Why Country Radio Embraced Post Malone: ‘He Went All In’
Music
Last spring, while working with Post Malone on his upcoming country album, the hired studio songwriters took a break. Malone started noodling on guitar. “He’d be playing, like, old B-sides, Toby Keith songs, that nobody knew,” recalls Chase McGill, a Nashville veteran who has written songs for Morgan Wallen, Kenny Chesney and many others. “But he knew everything.”
When Malone’s F-1 Trillion came out in late August, the pop and hip-hop star had an advantage that previous country crossover hopefuls have lacked. He plunged into the country-music business, and into Nashville, working with respected local songwriters (like McGill, Taylor Phillips and James McNair), gigging at key local clubs (Tootsie’s Orchid Lounge and the Bluebird Cafe), collaborating with veterans (he performed with Dwight Yoakam on SiriusXM) and recording duets with other stars (Hank Williams Jr., Dolly Parton, Blake Shelton, Luke Combs and Wallen are on the album).
“That’s the difference when somebody brushes up against the genre vs. someone who immersed themselves into the genre,” says Randy Chase, programming executive vp for Summit Media, the Birmingham, Ala., broadcaster that owns nine country stations. “When people try to cross into country from other genres, a lot of times it’s on their terms, and they want to put their foot into the pool. He went all in, even with the risk that it could hurt him down the road.” Adds Tom Poleman, chief programming officer for top broadcast chain iHeartMedia: “He understands country music. It’s not like he’s just trying to learn how to be a country artist overnight.”
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Post’s duet with Wallen, “I Had Some Help,” debuted at No. 1 on Hot Country Songs and the Hot 100 in late May, scoring 76.4 million streams and, earlier this week, topped Billboard’s Songs of the Summer chart.
Adding “I Had Some Help” to heavy rotation was “a no-brainer,” says Steve Stewart, Cox Media Group’s director of country content. “Morgan continues to be one of the hottest artists on the planet, so that immediately gave us the green light.” Similarly, Summit’s country stations played “I Had Some Help” twice an hour throughout its debut day, then once an hour the next day and repeatedly through the weekend. “I heard the song about two weeks before it came out,” adds Summit’s Chase. “I said, ‘This is a country record that is also going to go pop.’”
Last week, F-1 Trillion landed atop the Billboard 200, Post’s first No. 1 since his pop album Hollywood’s Bleeding in 2019. (The new album also hit No. 1 on Top Country Albums in its debut week.) “There are legitimately 15-plus songs that could be radio singles,” says Scott Donato, program director and operations manager for WGTY, a country station in York, Penn. “It reminds me of late-’90s, early-2000s country. He’s been able to capture every corner of the format.”
Before Post Malone became famous as a hip-hop artist with 2015’s “White Iverson,” he performed at a Dallas-area Italian restaurant where he worked during high school, and later covered songs by Hank Williams and Bob Dylan in videos he posted online. He became an established star who could fill U.S. arenas, then began transitioning to country around 2018.
The marketing teams at Big Loud Records and major label Mercury/Republic Records, already working together on Wallen’s releases, soon began brainstorming Post Malone marketing plans from the conference room at Big Loud headquarters in Nashville. (The two labels are teaming up on radio promotion – Big Loud for country, Mercury for Top 40 and other formats.) “Post ingratiated himself within the creative community — opened up to writers, collaborators and session musicians — that were the throughline of this campaign,” says Patch Culbertson, executive vp and general manager of Big Loud, adding that his company helped make introductions to Parton, Shelton, Williams and others. “They had a great vision from the beginning.”
Big Loud execs persuaded Mercury’s team to start the album’s campaign earlier than planned, so it could set up a splashy CMA Fest appearance, in which Post and Shelton performed “Pour Me a Drink.” “He got the hit on TV, which is a whole different demo from what he was used to serving,” says Candice Watkins, Big Loud’s senior vp of marketing. “He got to meet the industry.”
In April, Post performed at the Stagecoach Festival, where Jordan Pettit, the Grand Ole Opry’s director of artist relations and programming, was in attendance. Pettis later spoke to Alex Coslov, executive vp of Mercury Records, and “there was immediate interest on their behalf to pursue his Opry debut as part of their launch plan,” Pettit recalls.
Post performed at the Opry for the first time in mid-August. “It began to take on the feel that this was not just a pop artist leaning into country music for a moment in time,” Pettit says. Coslov added to Billboard : “Our core strategy was built around showcasing the authenticity of Post’s entry into country music by highlighting his time in Nashville.”
Several country programmers say Post is the type of artist who will be able to toggle between genres, depending on his musical impulses, and may not be absent from Top 40 and hip-hop radio playlists for long after F-1 Trillion. (His first three albums combined for 11 billion to 12 billion on-demand streams apiece, according to Luminate, but he dipped on 2022’s Twelve Carat Toothache, with just 1.88 billion streams.) “This is a guy who went, ‘This is my art, here it is,’” says Tim Roberts, vp of programming and format captain for radio chain Audacy. “Could he make a whole pop album next year? Absolutely.” Post’s tour begins this Sunday in Salt Lake City, and “it really is all country-based,” according to Big Loud’s Watkins, although she expects pop hits, too.
So far, Post’s pop-to-country transition has far surpassed similar moves by Sheryl Crow, Jessica Simpson, Bon Jovi, Aerosmith’s Steven Tyler, or even Beyoncé, whose Cowboy Carter album was a culture-dominating hit earlier this year, but did not stick to country radio formats. “The Beyoncé songs weren’t great country songs; they were great Beyoncé songs,” says Nate Deaton, general manager of online country station KRTY.com in San Jose. “The Sheryl Crow country record was really good, but it didn’t have any hits on it — it didn’t have ‘Pour Me a Drink.’ It didn’t have one of those songs that was a standout runaway smash.’”
Deaton calls Hootie & the Blowfish frontman Darius Rucker’s debut country album, 2008’s Learn to Live, a more apt comparison: “He did the exact same thing that Post Malone did. He went to Nashville and ingratiated himself with Nashville songwriters. Darius got on a bus and went to all these radio stations, even though he was a big star.” For Post Malone, Deaton adds, “It would not surprise me at all to see an ongoing country career, a la Darius.”