“I don’t know. I really don’t,” Ella Langley considered when asked by Billboard why so many people have gravitated to her smash “Choosin’ Texas,” which adds a fifth week at No. 1 on the Billboard Hot 100 (dated April 11).

“All of us that wrote it, we talk about that. We love this song. I don’t know if it’s because it’s a very honest point of view, you know, but I hear a lot of honest songs all the time. I tried to add some groove into this record, big singing choruses and big melodic guitar licks that you can remember. I don’t know if it feels nostalgic or sounds like something they hadn’t heard before.”

To Langley’s points, it may be a bit of all of the above.

Below is Hit Songs Deconstructed’s look at three key factors that have helped “Choosin’ Texas” — which Langley cowrote with Luke Dick, Miranda Lambert and Joybeth Taylor and coproduced with Lambert and Ben West — dominate from Texas to Tennessee and beyond.

Rolling Rhythm & Gentle Sway 

“Choosin’ Texas” features a rolling, conversational rhythm and gentle sway, shaped by the push and pull between held notes and quicker syllabic bursts. First established by the guitar hook in the intro, this lilting feel reappears in key vocal lines across the song, subtly linking the instrumental hook and vocal melody in a way listeners are more likely to feel than consciously notice.

The result is a song that feels especially cohesive, familiar and memorable as it unfolds. It also lends the track a subtle two-step sway, making lyrics like “two-steppin’ ’round the room” feel especially natural. And when that rhythmic pattern is strategically broken at pivotal moments, such as leading into the chorus and spotlighting the “he’s choosin’ Texas, I can tell” hook at the end, the payoff lands even harder.

Space & Restraint Deepen Emotional Pull

Rather than forcing the heartbreak, “Choosin’ Texas” lets it unfold with an easy realism. Key lines are given room to breathe and Langley’s even-keeled delivery keeps the emotion grounded instead of oversold.

That restraint makes the song feel more believable, allowing the heartache to hit in a way that feels authentic and easy to connect with.

Fresh Take on a Familiar Theme 

“Choosin’ Texas” gives a classic love-triangle story a clever twist by framing it as a rivalry between two states. Rooted in imagery like Smoky Mountain rain, Hank Williams tunes and Memphis blues, the narrator’s world is distinctly Tennessee, while the other woman is never even named — she’s simply Texas.

As the song unfolds, the emotion feels less like a sudden loss and more like an inevitable one, as if he was always being pulled back to where he belonged. That idea comes into even sharper focus with the I-40 reference, which places that emotional divide on the very highway connecting their two worlds.

This framing gives the lyric a distinctly country identity while keeping its emotional core — losing someone whose heart was always headed elsewhere — universally relatable and refreshingly original.

David and Yael Penn co-founded Hit Songs Deconstructed. In 2023, Hit Songs Deconstructed and fellow song analysis platform MyPart publicly launched ChartCipher, an AI-powered platform analyzing a deeper scope of hit songs, as defined by Billboard’s charts.

Lasso has signed with Interscope Records for distribution, Billboard can exclusively announce on Tuesday (April 7). 

Both Nir Seroussi, president of Interscope Capitol Miami, and Walter Kolm, CEO of WK Entertainment, who signed Lasso for management in 2024, were present at the signing. 

“Signing with Interscope is a dream I’ve had my whole life,” the prolific Venezuelan singer-songwriter said in a press statement. “Seeing my name next to that logo is incredibly exciting for me. The fact that Nir, someone I truly admire in this industry, took interest in my project makes me very happy. I haven’t felt this excited about the future of my career in years.”

Seroussi, who was Billboard’s 2025 Latin Power Players Executive of the Year, added: “We’re thrilled to welcome Lasso to the Interscope family. He’s a truly special artist with a rare gift for turning personal stories into songs that connect deeply. What he’s delivered on this new album is exceptional — easily the best work of his career — and we can’t wait for the world to hear it.”

Marking a new chapter in Lasso’s career and international expansion, the news comes on the heels of the Latin pop star releasing his first single of 2026, called “p0rn0grafía.” The smooth, pop-rock song is the first preview of Lasso’s forthcoming sixth studio album following last year’s set Malcriado, which was nominated for best pop/rock album at the 2025 Latin Grammys.

Born Andres Vicente Lazo Uslar, the former Billboard Latin Artist on the Rise discovered his passion for music at the age of 11 and has been releasing music professionally since 2012. He entered the Billboard charts for the first time in 2022 when “Ojos Marrones” — fueled by its massive success on social media — peaked at No. 66 on the Billboard Global 200 chart and at No. 39 on the Billboard Global Excl. US chart. That same year, the song peaked at No. 15 on Latin Pop Airplay. The sweet, ultra-viral track also won the Latin Grammy for best pop/rock song at the 24th annual awards ceremony.

In the past year, Lasso has released a streak of notable collaborations, including with Ha*Ash, Ximena Sariñana and Piso 21.

THE·TEAM elevated executive vp/managing partner Kevin Shivers to co-president of music, the agency announced Tuesday (April 7). Shivers will join current president Lee Anderson, who assumed his current role leading THE·TEAM’s music group in June 2024.

“I’ve always wanted a role like this, and I didn’t know if it would come,” Shivers told Billboard. “It’s a great day, and I couldn’t be more proud to be doing it with a great partner in Lee and the team that we have assembled.”

Shivers joined THE·TEAM (formerly known as Wasserman) in January 2025 following more than 16 years at WME. His roster includes marquee client Tyler, the Creator, as well as major performers from the rap (Kid Cudi, Vince Staples), R&B (Leon Thomas, Jazmine Sullivan), Latin (Kali Uchis, Ca7riel & Paco Amoroso) and even podcasting (Crooked Media) worlds.

“People that look like me rarely get these opportunities,” Shivers added, referencing how with his promotion, he becomes one of the seniormost Black executives in the agency sector and the music business at large.

Prior to him joining THE·TEAM, Anderson and Shivers discussed the possibility that Shivers may be elevated to such a role, Shivers said, with Anderson and other senior executives at the company ultimately agreeing that overseeing the music group was “a two-person job.” In explaining the division’s move from one president to two, Shivers noted the growing corporate trend toward leadership by two executives, which companies such as Netflix, Spotify and Oracle have recently embraced.

Practically, Shivers and Anderson plan to divide and conquer, with each retaining oversight of the areas they’re closest with — hip-hop for the former, dance for the latter — while spreading leadership duties between themselves. Beyond Shivers’ personal roster, THE·TEAM represents major artists across all genres, including Kendrick Lamar, Coldplay, Ed Sheeran, Disclosure, Tyler Childers, Lorde and Phish.

“We’ve worked together long enough to have a real trust together,” Shivers says of Anderson. “We see the business in the same way — but we bring different strengths to the table. … We want to represent the best artists in the world — the ones with the most unique voices, the ones that are putting out the best music and doing the most cutting-edge thing.”

“Kevin is one of the most respected and beloved voices in our business,” Anderson said in a statement. “From day one of joining our company, he has made positive impacts through mentorship, strategic input and a constant drive to improve our business. He brings a rare combination of instinct, experience, selflessness and integrity to everything he does. As we look the future, there is no one better to help lead this group forward.”

Shivers becomes co-president as the agency world and broader live sector face myriad new challenges, from fair ticketing to the rise of AI. For Shivers, the “numero uno” concern currently is that “the clients want more, they deserve more. It’s always making sure we’re giving them more.” The robust branding, marketing and artist services resources that THE·TEAM offers clients has helped to differentiate it from other music agencies, and Shivers expects that to remain a key selling point for the company. In his previous role, Shivers also searched for expansion opportunities internationally, and he plans to continue exploring this “whole other world of opportunity.”

“There’s so much to offer under THE·TEAM,” Shivers said. “Lee and I’s job is to do a great job tying of tying this all together, telling our story, so that everybody knows what we have to offer. Many times, being an agent is about being a good storyteller — and we need to tell our story in a way that everybody understands what we have to offer.”

For Shivers, telling that story will also include addressing concerns about the agency following founder and CEO Casey Wasserman‘s appearance in documents released by the Department of Justice in connection with the Jeffrey Epstein investigation. After several artist clients left or threatened to leave the agency over Wasserman’s connection to the case, he said in a memo to staff that he had stepped back from the company’s day-to-day business and had begun the process of selling it. Shortly after, the agency changed its name to THE·TEAM.

“Everybody knows we’re for sale,” Shivers said. “I’m not in those conversations, but I think that our partners, whatever happens, it’s just going to put us in a better situation.”

While Shivers declined to get into specifics about what that future might entail, he reiterated his confidence in THE·TEAM’s staff, regardless of its ownership.

“The foundation of our business is strong, and that hasn’t changed,” he said. “It never did change. We have a great business. We have the brightest and the best clients, the brightest and the best agents and people who work here. If anything, it’s been a moment for us to really focus on who we are and where we’re going to go next. One thing is for sure: We have the same commitment to our artists and to our team. As always, when you have turmoil or an unfortunate situation, you have a chance to look inside of yourself — and I believe we are going to be stronger.”

London’s Wireless Festival has been canceled following news that Ye’s (formerly known as Kanye West) entry into the U.K. was blocked by the Home Office on Tuesday (April 7).

Earlier in the day, the government confirmed to the BBC that Ye would be unable to enter the U.K. on an Electronic Travel Authorization visitor visa. The Home Office cited Ye’s past antisemitic and pro-Nazi comments, and said that his “presence would not be conducive to the public good.”

Ye had previously been announced as the headliner for all three nights of the annual London festival, due to take place July 10-12 in Finsbury Park. 

Now, Festival Republic has issued a statement saying that Wireless Festival’s 2026 edition will no longer go ahead and refunds will be issued. The first passes to the event went on sale last week as part of a pre-sale; general sale was due to commence this Friday.

In a statement sent to Billboard, Festival Republic said, “The Home Office has withdrawn Ye’s ETA, denying him entry into the United Kingdom. As a result, Wireless Festival is canceled and refunds will be issued to all ticket holders.”

The promoter continued, “As with every Wireless Festival, multiple stakeholders were consulted in advance of booking Ye and no concerns were highlighted at the time.

“Antisemitism in all its forms is abhorrent, and we recognize the real and personal impact these issues have had. As Ye said today, he acknowledges that words alone are not enough, and in spite of this still hopes to be given the opportunity to begin a conversation with the Jewish community in the U.K.”

A number of Jewish community organizations criticized the move, as did U.K. prime minister Sir Keir Starmer and Sadiq Khan, the mayor of London. Labour MPs had called on the Home Office to deny Ye a travel visa based on his past antisemitic statements. Ye issued an apology for the statements in January via an ad in The Wall Street Journal.

Sponsors including Pepsi, Rockstar Energy, Diageo, PayPal and more had withdrawn their association from the festival over the weekend. Melvin Benn, Festival Republic’s managing director, doubled down on the booking and called for “forgiveness” in relation to Ye’s past statements and his mental health.

On Tuesday morning, Ye issued a statement offering to meet with Jewish organizations. “My only goal is to come to London and present a show of change, bringing unity, peace and love through my music. He continued, “I would be grateful for the opportunity to meet with members of the Jewish community in the U.K. in person, to listen. I know words aren’t enough — I’ll have to show change through my actions. If you’re open, I’m here.”

But by the afternoon in the U.K., however, his travel plans had been scuppered. The Home Office can deny entry to the U.K. based on previous past convictions, as has been the case with artists such as Lil Wayne and Chris Brown. 

Entry can also be withdrawn if the applicant is likely to be conducive to the public good. In 2015, Tyler, The Creator was banned from entering the U.K. by then-home secretary Theresa May for alleged homophobic lyrics; the ban was lifted in 2019 and he has performed in the U.K. consistently since.

Wireless Festival has been held annually in the English capital since 2005; last year’s edition was headlined by Drake.