Country music is built upon a bedrock of storytelling, and alongside many of the genre’s most beloved topics, such as romance, heartbreak, romantic betrayal, small-town nostalgia and familial ties, is the topic of faithful canines. Songs about dogs’ roles as steady companions, hunting buddies, and heartbreak healers, as well as songs about the painful loss of a beloved dog, have long resonated deeply with country music listeners.

Artists including Chris Stapleton, Johnny Cash, HARDY, and Dolly Parton have recorded songs dedicated to the unconditional love and faithfulness that come from furry, four-legged friends. Country music’s canon is filled with classic songs such as Red Foley’s “Old Shep” (also recorded by artists including Hank Snow, Elvis Presley and Johnny Cash) to Hank Williams Sr.’s enduring hit “Move It on Over,” where he joins a dog in the dog house after he’s locked out of his home following a night of partying that goes on too long.

Many of country music’s best canine tribute songs were written about the artists’ personal experiences, such as Stapleton’s “Maggie’s Song,” a song he wrote after the passing of his beloved terrier dog, and which he included on his 2020 album Starting Over.

“Every word and every stitch of that song is real things,” Stapleton told The Tennessean in 2021. “She was a member of the family, and she deserved a song.” 

Below, Billboard highlights 10 country songs about dogs, from tender odes to dramatic tales and humorous perceptions, as well as songs that hope faithful companions are well-rewarded in an afterlife–all paying tribute in a way to the dedication, friendship, protection and/or the unconditional love of dogs.


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The world has changed significantly since 2018: the COVID pandemic upended daily life, TikTok took over social media, and AI is the acronym everyone’s talking about, to name a few things. But one thing hasn’t changed: Cardi B is making some of the best rap music in the game.

Cardi proved that again with the release of her second album — and first in seven years — Am I The Drama? and fans responded in kind: this week, Cardi’s new album debuted at No. 1 on the Billboard 200 with 200,000 equivalent album units, the biggest week for an R&B/hip-hop album by a woman this year so far, making her two-for-two with chart-topping albums. And while things may not have changed too much for Cardi on the charts, seven years is an interminably long time in the music business, meaning she largely had to reintroduce herself to fans in a world that has changed so much. And helping her do that has been Darrale Jones, the A&R and executive producer for Am I the Drama? who originally signed her to Atlantic Records in 2016 — and now earns the title of Billboard’s Executive of the Week.

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Here, Jones discusses the process of crafting Cardi’s second album, how they were able to capture fans’ imaginations and attention after so long between full length projects, the state of hip-hop in 2025 and honesty in storytelling. “The thought was: if she’s gone through it, someone else out there has, too,” Jones says about Cardi’s songwriting process here. “So we wanted to create something honest and relatable, something that connects on a human level.”

This week, Cardi B’s Am I The Drama? debuted at No. 1 on the Billboard 200 with 200,000 equivalent album units. What key decision did you make to help make that happen?

The goal from the beginning was to create incredible music. We weren’t focused on chart positions; our mindset was about making a hit project and a classic album. That’s what drove every decision we made throughout the process.

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What was your approach to making a full album this time around, and what was your role in creating it?

I’m the A&R and executive producer on both Invasion of Privacy and Am I the Drama?. My role is really about bringing hot producers to the table that align with her vision. Cardi has lived, experienced, and gone through a lot, so there was no shortage of topics to explore.The approach this time was to tap into all of that and make sure the music reflected exactly where she is in her life right now.

After such a long time since her first album — albeit with a handful of big singles in between — how did you want to reintroduce her, in a way, to her audience?

Cardi wanted to approach this project from a real, human perspective. It was important to her that the music reflect her actual life — the highs, the lows, everything she experienced in the time since Invasion of Privacy. So the process started with sitting down and really talking through what she wanted to say, what she’d been through, how she’d grown. The thought was: if she’s gone through it, someone else out there has, too. So we wanted to create something honest and relatable, something that connects on a human level.

What was behind the decision to put both “Up” and “WAP” — two No. 1 singles, but from four and five years ago, respectively — on the album, and how did that help its first week?

I honestly wasn’t thinking about whether it would help the first week or not. The decision came from a creative place. With this body of work, both “Up” and “WAP” fit the overall messaging Cardi wanted to express. So it wasn’t about any kind of monetary or chart gain — it was about making sure the album told the full story she wanted to tell.

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How has Cardi evolved as an artist since you first signed her to Atlantic?

Cardi has always been able to speak from the heart, but over time she’s come to really understand the value of truth-telling in her music and how powerful that can be. She’s lived a lot of life since her first album, and that growth shows. When it comes to marketing and promoting her music, it’s not about strategy or personal gain — it’s about sharing her truth. That authenticity has always been there, but now it’s more intentional and grounded in experience.

Hip-hop has always done well on streaming services, but its share of the market has been slipping lately. How do you assess the health of the genre in the marketplace right now?

I believe the genre is still healthy, the foundation is there. The issue isn’t with hip-hop itself, it’s with the quality of the output. There just isn’t enough great music being made right now. I think the entire genre needs to raise the bar and bring back the competitive spirit that hip-hop was built on — without the violence. That energy, that hunger to push boundaries and outdo each other creatively, is what made hip-hop so impactful in the first place.


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RAYE collected an Ivors Academy Honour at a ceremony in London on Thursday night (Oct. 2) in recognition of her songwriting advocacy.

The 27-year-old musician has fought for fairer representation and pay for songwriters in the music industry. She was a leading voice in a campaign that resulted in U.K. major labels committing to introducing a per diem and cover expenses for songwriters attending their writing sessions, marking the first time such an initiative has been brought up anywhere in the world.

Speaking from the stage at the Intercontinental London, RAYE said, “Being a songwriter is also one of the greatest privileges, and I think it’s something that should be about grafting and talent, not about how rich you are, or to be in a good situation financially to be a songwriter. It shouldn’t be about that.”

She continued to ask for more changes in the way that songwriters are compensated. She called for “points on the master” in reference to royalty splits, and acknowledged that she might be “pissing people off” but that the fact songwriters aren’t recognized “doesn’t make any sense to me.”

RAYE added, “Songwriters, I want to encourage us to talk in the songwriter split conversations. This industry has become exceptional at dividing us and pitting us against each other. We get told ‘if you don’t approve this songwriter split the song won’t get released, if you don’t approve we’re never using you again’. Those lies and manipulation tactics need to be over. Eliminate the grey areas, eliminate us fighting against each other and let’s work together to lead the fight to the labels to make them understand that we’re not going to stop until songwriters are correctly compensated for their songs.”

RAYE began writing songs for other artists in 2015, and over the years has amassed credits on work by Charli XCX (“After the Afterparty,” 2016), John Legend (“A Good Night,” 2018) and Beyoncé (“Bigger,” 2019 & “Riiverdance,” 2024) among others. Following a dispute with her record label, Polydor, she left the major label system to release her debut album 21st Century Blues (2023), which peaked at No. 2 on the U.K. Albums Chart. 

A year later in 2024 she collected six BRIT awards, using one of her speeches to advocate for better conditions for songwriters and bring the conversation into mainstream spaces. “British music industry, please – I want to have a lovely, brief conversation about normalizing [business by] giving songwriters master royalty points,” she said. “It means if the songs win big, the writers get to win too. Please allow that to happen, please.” 

RAYE also received a Grammy nomination for best new artist at the ceremony in February.

RAYE is set to release her second studio LP next year, and will play six nights at The O2 in London as part of a global arena tour. “Where Is My Husband!”, the LP’s lead single, was released in September and debuted at No. 4 on the U.K.’s Official Singles Chart.

Kae Tempest was also recognised for his work as a songwriter and lyricist. Tempest has been nominated for the Mercury Prize twice (2014, 2016) and recently released his new album, Self Titled. In August 2020, Tempest came out as non-binary and in 2023 a BBC documentary showed Tempest’s experiences having top surgery and beginning to take testosterone, as well as his mental health struggles while being a musician. In 2025, Tempest shared that he now used he/him pronouns. 

During his speech, Tempest performed an a capella version of his song “I Stand on the Line” which celebrates his identity: “With all the problems that we have to contend with/ Why are trans bodies always on the agenda?”

A number of key industry executives were also honored at the ceremony which celebrates advocates and innovators who champion songwriters and composers: including Sir Richard Branson, founder of Virgin Group; Sir Chris Bryant MP, Minister of State at the Department for Business and Trade; Kanya King CBE, chief executive and founder of the MOBO Group; Jon Platt, chairman and CEO of Sony Music Publishing; and Catherine Manners, founder of music publishing and creative services firm Manners McDade.

The night also featured a posthumous honor for the late John Sweeney, VP international of SESAC, who died in June 2025.

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Forty years after Cyndi Lauper won the Grammy for best new artist, CBS is set to air A Grammy Salute to Cyndi Lauper: Live From the Hollywood Bowl on Sunday, Oct. 5 (8-10 p.m. ET/PT). The special was filmed in August as she concluded her year-long Girls Just Wanna Have Fun Farewell Tour, billed as her last show on the road. Guests include Joni Mitchell, Cher, Angélique Kidjo, John Legend, SZA, Mickey Guyton, Trombone Shorty and Jake Wesley Rogers, with video testimonials from Brandi Carlile (who hails her as “a once in a lifetime badass”) and Billie Eilish.

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A video montage at the top of the special includes a vintage clip of Lauper posing the question “Who is this girl Cyndi Lauper and why is she so unusual?” The two-hour special effectively answers that question – she’s a gifted singer and songwriter (she co-wrote “Time After Time,” which received a Grammy nod for song of the year); she has a strong visual sense; she’s versatile; she has solid musical chops (she plays flute on “She Bop” and Zydeco rubboard on Mitchell’s “Carey”).  

Though Lauper’s pop hits were concentrated in the 1980s, she has had a long and fruitful career. In 1995, she won a Primetime Emmy for outstanding guest actress in a comedy series for Mad About You. In 2013, she became the first woman to win a Tony on her own for best original score for Kinky Boots. Lauper was inducted into the Songwriters Hall of Fame in 2015 and will be inducted into the Rock & Roll Hall of Fame on Nov. 8.

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This is CBS’ second Grammy Salute special in two weeks. A Grammy Salute to Earth, Wind & Fire Live: The 21st Night of September aired on Sept. 21. Earth, Wind & Fire was joined by the LA Philharmonic, as well as Stevie Wonder, Jonas Brothers, Jon Batiste and Janelle Monáe. Both the EWF and Lauper specials were filmed at the Hollywood Bowl in Los Angeles.

The Grammy Salute specials have gotten much better. It used to be that the honoree was serenaded by artists performing their songs, with little apparent creative input on their part. Now they are the stars of the show, as it should be.

Ken Ehrlich, Lauper and Harvey Mason jr, served as executive producers of Lauper’s special. Ehrlich was executive producer of the Grammy telecast for 40 years. Mason is CEO of the Recording Academy.

Here are the six best moments from A Grammy Salute to Cyndi Lauper: Live From the Hollywood Bowl.


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*NYSNC were in a reflective mood this week as they looked back with love at the 30th anniversary of their formation. In a nostalgic Instagram post on Wednesday (Oct. 1), the band formed by Justin Timberlake, J.C. Chasez, Joey Fatone, Chris Kirkpatrick and Lance Bass on Oct. 1, 1995 shared a compilation of videos in which the singers reflect on their deep bond with their fans, and each other.

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“30 years. ✨ October 1, 1995 feels like yesterday… and somehow a lifetime ago. Five guys chasing a dream turned into something bigger than we ever imagined,” the post began, alluding to the day that Bass officially joined the group that would go on to global superstardom. “The music. The shows. The memories. An unbreakable bond: with each other, and with all of you. Through every high and low, your love has carried us. Forever grateful. 💙 Here’s to three decades of *NSYNC.”

The accompanying video counts down from 2025 to 1995 with a flip-book of performance footage from throughout the years, as well as a compilation of the different fonts used to spell out the band’s name before tossing to a throwback series of shots of the five men from their earliest days together.

From there it takes fans through a short history of the band’s rapid rise to megastardom in the late 1990s and early 2000s, peaking with 2000’s No Strings Attached LP, which sold more than one million copies on day one and over 2.4 million copies in its first week. In a clip from their Hollywood Walk of Fame ceremony, Bass says, “the best days of my life were in this group,” adding that the thing he’s most thankful for is the “brotherhood” with his bandmates.

In his own post, Bass shared a roll of pics and videos from over the years, writing, “30 years of *NSYNC… Feels like just yesterday we were learning choreography in an airplane hangar in Orlando, hoping our frosted tips would help us stand out. (They didn’t, but we committed!) What an amazing 30 years it’s been. From stadiums to TRL to TikTok- it’s wild to think we’ve grown up with you right there beside us. Thank you for riding with us through every era, every outfit, every questionable video. And to my brothers- thank you for the laughs and the memories I’ll never forget.”

In the anniversary video, Timberlake refers to the group as a “family,” saying he “can’t put into words how much the four of you mean to me,” as the clip ends with a supercut of the men talking about how they could have never dreamed of the heights they reached together. “I’d like to thank you gentlemen for making my dreams come true,” Chasez is seen saying at the Walk of Fame ceremony.

From 1995 until their hiatus in 2002, *NSYNC released four albums and scored an epic run of chart hits, including the 2000 Billboard Hot 100 No. 1 “It’s Gonna Be Me,” as well as the 1999 No. 2 hit “Music of My Heart” with Gloria Estefan, the No. 4 smash “Bye Bye Bye” and a pair of No. 5 singles with “Girlfriend” and “This I Promise You.”

While Timberlake went on to a huge solo career, the other band members have stayed busy with their own solo projects in music, TV and film, with the quintet reuniting for a performance at the 2013 MTV VMAs and for their 2018 Hollywood Walk of Fame ceremony and in 2023 to release the song “Better Place” from the Trolls Band Together animated movie. They also reformed in the studio for the song “Paradise” from Timberlake’s sixth solo album, 2024’s Everything I Thought It Was.


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Taylor Swift was feeling grateful and energized on Friday morning (Oct. 3) as she unleashed her 12th studio album, The Life of a Showgirl. In an early morning Instagram post featuring a carousel of the dramatic images of Swift in various dancer outfits, Swift shared how she was feeling about the 12-track album finally being out in the world.

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“Tonight all these lives converge here. The mosaics of laughter and cocktails of tears. Where fraternal souls sing identical things. And it’s beautiful. It’s rapturous. It is frightening,” Swift wrote. “I can’t tell you how proud I am to share this with you, an album that just feels so right. A forever thank you goes out to my mentors and friends Max [Martin] and Shellback for helping me paint this self portrait,” she added of the pop producer superstar duo with whom she re-teamed on the album after previously collaborating on such hits as “We Are Never Ever Getting Back Together,” “Shake It Off” and “Blank Space” and many others.

“If you thought the big show was wild, perhaps you should come and take a look behind the curtain…,” she added.

The album is a return to pop form for Swift, who co-produced it alongside Martin and Shellback, with the singer weighing in on her relationship with fiancé Travis Kelce on wax for the first time on songs including “Opalite,” a reference to the NFL star’s October birthstone. The album also features the George Michael-interpolating “Father Figure,” as well as the title track collab with Sabrina Carpenter and first single, “The Fate of Ophelia.”

Swift will celebrate the album’s release this weekend with a film event, the 89-minute Taylor Swift: The Official Release Party of a Showgirl, which reportedly features the music video for the album’s opener and lead single, along with lyric videos for the other tracks and Swift’s insight on the new songs. “I hereby invite you to a dazzling soirée,” Swift wrote when sharing the news on Instagram. “Dancing is optional but very much encouraged.”

The film will run during the release weekend, from Friday (Oct. 3) through Sunday (Oct. 5), with tickets available on the event’s website.


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While Swifties were busy digging for all the Easter Eggs on Taylor Swift‘s just-released 12th studio album, The Life of a Showgirl, on Friday morning (Oct. 3), the singer dropped by the U.K.’s Graham Norton Show to chat up the LP, and, of course, her summer engagement to Travis Kelce.

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In her first TV appearance since the August proposal heard ’round the world, Swift, 35, told Norton that Chiefs tight end Kelce, “really crushed it in surprising me,” in speaking of the instantly iconic special moment caught in a photo of the NFL star down on his knee asking for Taylor’s hand in the middle of a forest of flowers.

According to People, Swift — wearing a black mini dress with a bejeweled halter neckline — told Norton that while the couple were chatting on Kelce’s New Heights podcast, the baller “had a complete garden built out the back of his house to propose in.” And, not for nothing, Swift said that Kelce’s proposal was a big swing that totally landed. “He went all out — 10 out of 10” she said, subtly flashing the impressive engagement ring during the taping where she appeared alongside actors Cillian Murphy, Greta Lee, Jodie Turner-Smith and Domhnall Gleeson and fellow singer Lewis Capaldi.

Cagey as ever, Swift kept any wedding plans close to the vest, saying “you’ll know,” when she has something to say about the blessed event. “I want to do the album stuff first, and the wedding is what happens after in terms of planning. I think it will be fun to plan,” she said, with People describing her vintage-style ring as having a “massive old mine brilliant cut diamond, a rectangle-cut diamond,” which is estimated by one expert to be around 7-10 carats in a bezel setting.

As she noted on Kelce’s New Heights earlier this summer, Swift reiterated that recording Showgirl in the midst of her grueling, record-setting Eras Tour was a way to keep her inspired. “I was physically exhausted — sick and worn down — so to spark me up, I had the album as a secret passion project behind the scenes,” Swift said of her off-tour flights to work with producers Max Martin and Shellback during the European leg of her summer 2024 tour. “It stopped me hitting a wall.”

Swift also told Norton that the new album is not as introspective as her recent LPs, saying that in recent years she’s had a “different perspective and like storytelling at a little bit of a distance, so it isn’t like doing a complete autopsy of myself.” Alluding to some growth as an artist, the singer added that her “wheelhouse is bigger now… I feel I can do anything now while running in heels. I am confident to write higher choruses, jump an octave, and do falsetto stuff. I have more confidence after the tour.”

Swift will be back on TV on Monday night (Oct. 6) when she stops by The Tonight Show and then again on Wednesday night (Oct. 8), when she’ll be the only guest on Late Night with Seth Meyers.


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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, Luke Combs is feeling wistful, Leon Thomas is feeling vindictive, and of course, the most anticipated pop release of the entire year is finally upon us. Check out all of this week’s picks below:

Taylor Swift, The Life of a Showgirl

Yes, Taylor Swift‘s finally back doing big pop, and yes she’s got Max Martin and Shellback in tow again — but 1989, Pt. 2 this ain’t. The Life of a Showgirl has some of the big drums and plenty of the big hooks of this trio’s extended collaboration a decade earlier, but the songwriting and sonic palette are both updated for the mid-2020s, with many tracks based around an organic-skewing pop-rock sound more reminiscent of Fleetwood Mac than Forever Your Girl. Plenty of its songs seem destined to impact on a similar scale though: “Actually Romantic” and “Wood” will be the headline-grabbers for their provocative subject matters, but “Ruin the Friendship” and “Eldest Daughter” may end up the fan favorites for their personal lyrics and wistful melodies.

Luke Combs, “Days Like These”

“When the sky is blue/ And the grass is green/ How much better can it be?” Luke Combs has always had a knack for expressing simple lyrical sentiments as profound truths — particularly when he relies on the power of his voice to carry the song, rather than dulling it with radio-ready overproduction. “Days Like These” features just Combs and an acoustic guitar singing this ode to the core pleasures that make up life — and you can bet country radio will still find it absolutely undeniable.

Leon Thomas, “Just How You Are”

Despite the title’s similarity to classic pop love songs from Billy Joel and Bruno Mars, don’t expect Leon Thomas in a sentimental mood on his new single. “I wrote all these songs about you/ And you never even said a word/ Not even just to say you heard/ I guess ‘congrats’ is your least favorite word,” the R&B singer-songwriter seethes over an airtight soul-funk groove. The wedding ballads can wait; this nasty jam should still get the dancefloor packed in the meantime.

Louis Tomlinson, “Lemonade”

We haven’t heard much from Louis Tomlinson since 2022’s Fate in the Future, but in September he announced he’d be back with the full-length How Did I Get Here? in January 2026. The first taste of that record was delivered this week with lead single “Lemonade,” in which Tomlinson does his best Adam Lambert strut over a muscular disco-rock bounce. No one’s going to be bringing the chorus (“She’s so bitter/ She’s so sweet/ Lemonade”) into Language Arts class anytime soon, but there’s never been a song called “Lemonade” that wasn’t mostly irresistible, and this one is no exception.

Kali Uchis feat. Mariah the Scientist, “Pretty Promises”

After teaming up for one of the year’s most sublime collabs with “Is It a Crime?” from Mariah the Scientist‘s Hearts Sold Separately album, it’s time for Kali Uchis to play host on the deluxe edition of her 2024 LP Sincerely, entitled Sincerely: P.S. The two reconvene for the equally lovely “Pretty Promises,” as the two swear that their word is bond over an underwater groove that they swim around like mermaids. If these are gonna be the results every time this duo teams up, they should really start thinking about doing a full album together.

Fred again.. & Amyl and the Sniffers, “You’re a Star”

Of all the artists you might expect producer phenomenon Fred again.. to team up with for one of his overwhelmingly emotional dancefloor anthems, Australian indie-punk band Amyl and the Sniffers would probably be fairly low on the list, if it made the cut at all. But sure enough, the artist born Frederick John Philip Gibson enlisted Amy Taylor and company for his drum n’ bass-inflected latest single, harnessing the group’s energy and then exploding it with Gesaffelstein-like sirens and typically all-over-the-place vocal triggers. Unexpected but effective — and that’s why he’s a star.


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It’s showtime! Taylor Swift‘s The Life of a Showgirl has finally arrived after months of buildup, complete with 12 new songs.

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Released on Friday (Oct. 3) and produced entirely by the pop star, Max Martin and Shellback, the album finds Swift looking back on her past two years of life — which she largely spent on the road on her global Eras Tour. On “Father Figure,” she interpolates George Michael’s 1987 hit of the same name, and on title track “The Life of a Showgirl,” Sabrina Carpenter joins her for their first official duet since touring together last year.

“The Fate of Ophelia” serves as the LP’s lead single, with Swift premiering a music video for the track in her The Official Release Party of a Showgirl event that will run in theaters all weekend.

Arriving about 18 months after 17-week Billboard 200-topper The Tortured Poets Department, the 14-time Grammy winner’s newest full length almost feels like a complete 180 for her. Following the black-and-white aesthetics and melancholy lyricism of TTPD, the high saturation and sparkles associated with Showgirl — which is comprised of flashy pop bangers — feel even more vibrant.

Leading up to the release of Showgirl, Swift kept fans guessing about the project through a number of methods. Teaming up with Spotify, the singer dropped a handful of lyrics through a pop-up immersive experience in New York City, and with Apple Music, Swift revealed even more snippets by capitalizing “random” letters in her lyrics.

On Friday night, Swift will appear on The Graham Norton Show to promote the album. In the coming days, she’ll do the same on The Tonight Show Starring Jimmy Fallon and Late Night With Seth Meyers.

Listen to Swift’s new album The Life of a Showgirl below.


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The wait is over. Back on Aug. 13, Taylor Swift went on her then-boyfriend Travis Kelce’s podcast New Heights to first reveal that her much-anticipated 12th album — to be titled The Life of a Showgirl, and to consist of 12 pop “bangers” co-written and co-produced with her old 1989 collaborators Max Martin and Shellback — would be arriving on Oct. 3. Now, roughly seven weeks and exactly one engagement announcement later, your English teacher is here to make her Showgirl debut.

As the dozen-track set arrives this Friday — with just one featured guest, in fellow superstar and Eras Tour opener Sabrina Carpenter on the title track, though pop icon George Michael is also invoked via interpolation on “Father Figure” — Swift will also premiering her new film event, titled Taylor Swift: The Official Release Party of a Showgirl. The film reportedly features the music video for the album’s opener and lead single, “The Fate of Ophelia,” along with lyric videos for the other tracks and Swift’s own insight on the songs.

The twin releases should kick off a massive October for the megastar, with pop fans and chartwatchers around the world on high alert to see what kind of further Billboard history she can add to her already-staggering list of achievements. But before all of that, we present our rankings of Showgirl‘s 12 new — which Swift said during her New Heights appearance that she would not be adding any additional bonus cuts to — below. (You can also read our full review of the new album here.)


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