How Shaboozey, Post Malone & Beyoncé Kept Country Atop the Charts In 2024
This was a year in music defined by artists pulling off enviable feats — but how exactly did they do it? Billboard explains in a series of year-end essays.
staff
“For ‘A Bar Song’ to still be doing what it’s doing is insane,” an awestruck Shaboozey told Billboard in November about his breakout song’s then-16-week-long run atop the Billboard Hot 100. “[It’s] crazy how much the song carried on its own. We don’t even do anything and it’s like, ‘Hey, you’re aiming for a 17th week now!’ ”
Of course, monthslong No. 1 smashes don’t just happen on their own — but “A Bar Song (Tipsy),” which has achieved 19 weeks at No. 1, wasn’t the only country single to reach the peak this year. Between Post Malone’s Morgan Wallen-assisted “I Had Some Help,” Beyoncé’s “Texas Hold ’Em” and Wallen’s own “Love Somebody,” country has topped Billboard’s all-genre singles chart more than any other genre this year. Shaboozey’s and Post Malone’s smashes are the only 2024 releases to log more than three weeks atop the chart — a notable feat, considering that the former is a country newcomer and the latter is a pop/hip-hop crossover star.
“I Had Some Help,” which arrived in April and debuted atop the Hot 100, marked the first major release of Post Malone’s country music foray, which Grammy Award-nominated producer Louis Bell describes as a “natural transition” from the singer-songwriter space of the artist’s 2023 Austin album. “We want each project to flow into the next,” he tells Billboard.
Posty’s pop-country jam started with massive streams and sales, perfectly setting the stage for the arrival of the album F-1 Trillion, which opened in the penthouse of the Billboard 200 (dated Aug. 31) with 250,000 units, according to Luminate. All 18 songs from the album’s standard edition reached the Hot 100, including 15 collaborations with country powerhouses like Dolly Parton, Brad Paisley and Chris Stapleton — a testament to the Nashville goodwill that the Grammy-nominated pop star had accrued during his formal entry into the country space.
Historically, country music has been vigilant about newcomers immersing themselves in the genre’s roots, and Post got his boots dirty to prove his bona fides. He and Bell, who co-produced every track on F-1 Trillion, began working on it in November 2023 in Nashville right before the Country Music Association (CMA) Awards — foreshadowing the four nods that “I Had Some Help” would earn at the awards show the following year.
The two collaborators worked on the first few songs of the F-1 Trillion sessions with country superstar Luke Combs. “Post started saying that it [made] sense to collaborate on a lot of these records because he wanted to show Nashville how much he loves country and shine a light on the people who are in the city that inspired him,” Bell explains. “That was always the vision from the top down.” By inviting Nashville heavyweights such as Tim McGraw to collaborate in person, Post made sure that “word spread pretty quickly of how legitimate [he] was and how much he knew about the genre.”
To fully transition into the new style, he and Bell also implemented a new approach to their creative process: mulling over stories and concepts at the onset of a session instead of building out beats and melodies they had already been tinkering with.
The month before “I Had Some Help,” Post covered Hank Williams at Nashville’s iconic Ryman Auditorium, and in the months following the song’s release, he performed his first songwriter’s round at the Bluebird Cafe, played a set of classic country covers at Stagecoach 2024, made his Grand Ole Opry debut and brought out Blake Shelton as a surprise guest at his first-ever stadium show.
While Posty had to overcome his pop profile in his quest for crossover success, Shaboozey, a newcomer to the mainstream, had to establish who he was. “A Bar Song (Tipsy)” served as the fourth single — but was the first to get a radio push — from his third studio album, Where I’ve Been Isn’t Where I’m Going, which topped the Folk Albums and Independent Albums charts. With no major country collaborators, Shaboozey’s project didn’t come with the overt approval of the Nashville establishment — but it did arrive on the back of two appearances on Beyoncé’s Cowboy Carter in March, helping to spur eye-popping early consumption for “A Bar Song (Tipsy),” now nominated three times over at the 2025 Grammys ceremony.
“It was a bit of a fast and furious [situation],” says Heather Vassar, EMPIRE senior vp of operations, Nashville. Country radio programmers “were already familiar with Shaboozey’s name, but we had a very global, multiformat approach. When we decided to launch at country radio, we made sure they understood him and the whole project. The more authentic conversations we had, the more receptive they’ve become, and they’ve been incredible.”
Harnessing the power of his interpolation of J-Kwon’s 2004 Hot 100 No. 2 hip-hop smash, “Tipsy,” Shaboozey was able to expand the reach of “A Bar Song (Tipsy)” and tap into more diverse segments of country’s listenership. The track’s whistling instrumentation kept it squarely in the country genre, while its rap-sung flow and Birkin name-check kept it accessible for hip-hop and top 40 audiences — and those who had been newly corralled into the post-Cowboy Carter country wave. Shaboozey also made his Nashville rounds, playing The Nashville East and Spotify House at CMA Fest.
“The beauty of our country ecosystem — outside of select playlists — is that genre lines have been less of a concern,” Spotify country editor Claire Heinichen says. “Pop-country was the dominant subgenre for most of the 2010s. We knew the audience would really resonate with [these] songs. The data spoke for itself.”
It will be difficult for country songs to replicate the Hot 100 dominance of “I Had Some Help” and “A Bar Song (Tipsy)” without the boost of 2024’s larger paradigm shift. Yet Posty’s emphasis on adhering to country traditionalism and Shaboozey’s plays to more underserved country music listeners provide equally strong blueprints for future crossover hits.
This story appears in the Dec. 14, 2024, issue of Billboard.
