Timothée Chalamet dug deep when he pulled double-duty as host and musical guest on Saturday Night Live last January during his promotional run for the Bob Dylan biopic A Complete Unknown. How deep? According to the Marty Supreme star he dug way down into his own pocket to pay for the musical portion of the two-fer. “I spent over six figures out of my pocket to do the SNL performance,” Chalamet told an audience at London’s Prince Charles Cinema on Sunday (Feb. 1) during a conversation with Love Actually writer/director Richard Curtis.

Chalamet explained why he works so hard to find novel ways to promote his movies, explaining that even SNL boss Lorne Michaels wasn’t feeling his offer to perform the Dylan songs on the episode the actor was hosting. “Lorne Michaels said, ‘Hey, do you want to host SNL?’” Chalamet told Curtis. “I said, ‘Yeah, can I do the music?’ He’s like, ‘No.’ I said, ‘All right, I’m not doing it.’ He said, ‘Okay, do the music.’ But I refused to take no for an answer.”

Chalamet eventually got his way, but instead of performing some of the Rock and Roll Hall of Famer’s most beloved hits, he played a high-energy version of 1965 Bringing It All Back Home deep cut “Outlaw Blues,” a spoken word take of the New Morning tone poem “Three Angels” and the Bob Dylan’s Greatest Hits Vol. II song “Tomorrow Is a Long Time.”

A spokesperson for SNL did not respond to Billboard‘s request for comment on Chalamet’s out-of-pocket claims, but Entertainment Weekly reported that its digging revealed that Chalamet covered production expenses for his performances, including paying the band and construction of a set, costs typically taken on by a recording artist’s record label.

Chalamet further described to Curtis his bespoke approach to promoting his films, which has ranged from showing up to look-alike contests, to recording a lip synch video to Dylan’s “Visions of Johanna” on a New York city pier, turning the Las Vegas Sphere into a giant ping-pong ball for a Marty Supreme stunt in which he became the first person to stand on top of the giant dome and an instant classic unhinged Zoom appearance to promote the ping-pong movie.

But for Chalamet, these aren’t just eyeball-grabbing stunts, but another form of expression for the actor, who at age 30 has already racked up three best actor nominations for his roles in Supreme, A Complete Unknown and his breakthrough role in 2017’s Call Me By Your Name.

“This risks killing any mystery around it, but I really don’t look at it as promotion or marketing. I see myself as an artist expanding,” Chalamet said. “And certainly the Zoom had a little bit of satire to it, but the initial video in the glass box, those [ping-pong ball] heads, I feel like I’m expressing myself. You know, a lot of people want to be told what to say, how to say it and where to stand — I’m talking on the acting front. Also, people don’t want to misstep. I feel like I’ve got the keys, I’ve got the right attitude, I’ve got the juice.”

Chalamet called his out-of-the-box efforts a “new way of doing stuff. I’m trying to reach audiences, you know. I don’t want to be in the pretentious in-crowd,” he explained. “Marty Supreme in America had the least frequent moviegoing audience this year — people that weren’t going to see everything. That’s my favorite feedback on the movie. So the most pretentious answer I could give you, which I actually honestly feel, is that it’s not marketing or promotion. That sounds like a gimmick, and this is not a gimmick. This is coming from my heart and my soul.”

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This week’s crop of new music finds several top-tier country artists issuing new music, with Ella Langley unveiling new music leading up to the release of her sophomore album Dandelion. Meanwhile, HARDY welcomes Tim McGraw, Morgan Wallen and Eric Church for a multi-generational saga.

As well, Jamey Johnson offers up an introspective new track, while ERNEST takes a dip into tropical-country territory and Americana artist Meels releases a quietly scathing new track.

Check out all of these and more in Billboard‘s roundup of some of the best country, bluegrass and/or Americana songs of the week below.

Ella Langley, “Dandelion”

As her song “Choosin’ Texas” rules on the Billboard charts, Ella Langley enters a new career chapter, gearing up for her sophomore album Dandelion by releasing this lilting title track. A hazy melody, washes of pedal steel and organ bolster her honeyed, sultry twang, as Alabama native Langley describes spending time in upscale environments, but declares she’s always going to have a love for mason jars and blue jeans, while a sip of whiskey will always be comforting. This preview offers up a promising glimpse into her full project.

HARDY with Morgan Wallen, Tim McGraw and Eric Church, “McArthur”

HARDY welcomed fellow country hitmakers Morgan Wallen, Tim McGraw, and Eric Church for this song of family, legacy, loss and loyalty. The song reflects how each generation’s choices, work, and life’s inevitable uncertainties impact the generations to follow. Each artist vocally portrays a family member in the McArthur line, as their voices blend seamlessly, while each artist’s distinct style brings individuality to their character. HARDY, Chase McGill, Jameson Rodgers and Josh Thompson create a story-forward, timeless-sounding song with their masterful songwriting.

Jamey Johnson, “More of What Matters”

Jamey Johnson has long established a reputation as one of country music’s premier songwriters, and his latest further evinces that status. “More of What Matters,” released nearly two decades after he wrote it with Keith Follese and Jon Stone, offers a straightforward musing about the consequences of “a pocket full of money/ And a cold and empty heart.” The song reflects on years and energy spent building a life that looks impressive on the surface, but one that’s ultimately unfulfilling. Johnson’s brooding vocal style lends further authority to this quietly philosophical song.

ERNEST, “Lorelei”

While parts of the country are still battling snow and wintry weather, ERNEST is intent on bringing the musical antidote, as he delves into a coastal-country vibe. On “Lorelei,” he unfurls the tale of an old-time sailor who longs for an elusive lover, singing, “I still hear you in the dead of night.” Tambourines mesh with pedal steel, fiddle and guitar, placing this as a worthy inclusion to country music’s history of balmy, tropical-infused tracks. ERNEST wrote the song with Rhett Akins, Ben Hayslip and Mark Holman.

Meels, “Out West”

Lost Highway-signed indie-folk artist Meels brings a richly nostalgic, country-inflected sound to her new EP Across the Raccoon Strait, including the song “Out West.” The song finds California native Meels singing of a yearning to head out West and break free from a corrosive past. “Know that I’ll feel better when I get you off my chest,” she sings, her rustic and elegant tone gliding over layers of harmonica, guitar and fiddle. “Out West,” as with the rest of the EP, showcases Meels as an artist unflinchingly embracing the influences and idiosyncrasies that shape her musical voice.

And just like that, the 2026 Grammys are in the books, with all of the year’s biggest artists coming together to celebrate one another’s accomplishments — and enjoy each other’s knockout performances — at Crypto.com Arena in Los Angeles on Sunday (Feb. 1).

Everyone from Sabrina Carpenter to Justin Bieber, Lady Gaga, Clipse and Tyler, The Creator — all of whom were up for album of the year, which Bad Bunny ended up winning — showcased their skills on the award show’s stage, as did first-time nominee ROSÉ and Bruno Mars. The Recording Academy also continued its tradition of inviting all of the best new artist nominees to partake in a live medley, which this year featured Olivia Dean (the category’s victor), Leon Thomas, Lola Young, Alex Warren, Addison Rae, Sombr, KATSEYE and The Marías.

There were also performances devoted to the memories of musicians who died in the past year, including D’Angelo and Roberta Flack, whom Lauryn Hill and a bevy of famous guests honored with a medley of their hits. Reba McEntire, Brandy Clark and Lukas Nelson also paid homage with a moving live rendition of “Trailblazer.”

But while it’s up to the academy to decide which stars took home all of the night’s awards — including record of the year winners Kendrick Lamar and SZA for “Luther” and song of the year Billie Eilish for “Wildflower” — Billboard wants you to choose whose performance was best on Sunday night. Tell us who you think had the best performance of the 2026 Grammys by voting in the poll below.

A Rihanna track from last year’s Smurfs movie is at the center of a new lawsuit filed by the Grammy-nominated songwriter RØMANS, who says Paramount Pictures never paid him for writing it – and then falsely blamed Rihanna for the mess.

Sam Roman, who co-wrote Lewis Capaldi’s 2018 chart-topper “Someone You Loved,” claims that after talks with the studio stalled, Paramount used the song “Anyone” in the movie anyway, all without his permission and without “paying him a dime.”

According to the Friday lawsuit, obtained and first reported by Billboard, Paramount has since refused to fix the problem and instead has “pointed its finger at Rihanna,” claiming “outlandishly” that it’s her fault that he hasn’t been paid for his work.

“Paramount took the tack common to a toddler confronted with wrongdoing: Blame someone else. In this case, blame Rihanna,” writes Roman’s lawyer Jonathan Steinsapir. “Paramount decided to punish plaintiff — and brazenly infringe his copyrights by using them without consent and without paying him a dime — because the studio was mad at Rihanna.”

Smurfs, a live-action animated hybrid released in June to largely negative reviews, was a box-office flop, reportedly losing $80 million for Paramount. Roman claims the movie also features a second song he wrote – “Always on the Outside,” as performed by James Corden – without permission.

“Paramount knew full well that it had no right to use plaintiff’s intellectual property in this way. Indeed, Paramount credits plaintiff as the songwriter and producer of both tracks,” Steinsapir writes. “Despite these credits, Paramount has still not paid plaintiff even a penny.”

A rep for Paramount did not immediately return a request for comment Monday on the lawsuit’s accusations. Rihanna is not named as a defendant in the lawsuit nor accused of any wrongdoing; a spokeswoman for the star also did not return a request for comment.

Roman, who has co-written music with Ed Sheeran, Camila Cabello, Demi Lovato, Maroon 5, Alicia Keys, John Legend, and Calvin Harris, claims that Paramount approached him in 2022 about writing a song for the Smurfs movie. He says the studio pitched him that it would be performed by Rihanna, be heavily promoted as part of the movie, and that he would retain “significant backend royalties.”

“To state the obvious, big-name performers significantly drive the commercial value of songs,” Roman’s lawyers write in Friday’s lawsuit. “Writing and producing just one hit for an artist like Rihanna can yield economic benefits for decades.”

But as the release of the film neared, Roman says he was told that “Anyone” would not be released commercially after all – a change that he says fundamentally altered the economics of the deal and caused negotiations to be “completely halted.” With no deal in place, he says Paramount “astoundingly” decided to simply release Smurfs anyway, with his songs featured in “key scenes.”

“Paramount has still not paid plaintiff a dime,” Roman’s lawyers write. “At no time did plaintiff consent in any way — expressly or impliedly — to Paramount releasing the songs and recordings without a written agreement.”

In the aftermath of the movie’s release, Roman claims that Paramount chose to “blame Rihanna” for the debacle. The studio allegedly told him that it was “very frustrated by the money it had supposedly spent on Rihanna’s participation” and that it felt it had “not gotten an appropriate return from her.”

“Paramount explained that Rihanna had supposedly required Paramount to waste a lot of money and go over budget on the movie,” Roman’s lawyers write in Friday’s complaint. “Because of that, Paramount explained, plaintiff was just out of luck.”

The case does not accuse Rihanna of doing anything wrong – and in fact, Roman’s attorneys go out of their way to say as much: “Plaintiff has no issue with Rihanna. His issue is squarely with Paramount.”

In technical legal terms, Roman is accusing Paramount of copyright infringement for using the songs without permission, as well as fraud and negligent misrepresentation over its alleged promises and the breakdown in negotiations.

Few modern artists embody the value of patience like Olivia Dean, whose rise is a lesson in letting potential unfold in its own time. The London-raised singer made headlines overnight as she scooped the coveted best new artist award at the 2026 Grammys, the first time a British name has won since 2019 (Dua Lipa) and just the fifth this century following Amy Winehouse (2008), Adele (2009), and Sam Smith (2015).

Sunday’s (Feb. 1) win became a crowning moment for Dean, capping off the stratospheric success of her second LP The Art Of Loving and cementing her place on the world stage after over a half a decade spent steadily building her craft. 

A victory like this is hard won, whatever form it takes – but it feels particularly emboldening to see the prize go to an act that has been well and truly put in the yards. Arguably, there was a moment five years ago where Dean’s career appeared to be in a state of limbo. At the start of 2021, the now 26-year-old topped dozens of U.K. outlets’ ‘Ones to Watch’ lists, buoyed by a fresh signing with EMI that promised to amplify her soul-pop sound and bring her music to a wider audience.

The previous summer, in what eventually transpired to be a shrewd move, Dean travelled the U.K. in a bright yellow truck with her name painted on the side, performing mini-gigs in seaside towns. Footage from this trek shows that the crowds were often sparse – and the shows held in rather unconventional venues, including a prawn restaurant – reflecting a period when Dean was still shaping her artist identity. 

She discussed her feminist upbringing in interviews and tested out various musical approaches and collaborations to see what resonated, but even in these early, explorative moments, her willingness to embrace both the successes and the missteps along the way was admirable. Signs of promise were there.

Dean’s third EP Growth, released in July 2021, performed well on streaming services but didn’t translate into widespread recognition, or cultivate a dedicated fanbase. By then, she’d been releasing music for three years, yet it would become clear that lockdown had stalled her live momentum; over time, touring allowed Dean to hone her sound, drawing critical praise and revealing the full force of her talent and charisma with a mega-watt stage presence. 

Yet her fortunes began to change following the sleeper success of 2023 debut LP Messy. You could pinpoint a number of breakthrough moments from that era: a Mercury Prize ceremony performance, which the crowd received with an increasing feeling of rapture; dedicating a rendition of her song “Carmen” at Glastonbury to immigrants and the Windrush generation; an electrifying three-night Hammersmith Apollo residency that was immortalised in a live EP. 

As her live credentials racked up, with Dean visibly more assured and radiant in herself, stardom was soon hers for the taking. Messy hit the top five on the Official UK Albums Chart, while the visibility she was gaining became amplified by her contribution (“It Isn’t Perfect But It Might Be”) to the Bridget Jones: Mad About the Boy soundtrack, her first top 40 hit on the Official UK Singles Chart. By the time she began work on The Art of Loving, Dean was certainly benefiting from heightened mainstream recognition, giving her the platform and confidence to push her sound further and reach new creative heights — bringing fuller, more cinematic instrumentation into her melodies. 

With “Man I Need” now propelling her toward a potential No. 1 on Billboard’s Hot 100 and a major arena tour in the works, on paper, Dean’s trajectory in the past year reads almost too incomprehensible to grasp — bordering on surreal. But behind her ascent lies a solid foundation built over years of careful work; for newer artists and their teams, there’s a lesson in how Dean was able to embrace making mistakes along the way, refining her sound through a series of considered EP drops prior to her first full-length record. When the spotlight finally found Dean, she was ready to step into it fully formed.

Looking at the list of Grammy 2026 wins for artists from the U.K., several parallels can be drawn between the rise of Dean and her contemporaries. Fellow BRIT School graduate Lola Young dabbled in multiple genres across five extended releases before her hit song “Messy,” which landed best pop vocal performance, took on a life of its own. Having landed a deal with Island at 18, both Young and her label held firm in their faith in her artist proposition, even if the payoff took almost seven years.  

Celebrations are also in order for Yungblud, who has previously told Billboard U.K. about feeling overlooked or misunderstood by critics, as he collected the gong for best rock performance for his rendition of Black Sabbath’s “Changes” at Ozzy Osbourne’s Back to the Beginning farewell concert. Four studio albums in, the rocker is currently hitting a fresh commercial peak with double-LP Idols, a love-letter to the rock music he grew up adoring, proving that artistic risk-taking and persistence can ultimately outlast skepticism.

In her moving acceptance speech, FKA Twigs, winner of best dance/electronic album for Eusexua, reinforced the importance of allowing artists to flourish on their own terms. “I know that to a lot of people I may be new, but I’ve actually been doing this a really long time,” she told the Grammys audience, referring to her 14-year journey. “So to any artist: Don’t give up, follow your vision, do you — because that’s what’s going to make the world fall in love with your art.”

All of these names form a new generation of British acts reaching unprecedented heights together, pushing forward a culture of growth and shared triumph. Dean’s story in particular speaks to what can be achieved when talent is nurtured and given the space and time to realise their vision. For any artists following in her wake, the future feels wide open.