’s “Don’t Think Twice.” But more than any one genre, the thing that most foreshadowed Post’s pivot to country is his songwriting. And now, after years of honing those chops and building a network of Nashville’s hottest names, it’s no wonder he’s having such success.  

Melinda Newman: Not at all. Country is having a moment (which many of us hope becomes a movement), and Post Malone has now become part of that. His timing was perfect, but if you talk to anyone in Nashville who worked with him, he put in the work. He spent months in Nashville working with top songwriters and immersing himself in the scene, popping up at local clubs to play. Plus, as a Texas boy, he grew up on country (among other genres), and folks in Nashville talk about how he is a country music jukebox. He is steeped in the stuff.

3. “I Had Some Help” is still going strong at No. 2 on the Hot 100 chart, although plenty of F-1 Trillion tracks debut on this week’s chart. Which song from the album do you think has the highest potential as a follow-up hit to “Help”?

Jessica Nicholson: His Blake Shelton collaboration “Pour Me a Drink” is currently not far behind on the Hot 100, at No. 13. The song is also in the top 15 on the Country Airplay chart and is directly behind “I Had Some Help” on the Hot Country Songs chart, sitting at No. 3. Elsewhere, he recently released a video with Luke Combs for their collab “A Guy For That,” and that track is at No. 7 on the Hot Country Songs chart. However, his album also includes the Jelly Roll collab “Losers,” which could be primed to dominate as well.

Jason Lipshutz: “California Sober” with Chris Stapleton debuted at No. 34 on this week’s Hot 100, and I could see that reaching a higher peak in due time — that song is an absolute blast to yell along to in a windows-down situation, as Post Malone and Stapleton let their harmonies rip into the plucked guitar strings. Stapleton hasn’t had a true pop crossover moment in a minute, and “California Sober” might be his ticket to the Hot 100’s upper reaches. Get these two together on an awards show stage, pronto!

Katie Atkinson: The gritty opening track “Wrong Ones” with Tim McGraw has my vote for the chorus alone: “I’m just lookin’ for the right one/ But them wrong ones keep lookin’ at me.” That needs to be on country radio, stat. While McGraw has been making country music for 30 years now, 15 of his top 20 Hot Country Songs hits are from the last decade and he’s due for another.

Lyndsey Havens: While previous pop-leaning country singles like “Pour Me a Drink” or “Guy For That” feel like obvious picks, I’m rooting for the dizzying “California Sober” with Chris Stapleton. But then, there’s the downtrodden anthem “Losers” with Jelly Roll, who is no stranger to the Hot 100 himself… With so many songs to choose from, it’s still a toss-up for me which one will raise its hand next.

Melinda Newman: Both  “Pour Me A Drink” with Blake Shelton and “Guy For That” with Luke Combs are already getting some airplay at country radio, and if you’re going with what fits right in with what else is on country radio right now in terms of tempo, I’d pick “Devil I’ve Been,” featuring ERNEST, or “Nosedive,” since he hasn’t had a ballad as a single yet and Lainey Wilson is so hot. However, I’d love to see “California Sober” with Chris Stapleton have a shot at radio. We placed it at No. 1 on our ranking of the album’s tracks, because it’s a fun rave-up where they both sound like they’re having a blast. Does it sound like most of what’s playing on radio right now? No, it does not. It’s a little more freewheeling and doesn’t have a structured chorus, but it sure sounds great in the car with the windows down.

4. Post Malone collaborates with over a dozen country artists on F-1 Trillion — but which one that isn’t on the album would you still love to hear him team up with someday?

Jessica Nicholson: He’s proven he knows his way around Texas swing and honky tonk, anthems thanks to songs on his F-1 Trillion: Long Bed deluxe project, thanks to songs like “Back to Texas” and “Who Needs You.” Adding his fellow Texans Miranda Lambert or “King George” Strait to a track would be superb.

Jason Lipshutz: Let’s go with Sam Hunt, a hook maestro who’s long been adept at nudging his country style into different sonic territories. Imagine Post Malone contributing verse to a soothing, snappy country anthem akin to “Body Like a Back Road” — pretty intriguing, right?

Katie Atkinson: I’m stunned that his fellow Texan Kacey Musgraves isn’t on this album, so I’m going to need that collab on the next one. Her syrupy-sweet vocals next to his gravelly vibrato would be the perfect yin and yang.

Lyndsey Havens: Right now, in this moment, I have to say Shaboozey. I think the two of them would emerge with an absolute smash that perfectly blends their voices and effortlessly fuses country and Americana with a hint of hip-hop.

Melinda Newman: Without a doubt, fellow Texan George Strait. I’m curious if they tried and it didn’t work out timing-wise or it just wasn’t George’s thing. It would also be a blast to hear him and Garth Brooks do a duet.

5. If you could offer Post Malone some advice on his next studio project — either continue exploring country music, return to rap, or try something new entirely — what would you tell him?

Jessica Nicholson: I think further exploring country music and cementing his place in the genre beyond one album would be a smart move, especially given the track record of artists such as Kenny Rogers, Conway Twitty, and Darius Rucker who have found longevity within the country genre after having previous indie-pop sounds. Additionally, the breadth of sounds under country’s present-day umbrella makes some modern country hits sound not that far removed from Post’s own indie-pop hits. Perhaps even a hybrid project of country songs and his more rock stylings wouldn’t be out of the question, a la HARDY’s The Mockingbird & The Crow.

Jason Lipshutz: I might go with the “try something new entirely,” simply because Post Malone has already mined hip-hop and country music to great success, and has demonstrated a chameleonic ability to blend into the scene around him. What other sounds could be conquer? Could Posty link up with his pal Andrew Watt for a full-blown rock opus, or crank out a pop classic alongside Max Martin? If Post Malone made a jazz album, or a metal album… they would be surprisingly good, right? He is one of the smarter shape-shifting popular artists of our time, and I would never want Posty to do anything other than chase his muse.

Katie Atkinson: Do whatever you want! This is a man of multitudes who is clearly a natural fit in a lot of different worlds, and I just want to be along for the ride wherever the chameleon shows up next.

Lyndsey Havens: I have long begged for Post to release a folk album as Austin Post. His Dylan cover has lived in my head rent-free for a decade, and whether he chooses to release a project of covers in the same lane or continue to explore a folk-pop sound like his labelmate Noah Kahan, with whom he has collaborated on a remix of “Dial Drunk,” I’d be happy with whatever direction he chooses. Fortunately, with an artist like Post, nothing ever seems off the table – especially if you can also play beer pong on it.

Melinda Newman: I’d be curious to see where he goes if he keeps exploring country. The nine songs he released the next day after F-1 Trillion’s release, under F-1 Trillion: Long Bed, are way more traditionally country than the duets on F-1 Trillion, both stylistically and in instrumentation.  He’s got a fine voice for country (though it seems that no style is beyond his vocal capabilities). What happens if he keeps leaning in that direction?

Billboard Japan launched its Women in Music initiative in 2022 to celebrate artists, producers and executives who have made significant contributions to music and inspired other women through their work. The WIM interview series highlighting female players in the Japanese entertainment industry is one of the main features of this project, and the first 30 sessions were published in Japan as a “Billboard Japan Presents” collection by writer Rio Hirai last year. 

For the latest installment of this series, Billboard Japan spoke with YUKKYUN, a self-designated DIVA celebrating his 10th anniversary in entertainment. The 29-year-old multi-hyphenate began his career in 2014 as an idol singer and went on to become a finalist in the coveted miss iD audition in 2017. While active as the member of the duo Cinema and Boy CQ, YUKKYUN began self-producing his solo career called the DIVA Project in 2021 and has branched into various media including songwriting, writing, and podcasting. The “Logout Bonus” singer — who has been vocal about being a fan of female artists — shared his thoughts on the state of gender in the music industry in Japan.

Tell us about your life before you launched your career as YUKKYUN.

My friends were always more girls than boys since I was little and my parents never stopped me from being who I am, so I’ve managed to avoid being forced into some form of masculinity in life. None of my classmates were like me, so I guess I did stand out.

I first encountered feminism and gender theory in my third year of high school when I started reading books like Chizuko Ueno’s Misogyny after finding out about it in a magazine. Around the same time, I read (Shuichi Kato’s) Introduction to Gender and Sexuality Studies and it was like I understood the true nature of the discomfort I’d been feeling. I realized that I wasn’t wrong after all and that I could do whatever I wanted. I’d always firmly believed that I wasn’t doing anything wrong even before then, but it was a relief to learn that there were people doing proper research on the subject and that it’d been clearly laid out. Until high school, it was a matter of how I felt and acted, but at about age 20 I reaffirmed that everyone including me had many options — there were so many people in Tokyo wearing cute clothes, so I began to dress myself freely in skirts and dresses. 

You believed in your potential and decided to present yourself to the outside world as YUKKYUN. Did you feel it was your mission to do so?

It was hard for me to live my life pretending to be something I’m not. I can’t say what I don’t think and I can’t go outside as myself if I’m wearing clothes I don’t want to wear. Forcing what’s become the norm for me to conform to existing values is more taxing. It’s how I’ve always lived, so being different from others wasn’t that much of a problem for me.

I also thought there’d definitely be some people out there who’d get something out of seeing someone like me being gorgeous in public. I think it would have been a relief for me as a teenager in junior high or high school if someone like me had existed. I do feel it’s my mission to shine right in the middle.

And it’s been exactly ten years since you started performing as YUKKYUN.

Yes. I’ve always loved singing and dancing. I started doing what I could within a few months of moving to Tokyo. I’ve been a member of a duo called Cinema and Boy CQ since 2016 and performing in this group is already fun in itself, but the year I graduated from grad school I started the DIVA Project as a solo artist, writing my own lyrics and singing them. I began receiving responses at a rate and depth that I couldn’t have obtained from just my previous activities. Hearing feedback from people who’ve actually listened to my music is such a rich experience, and I’ve discovered lots of things other than what I’d consciously wrote into my lyrics. The way my music reaches each person is slightly different and I find that invaluable.

Many shy people who want to take that first step but haven’t been able to do so listen to my songs, so I want to sing songs that will lift their spirits and inspire them, even if it’s only while they’re listening to a three-minute song. When the things that I’ve said on social media or in interviews are written into a song, the recording can be heard many times and the song sung many times at concerts, and I get a sense that the message really hits home that way. So I think making works of art is wonderful and that everything should be handed down as works of art.

That’s true. As a listener myself, I also have a strong sense of the magnitude of the things we receive from works of art. Like you just said about hearing from people who want to take that first step but can’t, there seem to be many people in Japan today who are intensely afraid of stepping outside of the existing framework. I’m sure this is something you express in your lyrics, but how do you think they can overcome that fear?

I don’t live free of fear or care either, and I want art to always be by my side as something that gives me the courage to take a step forward and to question existing frameworks. And I’d like (my art) to be like that, too.

Try not to overlook any feelings of discomfort that arise within you. I think it’s important to keep being aware of the things that bother you or things you feel you can’t handle, no matter how minor, and to know what you really want to do, what you value, and what you want to change even if you can’t do so right away. I mean, life isn’t just about overcoming things. I hope my music can exist as a way to present possibilities and options to such people. I want to make people feel at ease.

Do you think that by coming across music or idols that you like, for example, and finding things you truly value and don’t want to compromise, people could gradually become less concerned about existing frameworks?

Yes, I do. And when you find that something you like or don’t want to compromise, you don’t have to declare it or be vocal about it. Even if you don’t go out of your way to say, “I like such-and-such” to others, if you can be true to yourself in your heart and be like,  “This is how I really feel,” you can live without breaking down.

In my case, I think I needed to listen to music by divas singing about loneliness to validate how I felt. Changing things quickly or being able to do things suddenly isn’t easy, you know? You can’t just be reborn. For example, even if you want to wear only cute clothes from now on, it takes money and time, at least about two years, to completely change your wardrobe. So during that time when I was longing to change, my favorite music protected my heart. 

When you think about it that way, it kind of feels like society isn’t designed to allow individuals to value the things they hold dear inside. You were a finalist in the miss iD audition in 2017, a competition that uses the honorific for women in its name [Japanese Wikipedia defines it as “an audition to find diverse female role models who survive in the new era, regardless of appearance, genre, or gender roles”]. Could you share your thoughts on the current social structure?

That was seven years ago now, but I entered the miss iD contest because the judges were all creators that I liked and it wasn’t my intention to challenge the social structure. The current social structure is so exhausting, but I’m trying to broaden the existing framework by expressing with my body that it’s OK to do what I want as a “boy who’s a bit unfettered.” Sometimes it’s like people see whatever I do as social commentary, but I still feel like I’m thinking more about individual people than society as a whole.

You released “DIVA ME” in May 2021 and launched your solo endeavor called the DIVA Project. Could you tell us why you chose the word “diva”?

When I thought about what I’ve received from whom in life and about what I should do in my upcoming solo career, calling myself DIVA made the most sense to me. My definition of DIVA is the will and spirit to be proud regardless of gender or occupation, so I made my solo debut with a song called “DIVA ME.”

Who inspired you to shape your definition of DIVA?

The first DIVA I fell in love with was (J-pop star) Ayumi Hamasaki. I’ve loved her since I was 5 years old and went on to enjoy listening to solo female artists in general, especially those who write their own lyrics and create their own world. I still listen to Hikaru Utada, Ringo Shiina, aiko, Yuko Ando, YUKI, Tomoko Kawase, and others. After moving to Tokyo, I also discovered the music of Seiko Oomori and felt that the music reached my heart more directly. When I think about it, DIVAs have accompanied me throughout my life.

It sounds like calling yourself DIVA is a solution that satisfies you. What changes do you think are necessary to allow for more diversity in the workplace in Japan’s music and entertainment industries in the future?

Something I’ve noticed in the industry is that the producers are mostly men. It’d be better if there were more women in those creative roles. I’m sure there are capable women out there but maybe society isn’t accustomed to giving full authority to women. I don’t compose music, so I’d like to appoint more women to do that for me. I also think there aren’t enough women organizing festivals. I guess I have to become really popular. Then it’ll make it easier for people who want to do what I do to come out. I hope that by taking the lead, I can lower the obstacles for people to start something. Otherwise, it won’t be interesting for me either.

—This interview by Rio Hirai (SOW SWEET PUBLISHING) first appeared on Billboard Japan

Two decades after Carrie Underwood stole hearts as a contestant on American Idol, the “Before He Cheats” superstar is returning to the show as a judge on the upcoming 25th season.

She opened up about the new gig for the first time this week on SiriusXM’s Music Row Happy Hour in Las Vegas. “I feel like I’ve been so blessed to obviously be so rooted in country music, but I’ve been able to be a part of many other genres or music as well,” she shared of her musical experiences. “I mean, I’ve got a song with Papa Roach right now. It’s a lot of fun.”

Underwood continued, “I like to think that I am versatile and, hopefully, when I listen to people come and audition, I can have any lens I need to put on in terms of what music I’m thinking.”

Ultimately, as a judge, she hopes to be “honest and constructive, but still kind,” before adding, “I think that’s the whole point, because people are coming in and it’s dreams. You’re part of somebody’s story from that moment on.”

Underwood was the winner of American Idol‘s fourth season in 2005 and has gone on to release nine studio albums, win entertainer of the year at the Academy of Country Music Awards, and take home eight Grammys. In Billboard‘s 50 Best American Idol Alumni of All Time list, Underwood was ranked at No. 2, behind only season one champ Kelly Clarkson.

“Carrie Underwood is the first American Idol alum ever to join the judging panel. Her global superstar status as the most successful Idol winner to date makes her a perfect fit for the show,” said Megan Wolflick, Idol showrunner and executive producer in a statement at the time of announcement in July. “She embodies the true spirit of Idol as she herself is the definition of the Cinderella story. Our future hopefuls will have the chance to receive advice from someone who has walked in their exact footsteps every step of the way. Carrie has always been a strong supporter of Idol, and I’m thrilled for her to be reunited with our Idol Family.”

Perry, who had spent seven seasons as a judge on the show alongside Lionel Richie and Luke Bryan since its move from original home Fox to ABC in 2018, revealed her exit from American Idol earlier this year. “I think this will probably be my last show, my last season for Idol,” she said on Jimmy Kimmel Live in February. “I love Idol so much. It’s connected me with the heart of America, but I feel like I need to go out and feel that pulse to my own beat.”

“Dirt Cheap” hitmaker Cody Johnson has collaborated with artists like Jelly Roll (they recorded “Whiskey Bent” on Johnson’s album Leather album) and Terri Clark (the two performed “I Just Wanna Be Mad” on Clark’s Take Two album). But he has his sights set on a duet with the reigning CMA and ACM entertainer of the year winner.

During a recent interview with Country Countdown USA’s Lon Helton, Johnson said he’s long aimed at doing a collaboration with Lainey Wilson.

“I’m going duck hunting with her boyfriend Duck [Devlin “Duck” Hodges]. I guess that’s how he got his name, because he’s really into hunting,” he said. “I heard Loretta Lynn’s ‘Louisiana Woman Mississippi Man.’ I called Lainey and said we should record that song together, and she agreed.  But we haven’t done it yet.”

It’s safe to say Wilson has been busy of late, having just released her new album, Whirlwind. Johnson, whose song “Dirt Cheap” is in the top 10 on Billboard’s Country Airplay chart, also revealed that another country music A-lister, Luke Combs, had been pitched “Dirt Cheap”– but Johnson got to it first.

Johnson said of Combs, “He didn’t click on it. So here’s to you Luke! He didn’t listen to it until I after released it. He thought the title looked familiar. I talked about it afterwards — had some choice words to say about ‘Dirt Cheap.’ I said, ‘Everything happens for a reason.’”

Recently Johnson headlined a rodeo in Brazil, at Cowboy Festival Barretos. “They called me, and we sold the thing out,” he said. “That’s pretty cool.” The festival has been around since the 1950s and has previously featured headliners including Garth Brooks, Alan Jackson, Shakira, Mariah Carey and Shania Twain.