Country music has a rich history of incorporating themes of rowdy Saturday nights, evenings spent drinking in bars, heartbreak anthems, cheatin’ songs and romantic odes, but the genre’s artists have also also woven in storytelling that intertwines words of faith and deep-rooted spirituality. Country artists have long sung of their spiritual faith as both an emotional and creative foundation and inspiration, whether that be timeless songs that wrestle with personal struggles, or perhaps simply recalling Sunday mornings spent in church pews as a child.

Several country artists have released full albums of faith-filled songs, among them Alan Jackson’s 2006 album Precious Memories, Carrie Underwood’s 2021 album My Savior, and Hillary Scott (of Lady A)’s 2016 album Love Remains (the Love Remains project also won a Grammy for Best Contemporary Christian Music Album). Randy Travis released several projects centered on faith, including 2000’s Inspirational Journey, 2002’s Rise and Shine, and 2003’s Worship & Faith, as did Johnny Cash, who recorded albums such as 1959’s Hymns and 1973’s The Gospel Road.

Meanwhile, other well-known songs in country music’s canon — such as “Will the Circle Be Unbroken” and Hank Williams Sr.’s “I Saw the Light” — continue to be reminders of how artists have shared faith, hope and heartbreak in their music.

Many other country songs reference the Bible or faith imagery as part of nostalgic storytelling or rural pride anthems, such as Keith Urban’s “John Cougar, John Deere, John 3:16,” or Lainey Wilson’s “King Ranch, King George, King James.” Several country artists, among them Underwood, Cash and Dolly Parton, are even highlighted in the exhibits of the recently-opened Museum of Christian & Gospel Music in downtown Nashville.

Below, Billboard looks at five country songs that mention the Bible.


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Diamonds are still dancing on Drake. The 6 God celebrates his 39th birthday in style on Friday (Oct. 24) with 16 new RIAA certifications, including six diamond plaques.

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Among the diamond certifications are Take Care and hits like “Nice for What,” “The Motto” featuring Lil Wayne, “Headlines,” “Passionfruit” and “Nonstop.” The OVO rapper has extended his record with 15 diamond-certified songs.

Other certifications include Drizzy albums such as Views (9x), If You’re Reading This It’s Too Late (5x) and For all the Dogs (3x).

Tracks moving up the certification ladder are “Chicago Freestyle” (5x), “Rich Baby Daddy” (3x), “Slime You Out” (2x), “Virginia Beach” (2x), “Hours in Silence” (2x) and “Rich Flex” with 21 Savage (5x).

Earlier this year, Nothing Was the Same‘s “Hold On We’re Going Home” and So Far Gone‘s “Best I Ever Had” entered the diamond club. With 16 plaques on the way, and more to come, it’s safe to say Drake will need more real estate in his trophy room.

Drake’s father, Dennis Graham, posted to Instagram on Friday with a photo presumably from the OVO birthday trip to the Bahamas. “Happy Birthday to my baby boy, what a time to celebrate with the ones you love,” he wrote.

After wrapping up the birthday festivities, all eyes will turn to Drake’s Iceman album’s arrival. Earlier this week, former NFL quarterback Johnny Manziel recapped his week on social media while hanging with Drake.

In his caption, the OVO affiliate teased Iceman. “Caught a flight to the Bahamas cause it’s Iceman time and the baccarat tables were calling my name,” he wrote.

Megan Thee Stallion is head over heels for Klay Thompson. The Houston Hottie gushes about her NBA boo throughout her new single, “Lover Girl,” and she delivered a stunning accompanying visual on Friday (Oct. 24).

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Between the stylish ’90s glamour wardrobe, sharp visuals and storytelling, Megan spared no expense in this video.

A black-and-white clip finds Thee Stallion flanked by four women in lingerie twerking in unison and moving into refreshing choreography. The scene’s aesthetic feels like Meg was taking a page out of the Beyoncé playbook, inspired by Bey’s 2011 “Dance for You.”

The Houston Hottie turns the neck of a martini glass into a stripper pole and she makes a lucky chair her dance prop. There’s plenty more twerking, and Meg even plays the role of Cupid in a corset and wings with a bow and arrow, searching for love.

Viewers who stayed until the very end of the video were in for a treat, as Megan left an Easter egg teasing what’s to come. Without much context, there’s an animal that appears to be a wolf growling in the darkness.

“Lover Girl” serves as Megan’s second single of 2025, following April’s “Whenever,” as she looks to be entering a new chapter of life with Thompson happily by her side. She pulled up to support her NBA boyfriend’s first game of the season earlier this week in Dallas.

Watch the “Lover Girl” video below.


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Muni Long’s former managers are suing the singer for refusing to pay more than $600,000 worth of promised fees, though the Grammy-winning R&B star’s team calls the claims “unfounded.”

Long (Priscilla Renea Hamilton) is facing breach of contract claims from Ebony Son Entertainment, the Atlanta-based management company run by Chaka Zulu and Jeff Dixon. The duo is best known for managing Ludacris, with whom they started the record label Disturbing Tha Peace in 1998.

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Ebony Son claims in a Thursday (Oct. 23) federal court complaint that Zulu and Dixon’s hard work was instrumental to Long’s success, including her win for Best R&B Performance at the Grammy Awards this year. But Long fired her managers in January and now owes hefty commissions from live shows and recording and writing gigs, according to the complaint.

“Defendant Priscilla Renea Hamilton is publicly known as the musical artist ‘Muni Long’ but her less well-known performances are as a serial grifter,” reads the lawsuit. “After taking the benefit of plaintiff’s elite and highly sought-after management services for more than a year, Muni Long shamelessly reneged on her promises to pay plaintiff the agreed-upon, customary percentage of revenue she earned, and only earned because plaintiff assisted in obtaining those engagements.”

Long’s team denies the claims as “unfounded” in a statement to Billboard on Friday (Oct. 24). The team says it’s “deeply unfortunate that the matter could not be resolved privately and professionally,” claiming Long made “good faith” settlement offers even though “no formal contract ever existed” with Ebony Son.

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“The situation has been particularly distressing, as it involves the same team that took possession of the artist’s phone and sought to have her involuntarily committed to a mental health facility, despite medical confirmation that she was suffering from a Lupus flare-up,” says Long’s team in the statement. “All appropriate avenues are being pursued to ensure that the truth is fully and fairly defended. The artist hopes this underscores the importance to all those in creative fields to safeguard their personal and professional boundaries and be discerning about those they trust to represent them.”

Zulu and Dixon have been battling with Long in court since July, when the managers first leveled allegations over the unpaid commissions in a California state court complaint. That state court case was withdrawn just days before Ebony Son took the claims to federal court.

Long broke onto the R&B scene in 2022 with her hit single “Hrs and Hrs,” which spent 20 weeks on the Billboard Hot 100 and peaked at No. 16 on the chart. She signed with Def Jam Recordings that year, and “Hrs and Hrs” won the Grammy for Best R&B Performance at the 2023 ceremony.

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According to Thursday’s lawsuit, Long had her first meeting with Zulu and Dixon at New Orleans’ ESSENCE Festival of Culture in July 2023. During this meeting, the managers say, Long allegedly agreed to pay the duo 20% of all her gross revenue and reimburse all management-related expenses.

Zulu and Dixon say they began putting in work for Long “within days of being hired,” ensuring that her 2024 album Revenge was released before the Grammys cutoff date. This made it possible for Long to win another Best R&B Performance Grammy that year for her song “Made for Me,” the lawsuit claims.

The managers allege Long paid her required commissions and reimbursements for over a year, but that she “purportedly became unhappy” with the amount of the fees and ultimately stopped all payments in October 2024. In January, they say she officially cut ties with Ebony Son.

“Plaintiff, who worked tirelessly to advance Muni Long’s career, [has] secured over $5 million in revenue for defendants to date,” says the complaint. “But as to a significant percentage of this revenue, defendants have failed to pay plaintiff the corresponding commission payments as required by the agreement.”

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Zulu and Dixon claim Long owes more than $600,000 worth of commissions and expenses from the money she made via live shows, a $1 million ASCAP publishing deal, songwriting agreements with Shenseea and Tiwa Savage, and features on tracks by Teddy Swims and Toosi.

The lawsuit says Long also owes fees on other sources of revenue that Zulu and Dixon have not yet been able to fully audit, including the money she made opening for Chris Brown on the 11:11 Tour in 2024.

Unrelatedly, Zulu was criminally charged with murder in 2022 for shooting a man during an altercation in Atlanta. The charges were later dropped after prosecutors determined that Zulu was acting in self-defense.

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BOYNEXTDOOR returned this week with their fifth mini album The Action. When the group spent time in Chicago last August for their Lollapalooza performance, fans caught glimpses of them filming a music video — signaling early on that the album would carry a ‘movie’ concept. On the day of release, the group held a showcase event in Seoul to mark their return.

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The album’s title draws inspiration from the term “Hollywood Action,” referring to large-scale films — or metaphorically, to bold, exaggerated and daring attitudes. The track “Hollywood Action” is ultimately about taking action itself. During the media showcase, leader MYUNG JAEHYUN said, “We’ve worked hard, making four comebacks over the past year including our Japanese promotions. I hope that people who find it difficult to take the first step will be inspired by our actions to challenge themselves.” The youngest member WOONHAK added, “This song is for anyone who hesitates or feels intimidated about trying something new.” TAESAN elaborated, “If our last album’s keyword was No Genre, this time it’s about breaking all limits and diving right in.”

Released at 6 p.m. KST on Monday, The Action captures the emotions and moments BOYNEXTDOOR’s six members are currently experiencing. Built around the cinematic theme, the album consists of five tracks that vividly translate their present selves into sound. While their previous record No Genre leaned toward smoother, genre-fluid tracks (with the exception of the title song “I Feel Good”), this new release explores a broader range — from acid jazz and hip-hop to ballads. Sonically and thematically, it succeeds in expressing BOYNEXTDOOR’s distinctive emotional world.

The opening track “Live in Paris” reflects the creative struggles of the group, echoing the light self-reflection found in “Twenty” from their EP 19.99. The rock-driven “Bathroom” delves into the pain of a romantic relationship, reminiscent of the poetic metaphors in Gonna Be A Rock.” Meanwhile, “JAM!” captures the members’ playful energy while keeping things ‘chillin’ within the rules,’ much like the clever self-awareness shown in the line “I never cross the line, trust me” from “Dangerous.”

Knowing how to perform freely while still respecting boundaries — that’s the essence of BOYNEXTDOOR, and it’s what sets them apart in today’s K-pop scene. From the synchronized choreography of “Hollywood Action” to the album’s varied soundscape, The Action offers plenty to see and even more to hear.

All four of BOYNEXTDOOR’s previous albums have charted on the Billboard 200, and fans are eager to see whether The Action will extend that streak. Judging by the strength of this EP, the outlook looks bright — and Billboard Korea has ranked every track on the project.

Rolling Stone’s Musicians on Musicians took over the Beacon Theatre in New York City Thursday (Oct. 23) night for its third annual edition. Hosted by Saturday Night Live’s James Austin Johnson (whom you know for his spot-on impersonations of President Trump), the night brought the magazine’s latest issue – which features 10 musicians paired off in twos having frank, revealing conversations with each other about art and the music industry – to life on stage. Of the pairings who hit the stage at the Beacon were RS cover stars Hayley Williams and Jack Antonoff as well as Role Model and María Zardoya of the Marías. Each musician-on-musician duo sat down for a chat (the stage was done up to resemble a living room—chairs, coffee table, even a potted plant) before picking up their guitars and ripping through five-or-so songs apiece.

Zardoya’s ethereal, assured voice was a revelation in the venue’s recently improved acoustics, and Role Model’s band did justice to the Marías’ songs in the absence of her bandmates. Role Model himself was reserved and coy in the conversation portion of the night, but he had the audience on its feet and eating out of the palm of his hand when he grabbed the mic.

Hayley Williams—whose solo album Ego Death at a Bachelorette Party dropped in late August—continued to demonstrate why she’s one of our most versatile, effortless rock stars, sharing the stage with Jack Antonoff/Bleachers for the evening’s raucous finale. The long-time friends have an easy rapport, with the Paramore frontwoman adding her voice to Bleachers tunes and Antonoff rocking out on Williams’ solo cuts—including one which received its live debut.

Here are seven highlights from Rolling Stone’s Musicians on Musicians 2025 event, presented by Sonesta International Hotels.

With just one week to go before Halloween weekend, a wide range of artists fired off new music releases just in time for spooky season.

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Megan Thee Stallion unveiled her second single of 2025, “Lover Girl,” a Total-sampling ode to her basketball star boyfriend, Klay Thompson. The new track leads a busy week for hip-hop and R&B releases, including new projects from Bruce Springsteen (Nebraska ’82), Miguel (Caos), Daniel Caesar (Son of Spergy), Leon Thomas (Pholks) and Halle Bailey (Love?… Or Something Like It).

Notably, Bailey’s album marks her debut solo full-length efforts following years of solo singles such as “In Your Hands” and the Grammy-nominated “Angel,” as well as acclaimed turns in movie musicals including 2023’s The Little Mermaid and The Color Purple. Thomas’ Pholks EP arrives on the heels of his “Mutt” success — and a week before his Mutts Don’t Heel Tour launches — while Caesar’s latest LP is the follow-up to 2023’s Never Enough, which became his highest charting effort on the Billboard 200 (No. 14). As for Miguel, Caos marks his first album in nearly eight years.

To coincide with Springsteen: Deliver Me from Nowhere finally hitting U.S. theaters, The Boss shared an expanded edition of his landmark 1982 Nebraska album. The record, whose conception the Jeremy Allen White-led film chronicles, reached No. 3 on the Billboard 200 during its original chart run. This new 4LP version of Nebraska features acoustic demos, little-known B-sides and the six long-rumored, E Street Band-assisted “Electric Nebraska” tracks.

On the pop side, Demi Lovato returned to dance-pop stomping grounds with her new album, It’s Not That Deep, and Alessia Cara issued a deluxe edition of her Love & Hyperbole LP. Brandi Carlile is also back with a new solo album, Returning to Myself, months after sharing a joint album with Elton John, and Shenseea, Hayley Williams, Sampha, Tee Grizzley and Samara Cyn all shared new tracks.

That’s a lot of new music to digest as we enter the penultimate month of the year, but Billboard still wants to know which new release you can’t get enough of. Tell us by casting your vote in the poll below.


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Say goodbye to those big ‘ol monthly internet bills. If you’re looking for fast, reliable 5G coverage in your home without breaking the bank, Mint Mobile is now offering affordable options to fit into any budget. Known for their viral Ryan Reynolds ads and budget-friendly phone plans, Mint is now launching 5G home internet (aka MINTernet), an affordable home wifi service that brings its signature low prices, as little as $30/month, to your living room. The 5G network is also powered by T-Mobile’s industry-leading 5G network for fast and reliable service all-year-round.

What You Get With a MINTernet Plan

With MINTernet 5G home internet, every plan includes unlimited data, a free 5G device (with free shipping) and fast, reliable internet via the largest 6G network in America. With a quick and easy set up, just plug it in and you’ll be able streaming your favorite albums and doomscrolling on social media while saving money in the process. There’s also a 14-day money-back guarantee for those who want to try out the network before fully committing.

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It’s time to finally save on high internet costs. With most competitor internet plans ranging between $50 to $100, Mint Mobile’s affordable MINTernet service is a great budget-friendly option to stay connected without breaking the bank. Head over to the company’s site to sign up for the right plan for you.

The All-American Rejects have dropped off their new song, “Eggshell Tap-Dancer,” the third single off their upcoming album. The indie rock sweetheart playful new track follows the singles “Search Party” and “Easy Come, Easy Go,” which all dropped earlier this year.

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“‘Eggshell Tap-Dancer’ is about performing tenderness until your feet bleed,” lead singer Tyson Ritter explained in a statement. “The character in the song is tiptoeing around someone who probably stopped listening three exits ago, but he’s still there — pulling rabbits out of hats, making balloon animals out of his own arteries. In the end, I think it’s a love song written for someone who’s just detached from the world and madly in love with obsession.”

The All-American Rejects are set to return with its as-yet-untitled new album in February. The set will be the band’s first since 2012’s Kids In the Street. The rock group is currently in the midst of a massive arena tour with the Jonas Brothers, while “Easy Come, Easy Go” previously drove the band’s viral House Party Tour. The trek, in which the band performed at house parties across the country, became a viral phenomenon. Not to mention Ritter, joined OnlyFans in June to continue the band’s “disruptive” behavior.

“I don’t think anybody would have expected the All-American Rejects to make a ripple in the water ever again,” Ritter told GQ at the time. “So the excitement behind this whole thing is like, ‘Where else can we be disruptive?’”

Check out the lyric video for “Eggshell Tap Dancer” below.

Suzette Quintanilla and director Isabel Castro join us for a discussion on the documentary film showcasing never-before-seen footage of the Tejano Music Queen and her family’s journey.