Post Malone has been on a musical journey through the majority of his career, cycling through releases that have spanned hip-hop, pop, rock and alternative over the past several years. And on his latest release, F-1 Trillion, he shifted focus again — this time to country, putting out an album full of top-shelf collaborators like Morgan Wallen, Dolly Parton, Blake Shelton and Hank Williams, Jr., among many others. And the result has been one of the highlights of his career: accepted by the Nashville community, Post delivered an album that became his first No. 1 on the Billboard 200 in five years, and his first-ever Country Albums No. 1, racking up 250,000 equivalent album units this week.

But it wasn’t easy — the feat was the result of years of work ingratiating himself into the sometimes insular world of Nashville, with its entrenched traditions and long-held customs. But Post was willing to put in the work, making appearances at the ACM Awards, CMA Fest, the Grand Ole Opry and the Bluebird Cafe, all staples of Music City’s circuit, while his high-profile list of writers and collaborators are testament to the embrace he was able to achieve. And with the chart-topping success of F-1 Trillion, his label Mercury Records’ executive vp Alex Coslov is Billboard’s Executive of the Week.

Here, Coslov discusses the work put in by Mercury — which has a partnership with Big Loud Records for Wallen, and also has 2024 Grammy best new artist nominee Noah Kahan on the roster — on the Post album, as well as the four albums by Post, Wallen and Kahan that are in the top 10 of the Billboard 200 this week. “Mercury Records is a place where we support our artists’ vision and are passionate and committed to each and every artist we work with,” Coslov says. “We’re a close core team that understands what it takes to break an artist in today’s climate, while acknowledging our strategies need to constantly change and evolve.”

This week, Post Malone’s F-1 Trillion debuted at No. 1 on the Billboard 200 with 250,000 units, his third No. 1 and first in five years. What key decision(s) did you make to help make that happen?

First and foremost, we have a phenomenal team at Mercury Records under the leadership of president Tyler Arnold and GM Ben Adelson. A lot of credit needs to go to my partner in crime Tyler Arnold, who signed Post nearly 10 years ago. When we began talking about F-1 Trillion, he was already spearheading the music and set the goal in stone that we needed to make a statement with this album by bringing Post back to No. 1.

Alongside Post’s management team, we collaboratively formulated the F-1 Trillion plan. Our core strategy was built around showcasing the authenticity of Post’s entry into country music by highlighting his time in Nashville while writing and recording this album with an incredible list of collaborators both old and new. We built out a world of Post Malone’s Nashville that centered around the music through key moments curated to engage his current fan base while respectfully winning over new country music fans. Post’s performance of “America The Beautiful” at the Super Bowl was a great start, but then activations such as the writers’ round at the historic Bluebird Cafe, his Grand Ole Opry debut, the ACM Awards performance, the CMA Fest moments, the superfan underplay, etc., helped drive it all home. All of these moments were captured by our partners at Trenches, which we then used for strategic content and social moments.

Republic Corps was also instrumental, with executives like Jim Roppo, Gary Spangler and our CRO, Kevin Lipson, working alongside us. Kevin’s commerce team is the best in the business and absolutely integral to achieving the 250,000 number with their innovative strategies, physical music expertise, incredible partner relationships and relentless ideating on how to achieve our goals.

Post dropped a second, deluxe part to the album with nine additional songs, all solo, hours after the main album. What’s the strategy behind doing that? Is there a tradeoff at all with putting out so much material at once?

Post was having so much fun writing and recording this album with his core collaborators — the geniuses Louis Bell and Charlie Handsome — that he wanted to work right up until he had to stop for us to deliver the album. The collaborations were great, but the solo songs were frankly fantastic. Knowing that we had these in our back pocket, we wanted to give fans a surprise and time to fully enjoy both. It also showed that Post could carry any country song by himself.

Most notably, the album debuted at No. 1 on the Hot Country Albums chart, fittingly his first entry there for his first country album. What was most important about this pivot to country that you guys had to get right?

Our main priority for this project has always been, how do we be as respectful to country culture and Nashville as possible? From the first meeting with Post’s management team, we agreed how important it was to all of us, Post included, that he ingratiate himself as much as possible into the Nashville community. Post is a prolific songwriter and country music historian, so Nashville embracing him meant a lot to him. In many ways, Nashville has become a new home for Post, so these moments are certainly not over just because the album is out. 

Post’s recent albums spanned hip-hop, rock, alternative and pop. What’s different about the country genre, and how did you guys have to move differently for this release? And what have you learned from your partnership with Big Loud that may have helped?

Seth England and Big Loud have been incredible partners and advisors to us throughout this process as well. It goes without saying that their executive vp of promotions, Stacy Blythe, and her team have absolutely smashed it with historic stats at country radio with “I Had Some Help” and “Pour Me A Drink” (currently Top 10) and “Guy For That” climbing the Country Airplay chart currently. 

Between this Post Malone album and albums by Morgan Wallen and Noah Kahan, Mercury artists have four of the top 10 albums on the Billboard 200 this week. How have you guys been able to achieve that in such a relatively small amount of time?

Mercury Records is a place where we support our artists’ vision and are passionate and committed to each and every artist we work with. We’re a close core team that understands what it takes to break an artist in today’s climate, while acknowledging our strategies need to constantly change and evolve. We’re invested in building long term trust and relationships with our artists for the duration of their career.

The Wallen and Kahan albums in particular have stuck around the top echelon of the charts for an extended period now, something that is happening more and more lately. Why do you think big albums have such staying power these days, and how do you keep fueling their continued success?

Morgan builds unparalleled bodies of work that combine his powerful voice, his unique sense of melody with some of the best written songs of the modern era and the brilliant production of Big Loud partner/producer Joey Moi. The seemingly endless stream of singles from both Dangerous: The Double Album and One Thing At A Time are proof of Morgan’s musical prowess — he hears things no one else does. Major credit of course to our partners on Morgan, Seth England and his team at Big Loud, who lead on his campaigns and have been instrumental in the historic success of the last five years. 

With Noah, he has truly built a world around his Stick Season album and fans relate and feel seen by his lyrics. The personal connection fans feel to him is beyond special and like nothing I’ve ever seen. The Stick Season (Forever) collaborations only added to the fan excitement by highlighting Noah as an artist’s artist. The outpouring of support from his peers led to even more discovery, engagement and critical acclaim.

One of the gospel genre’s most iconic voices is back — and she’s bringing along her first album in 13 years. On Friday (Aug. 39), four-time Grammy-winning gospel music icon Yolanda Adams unleashed “Church Doors,” her first solo single in a decade.

Across a soundscape punctuated by spirited handclaps and crisp choir harmonies, Adams’ robust voice soars with a perfect mixture of reverence and joy. “When you let me make it to the church doors, I’ll tell them what you’ve done for me,” she promises in the poignant hook.

The new single hit DSPs alongside a remix featuring Terry Hunter, Sir The Baptist and Donald Lawrence & Co., as well as an extended remix featuring Grammy-winner J. Ivy in addition to all of the aforementioned artists.

“I am so excited about the release of the single ‘Church Doors’ because we have been working on it with some amazing people including Donald Lawrence, Sir The Baptist and Terry Lewis,” Adams tells Billboard. “A group of fantastic people wrote an amazing song that voices the sentiments of testimony. The world has been through so much so to have some good news about what God has done is what we need right now. That’s the theme of church doors.”

Power Book II: Ghost and The New Edition Story actor Woody McClain leads the track’s artful music video, which features direction and choreography from Fatima Robinson, who recently worked on 2023’s Color Purple movie musical and Beyoncé‘s blockbuster Renaissance World Tour.

“Church Doors” is the lead single to Sunny Days, Adams’ new 15-track LP, which is currently slated for a Sept. 13 release. To support the album — her first full-length release with Epic Records — Adams is set to launch a North American arena tour that kicks off on Sept. 6 at Wells Fargo Center in Philadelphia, and concludes on Nov. 3 at Kia Forum in Inglewood, Calif. Billed the Reunion Tour, the trek will also visit major cities such as Boston, Brooklyn and Atlanta.

Adams has landed six top 10 titles on Top Christian Albums, including 1999’s chart-busting Mountain High… Valley Low, which spent 16 weeks atop the ranking and charted for 100 weeks. Her sole Billboard Hot 100 charting song, 2000’s “Open My Heart” (No. 57), is also one of the biggest crossover gospel tracks of the 21st century, appearing on Hot R&B/Hip-Hop Songs (No. 10), Dance Club Songs (No. 29), Adult R&B Airplay (No. 1, 16 weeks) and the all-genre Radio Songs chart (No. 53).

Watch the video for the “Church Doors” remix below:

MTS is joining forces with BTS once again — yes, for real. After teasing on social media that she was teaming up with another artist to release a new collaboration, Megan Thee Stallion has confirmed that she’s working with the world’s biggest K-pop stars: Jin, Suga, J-Hope, RM, Jimin, V and Jung Kook.

The “Hiss” rapper first started hinting at a new duet on X Thursday (Aug. 29), when she simply tweeted a pointed string of emojis: “🐎X💜 👀”

The cryptic post got lots of fans fired up, with some immediately guessing that the purple heart signified BTS’ involvement. “HELLO?? PURPLE HEART?? BTS???” one person commented at the time, while another excited user wrote, “BTS COLLAB ?? NO ONE MOVE.”

The following day, BTS’ account confirmed the news: “🐎X🦔(🐨),” the band wrote, retweeting Meg’s original post. “Coming Soon! 💜👀”

The news comes about two months after the “WAP” artist released her third studio album, Megan, which debuted at No. 3 on the Billboard 200. BTS’ full-band activities have been on pause as the members fulfill their mandatory military obligations in South Korea, with some of the boys dropping solo projects in the meantime.

The new collab won’t be the first time MTS and BTS have worked together. In 2021, Meg jumped on the remix to the boy band’s Billboard Hot 100-topping single “Butter,” which they all performed together at BTS’ concert in Los Angeles that November.

“I love BTS, and I was telling my manager, ‘I really want to do a song with BTS, I don’t know what I can do or what we’re going to do,’” she recalled to Entertainment Tonight the following February. “Around that the same time, they wound up reaching out to me and asking me to do the ‘Butter’ remix. So, I was like, ‘Oh my God.’”

See Megan and BTS’ tweets below.

Billboard’s Friday Music Guide serves as a handy guide to this Friday’s most essential releases — the key music that everyone will be talking about today, and that will be dominating playlists this weekend and beyond. 

This week, Big Sean puts in the work, A$AP Rocky has a gift for fans and Muni Long is back with more R&B gems. Check out all of this week’s picks below:

Big Sean, Better Me Than You 

“Back to the basics, back to the work,” Big Sean raps in the opening minutes of his new album Better Me Than You — and the Detroit star’s first album since 2020 indeed carries a sense of head-down purpose, with guest artists like Gunna, Syd, Kodak Black and Bryson Tiller lending a hand as Sean carries the torch of no-frills hip-hop.

A$AP Rocky, “Tailor Swif” 

A previously leaked track that A$AP Rocky has properly released as a gift to fans, “Tailor Swif” finds the rapper quickly jumping between come-up stories and double-entendre boasting: “Even when I was po’, I was out here, eatin’ goats,” he spits, as the flute-laden production urges him to keep going.

Muni Long, Revenge 

After waiting many years for her solo moment, then achieving it with the top 20 smash “Hrs & Hrs,” Muni Long has happily returned sooner than later with Revenge, which follows 2022’s Public Displays of Affection: The Album as another R&B songwriting showcase, highlighted by the electric recent hit “Made For Me.”

Tommy Richman, “Thought You Were the One” 

After “Million Dollar Baby” zoomed into the top 10 of the Hot 100 and “Devil is a Lie” continued his upward trajectory, Tommy Richman shows off his vulnerable side on “Thought You Were the One,” which molds his new jack swing riffing and falsetto croon into a more heartbroken pose.

Zedd, Telos 

When you revive Jeff Buckley’s “Dream Brother” for a dance remix, you know you are taking some big swings — and Zedd, the veteran EDM star who has scored hits by taking chances in the pop world, spends new album Telos pushing his style into intriguing new territories as a wide smattering of guests (Muse! Dora Jar! John Mayer!) swing by to help.

Noah Kahan, Live From Fenway Park 

At long last, Noah Kahan has left the road after spending multiple years gradually growing his fan base and venue size — but before wrapping up a tour that eventually made him a stadium headliner, the singer-songwriter recorded Live From Fenway Park, a live album that captures Kahan beaming through his catalog at the hometown gig.

Victoria Monét & Usher, “SOS (Sex on Sight)” 

Continuing a fruitful year in which Victoria Monét won the best new artist Grammy and Usher headlined the Super Bowl halftime show, “SOS (Sex on Sight)” allows both artists to warble about desire and showcase their abilities as master collaborators — some of their strongest respective work has been alongside other artists, and “SOS” is another winning team-up.

Editor’s Pick: Fireboy DML, Adedamola 

For casual fans who only know Nigerian singer-songwriter Fireboy DML’s global smash “Peru,” new album Adedamola is both a sumptuous listen and personal new entry into his discography, building upon his global success with anecdotes about his journey and engrossing relationship musings; this album simmers, and never loses your attention.