Country music is experiencing a shift in dominance, and for the first time ever, two women are simultaneously at the top of the Billboard charts. Ella Langley’s “Choosin’ Texas” reclaimed the number one spot on the Hot 100, displacing Taylor Swift’s “Opalite,” although Megan Moroney’s album Cloud 9 reached the top of the Billboard 200. This historic achievement signals a potential turning point for gender parity in a genre traditionally led by male artists.
The success isn’t accidental, according to industry observers. “These aren’t flukes or one-off viral hits,” said Leslie Fram, co-founder and CEO of FEMco, a Nashville-based consulting collective. “Megan Moroney built her base through relentless touring and social buzz. Ella Langley’s incredible song has real staying power and even non-country crossover appeal.”
Despite country radio remaining largely male-dominated – with only one female artist currently in the top 15 on the country airplay charts – Fram emphasizes the power of fan engagement. “And they’re doing it while country radio remains male dominated,” Fram adds. “That contrast makes it extra satisfying: the fans and streaming metrics are speaking louder than gatekeepers.”
This moment arrives amid a broader resurgence of interest in country music, with pop artists like Chappell Roan and Sabrina Carpenter exploring country influences, and established stars like Morgan Wallen and Luke Combs continuing to draw massive crowds. As reigning CMA Entertainer of the Year Lainey Wilson declared in early 2024, “Country’s cool again,” a sentiment further amplified by Beyoncé’s Cowboy Carter and Shaboozey’s 19-week reign with “A Bar Song (Tipsy).”
Moroney, in particular, has proven adept at blending country and pop sensibilities. Her album, Cloud 9, features a duet with Ed Sheeran, “I Only Miss You,” a surprisingly traditional track showcasing her versatility. Another collaboration, “Bells and Whistles,” with Kacey Musgraves, blends witty lyrics with a classic country sound. The collaborations suggest crossover ambitions, but Moroney remains firmly rooted in country.
Langley, meanwhile, is earning the respect of country music’s established artists. “Choosin’ Texas” originated in a co-writing session with Miranda Lambert, who also provides backing vocals on the track. (Remarkably, Langley revealed that Lambert’s pet kangaroo inspired part of the song.) Lambert also co-produced Langley’s upcoming second studio album, Dandelion, and called Langley “our next legend” after they performed Lambert’s “Kerosene” together at last year’s Academy of Country Music awards.
That sense of legacy was on display in November, when Langley invited 90s country star Jo Dee Messina – known for her hit “Heads Carolina, Tails California” – to join her onstage at the Ryman Auditorium in Nashville. The two performed a spirited rendition of Messina’s 1998 hit “Lesson in Leavin’,” itself a cover of a Dottie West song from 1980.
“Ella connected with Jo Dee on social media and then they got to sing together, and that’s a very country thing,” said Cameo Carlson, CEO of mtheory, a company supporting Messina’s team. “It’s something so special about country music, this history and legacy and respect for the genre from younger artists.”
Both Moroney and Langley understand the power of social media. Moroney’s breakthrough came in 2022 with “Tennessee Orange,” a ballad about sporting rival team colors for love. A post on Instagram featuring a Tennessee Volunteers shirt belonging to Morgan Wallen, country’s streaming king, went viral, fueling speculation and propelling the song to number 30 on the Hot 100 before she was even signed. Like Swift, Moroney has proven herself a master of Easter eggs.
Langley also fuels fan speculation. Despite denials, rumors persist of a romance with Riley Green, her duet partner on the 2024 US country airplay number one “You Look Like You Love Me.” The steamy music video – set in a wild west saloon and ending with a sunset ride – hasn’t quelled the rumors. A video of Langley winking at a fan holding a sign questioning Green’s intelligence went viral, and the cover art for Choosin’ Texas bears a striking resemblance to a paparazzi photo of Green and Moroney together, adding fuel to speculation of a love triangle.
“Country music is all about storytelling, and in the social media era, fans aren’t just listening to that story. They’re participating in it,” Carlson said. “There’s this young female fan demographic that’s turning these songs into shared cultural moments, and both artists really understand that conversation and are having that conversation with their fans around the songs.”
While Moroney and Langley are steeped in country traditions, they’re also savvy to the power of modern marketing. Choosin’ Texas topped Billboard’s streaming inclusive Hot Country Songs chart in six weeks, but took 16 weeks to reach number one on the Country Airplay chart. Moroney, despite strong album and ticket sales, has yet to achieve a number one single on Country Airplay. Instead, she’s connecting with fans directly, most recently on the “9 Cities 9 Days” tour leading up to Cloud 9’s release.
“Megan came to us and said she wanted to do something crazy for her fans: nine cities, nine days, $9 tickets. It was her idea, and it was a brilliant one,” said Elisa Vazzana, Moroney’s touring agent at United Talent Agency, adding that anti-bot measures were put in place. “Tickets had to be purchased in person at the box office, two per person, and everyone had to be present. At a $9 price point, we were not going to let these end up on secondaries.”
Fans lined up, created colorful banners, and posed for photos with Moroney’s neon pink album artwork. Moroney herself seemed to appreciate the experience, posting a video of a crowd singalong with the caption: “group therapy is so back.”
