BB Charts

Morgan Wallen’s “Last Night” returns to No. 1, from No. 2, for a fourth total week atop the Billboard Hot 100 songs chart. It first ruled in March, becoming the country singer-songwriter’s initial leader on the list.
Meanwhile, a week after Eslabon Armado and Peso Pluma scored the Hot 100’s first top five regional Mexican hit, Grupo Frontera and Bad Bunny add the second. The former pairing retains the mark for the highest-charting song ever for the genre, as “Ella Baila Sola” rises 5-4, while the latter leaps 15-5 with “Un x100to.”

Plus, Taylor Swift rewrites her longest run in the Hot 100’s top 10, as “Anti-Hero” spends a 25th week in the region, at No. 10, surpassing the 24-week top 10 stay of “Shake It Off” in 2014-15.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated May 6, 2023) will update on Billboard.com tomorrow (May 2). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

Wallen’s “Last Night,” released on Big Loud/Mercury/Republic Records, drew 47.7 million radio airplay audience impressions – up 20%, good for the chart’s top Airplay Gainer award for a fourth consecutive week – and 33.7 million streams (down 4%) and sold 10,000 downloads (down 9%) in the April 21-27 tracking week, according to Luminate.

The single scores a seventh week at No. 1 on the all-genre Streaming Songs chart; dips 2-4 on Digital Song Sales, following a week on top; and ascends 11-7 on Radio Songs, marking Wallen’s second top 10 (after “You Proof” hit No. 10 last October). “Last Night” pushes to No. 5 on the Country Airplay chart, while scaling the top 20 of both Pop Airplay and Adult Pop Airplay.

“Last Night” concurrently tops the Hot Country Songs chart, which uses the same methodology as the Hot 100, for a 12th week. It becomes the first song to have led the Hot 100 and Hot Country Songs and ranked in the top 10 on Streaming Songs, Radio Songs and Digital Song Sales simultaneously.

“Last Night” became just the 20th song to have topped both the Hot 100 and Hot Country Songs. As it has now ruled the former for four weeks and the latter for 12, among those 20 songs, its 16 combined weeks atop the charts ties for the most, matching Johnny Horton’s “The Battle of New Orleans,” which spent six and 10 weeks at No. 1, respectively, in 1959.

Songs to Have Topped Both the Hot 100 & Hot Country Songs Charts:“Last Night,” Morgan Wallen, 2023 – 4 weeks atop the Hot 100 / 12 weeks atop Hot Country Songs“All Too Well (Taylor’s Version),” Taylor Swift, 2021 – 1 week / 3 weeks“We Are Never Ever Getting Back Together,” Taylor Swift, 2012-13 – 3 weeks / 10 weeks“Amazed,” Lonestar, 1999-2000 – 2 weeks / 8 weeks“Islands in the Stream,” Kenny Rogers, duet with Dolly Parton, 1983 – 2 weeks / 2 weeks“I Love a Rainy Night,” Eddie Rabbitt, 1981 – 2 weeks / 1 week“9 to 5,” Dolly Parton, 1981 – 2 weeks / 1 week“Lady,” Kenny Rogers, 1980 – 6 weeks / 1 week“Southern Nights,” Glen Campbell, 1977 – 1 week / 2 weeks“Convoy,” C.W. McCall, 1975-76 – 1 week / 6 weeks“I’m Sorry,” John Denver, 1975 – 1 week / 1 week“Rhinestone Cowboy,” Glen Campbell, 1975 – 2 weeks / 3 weeks“Thank God I’m a Country Boy,” John Denver, 1975 – 1 week / 1 week“Before the Next Teardrop Falls,” Freddy Fender, 1975 – 1 week / 2 weeks“(Hey Won’t You Play) Another Somebody Done Somebody Wrong Song,” B.J. Thomas, 1975 – 1 week / 1 week“The Most Beautiful Girl,” Charlie Rich, 1973 – 2 weeks / 3 weeks“Honey,” Bobby Goldsboro, 1968 – 5 weeks / 3 weeks“Big Bad John,” Jimmy Dean, 1961 – 5 weeks / 2 weeks“El Paso,” Marty Robbins, 1959-60 – 2 weeks / 7 weeks“The Battle of New Orleans,” Johnny Horton, 1959 – 6 weeks / 10 weeks

SZA’s “Kill Bill” slips to No. 2 on the Hot 100 a week after it became her first No. 1. It concurrently crowns the multi-metric Hot R&B/Hip-Hop Songs and Hot R&B Songs charts for an 18th and 19th week, respectively.

On Hot R&B/Hip-Hop Songs, “Kill Bill” extends the longest reign for a song by a woman in a lead role since the survey became an all-encompassing genre chart in 1958, having passed Mary J. Blige’s “Be Without You” (15 weeks, 2006). Overall, “Kill Bill” ties for the second-longest Hot R&B/Hip-Hop Songs command.

Most Weeks at No. 1 on Hot R&B/Hip-Hop Songs (since 1958):20, “Old Town Road,” Lil Nas X feat. Billy Ray Cyrus, 201918, “Kill Bill,” SZA, 2022-2318, “Industry Baby,” Lil Nas X & Jack Harlow, 2021-2218, “One Dance,” Drake feat. WizKid & Kyla, 201616, “Blurred Lines,” Robin Thicke feat. T.I. + Pharrell, 201315, “Be Without You,” Mary J. Blige, 2006

Miley Cyrus’ “Flowers” holds at No. 3 on the Hot 100, after eight weeks at No. 1, beginning upon its debut in January. It posts an 11th week atop Radio Songs (91.6 million in audience, down 1%). The song also spends a fourth week topping the Pop Airplay, Adult Pop Airplay and Adult Contemporary charts simultaneously, becoming just the third hit with that many weeks leading all three lists at the same time; it joins only Adele’s “Hello” (four, 2015) and Celine Dion’s “Because You Loved Me” (five, 1996).

Eslabon Armado and Peso Pluma’s “Ella Baila Sola” ascends 5-4 on the Hot 100. It claims another new all-time high rank for a regional Mexican song, a week after it became the chart’s initial top five hit, and two weeks after it became the first top 10, for the genre. The collaboration logs a fourth week at No. 1 on the multi-metric Hot Latin Songs chart.

Meanwhile, Grupo Frontera and Bad Bunny’s “Un x100to” becomes the Hot 100’s second-ever top five (and top 10) regional Mexican hit, surging 15-5. It drew 28.6 million streams, up 44%, as it wins the Hot 100’s top Streaming Gainer ribbon, along with 6.3 million in airplay audience and 3,000 sold.

Regional Mexican sextet Grupo Frontera, from Texas, achieves its first Hot 100 top 10, among six career entries dating to its first last October, while Bad Bunny adds his ninth.

Hot ‘100’: “Un x100to” is the first top 10, among over 5,000 top 10s in the Hot 100’s history, with “100” in its title. Special shout-outs to Gene McDaniels’ “A Hundred Pounds of Clay” (No. 3 peak, 1961) and “Somebody’s Been Seeping” by 100 Proof Aged in Soul (No. 8, 1970).

Rema and Selena Gomez’s “Calm Down” rebounds to its No. 6 Hot 100 high, from No. 7. It tops the Billboard U.S. Afrobeats Songs chart for a 35th week, extending the longest rule since the ranking began a year ago (in partnership with music festival and global brand Afro Nation).

Metro Boomin, The Weeknd and 21 Savage’s “Creepin’ “ descends 6-7 on the Hot 100, after hitting No. 3; The Weeknd and Ariana Grande’s “Die for You” holds at No. 8, following a week at No. 1 in March; and PinkPantheress and Ice Spice’s “Boy’s a Liar, Pt. 2” lifts 10-9, after reaching No. 3.

Rounding out the Hot 100’s top 10, Taylor Swift’s “Anti-Hero” returns to the tier, rising 11-10. The song became her sole longest-leading No. 1, for eight weeks in November-January, surpassing the seven-week reign of “Blank Space” in 2014-15. Now, with a 25th week in the top 10, it bests “Shake It Off” (24 weeks, 2014-15) for her longest run in the bracket. Next up in her catalog, “Blank Space” totaled 17 weeks in the top 10, also in 2014-15, followed by (each with 16), “I Knew You Were Trouble.” (2012-13) and “You Belong With Me” (2009).

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated May 6), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (May 2).

Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.

SZA slices her way to her first Billboard Hot 100 No. 1, as “Kill Bill” jumps from No. 4 to the top spot, following eight weeks at its prior No. 2 high. The song reigns following the release of its remix adding Doja Cat.
Plus, Ice Spice and Nicki Minaj’s “Princess Diana” launches at No. 4 on the Hot 100, marking the second top 10 for the former rapper and the 22nd for the latter.

Also in the Hot 100’s top tier, Eslabon Armado and Peso Pluma log the first regional Mexican top five hit in the chart’s history, as “Ella Baila Sola” soars 10-5. A week earlier, the song became the chart’s first-ever regional Mexican top 10.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated April 29, 2023) will update on Billboard.com tomorrow (April 25). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

Here’s a rundown of the Hot 100 coronation for “Kill Bill.” The song is the 1,149th No. 1 since the chart originated in August 1958. It was released on her Top Dawg/RCA Records album SOS, which ranks at No. 3 on the Billboard 200 chart, after 10 weeks at the summit.

Airplay, streams & sales: “Kill Bill” drew 86.5 million radio airplay audience impressions (down 1%) and 28.3 million streams – up 32% – and sold 5,000 downloads – up 228% – in the April 14-20 tracking week, according to Luminate, as it claims both the Hot 100’s top Streaming Gainer and Sales Gainer awards.

Sparking the song’s surge, its remix with Doja Cat arrived April 14. (All versions of the song roll up into one chart listing; Doja Cat is not listed on “Kill Bill” on the Hot 100, as the remix did not account for the majority of the song’s overall consumption during the tracking week.)

The track rises 3-2 for a new high on the Radio Songs chart; ascends 4-3 on Streaming Songs, following four weeks at No. 1; and bounds 36-8, returning to its best rank, on Digital Song Sales.

SZA’s first No. 1: SZA claims her first Hot 100 No. 1 with “Kill Bill.”

Here’s a look at her seven career Hot 100 top 10s, ranked by peak position. She scored her prior best peak also thanks to collaborating with Doja Cat, as featured on 2021’s “Kiss Me More.”

No. 1, one week, to-date, April 29, 2023, “Kill Bill”

No. 3, July 10, 2021, “Kiss Me More” (Doja Cat feat. SZA)

No. 7, Dec. 18, 2021, “I Hate U”

No. 7, March 3, 2018, “All the Stars” (with Kendrick Lamar)

No. 9, Feb. 6, 2021, “Good Days”

No. 9, Nov. 25, 2017, “What Lovers Do” (Maroon 5 feat. SZA)

No. 10, Dec. 24, 2022, “Nobody Gets Me”

Eight’s not too late: “Kill Bill” tops the Hot 100 after eight nonconsecutive weeks at No. 2. It debuted at No. 3 on the Dec. 24, 2022, chart – as SOS premiered at No. 1 on the Billboard 200.

The song ties for the second-most weeks spent at No. 2 on the Hot 100 before rising to No. 1 at last:

9 weeks at No. 2 on Hot 100 before hitting No. 1, “Bad Guy,” Billie Eilish, hit No. 1 Aug. 24, 2019

8, “Kill Bill,” SZA, April 29, 2023

8, “Starboy,” The Weeknd feat. Daft Punk, Jan. 7, 2017

8, “Sorry,” Justin Bieber, Jan. 23, 2016

8, “The Way You Move,” OutKast feat. Sleepy Brown, Feb. 14, 2004

7, “Havana,” Camila Cabello feat. Young Thug, Jan. 27, 2018

7, “Sexy and I Know It,” LMFAO, Jan. 7, 2012

6, “Girls Like You,” Maroon 5 feat. Cardi B, Sept. 29, 2018

6, “All of Me,” John Legend, May 17, 2014

‘Kill’-er hits: As SZA takes out all chart competition in her way, she notches the fourth Hot 100 No. 1 with “kill” (or any form of the word) in its title:

“Kill Bill,” one week at No. 1, to-date, April 29, 2023

“Stronger (What Doesn’t Kill You),” Kelly Clarkson, three weeks, beginning Feb. 18, 2012

“A View to a Kill,” Duran Duran, two, July 13, 1985

“Killing Me Softly With His Song” Roberta Flack, five, Feb. 24, 1973

Meanwhile, “Kill Bill” is the second Hot 100 No. 1 of the four above that doubles as a movie title, as it’s an ode to the 2003 Quentin Tarantino-directed, and likewise revenge-focused, martial arts favorite (subtitled Volume 1) starring Uma Thurman, among others (including David Carradine in the role of Bill). Duran Duran’s “A View to a Kill” is the theme from the same-named 1985 James Bond movie, and the only one from the franchise to have topped the Hot 100.

Record-extending R&B/hip-hop reign: “Kill Bill” concurrently rules the multi-metric Hot R&B/Hip-Hop Songs and Hot R&B Songs charts for a 17th and 18th week, respectively. On Hot R&B/Hip-Hop Songs, it boasts the longest command for a song by a woman in a lead role since the survey became an all-encompassing genre chart in 1958, having passed Mary J. Blige’s “Be Without You” (15 weeks at No. 1 in 2006).

Morgan Wallen’s “Last Night” dips to No. 2 on the Hot 100 after three nonconsecutive weeks at No. 1. It adds a sixth frame at No. 1 on Streaming Songs (35.1 million, down 4%), while winning top Airplay Gainer honors on the Hot 100 for a third week in a row (39.9 million, up 16%). The single from Wallen’s album One Thing at a Time, which spends a seventh week atop the Billboard 200, leads the multi-metric Hot Country Songs chart for an 11th week.

Miley Cyrus’ “Flowers” holds at No. 3 on the Hot 100, after eight weeks at No. 1, beginning upon its debut in January. It posts a 10th week atop Radio Songs (92.7 million in audience, down 1%) – where, since the survey began in December 1990, only 15% of all No. 1s have dominated for double-digit weeks. Notably, the song spends a third week topping the Pop Airplay, Adult Pop Airplay and Adult Contemporary charts simultaneously, becoming just the fourth hit with that many weeks leading all three lists at the same time; it joins Adele’s “Easy on Me” (three, 2022) and “Hello” (four, 2015) and Celine Dion’s “Because You Loved Me” (five, 1996).

Ice Spice and Nicki Minaj’s “Princess Diana” debuts at No. 4 on the Hot 100, with 21.8 million streams, 2.4 million in radio audience and 77,000 downloads sold, following the April 14 arrival of its remix with Minaj; the original version of the track was released by Ice Spice solo in January.

The song starts as Ice Spice’s second Hot 100 top 10 – her first, “Boy’s a Liar, Pt. 2,” with PinkPantheress, drops 8-10, after reaching No. 3. Minaj achieves her 22nd top 10, extending her record for the most among women rappers.

“Princess Diana” opens at No. 1 on Digital Song Sales, where it’s Minaj’s 13th leader, and Ice Spice’s first, and No. 6 on Streaming Songs. (Helping the song’s sales, along with Ice Spice’s solo version and the main [billed as “edited”] version of the duet remix, clean, explicit, extended, sped-up, slowed-down and instrumental versions of the Minaj remix were available for purchase in the tracking week.)

The single also begins atop the multi-metric Hot Rap Songs chart, where Minaj earns her 10th No. 1 and Ice Spice, her first.

Eslabon Armado and Peso Pluma’s “Ella Baila Sola” vaults 10-5 on the Hot 100, led by 31.8 million streams, up 31%. It becomes the first regional Mexican top five hit in the chart’s archives, a week after it became the list’s initial top 10 for the genre. The collaboration tallies a third week at No. 1 on the multi-metric Hot Latin Songs chart.

Metro Boomin, The Weeknd and 21 Savage’s “Creepin’ ” slips 5-6 on the Hot 100, after hitting No. 3, and Rema and Selena Gomez’s “Calm Down” descends to No. 7 from its No. 6 high. The latter tops the Billboard U.S. Afrobeats Songs chart for a 34th week, extending the longest rule since the ranking began a year ago (in partnership with music festival and global brand Afro Nation).

The Weeknd and Ariana Grande’s “Die for You” backtracks 7-8 on the Hot 100, following a week at No. 1 in March, and Drake’s “Search & Rescue” falls to No. 9, a week after it roared in at No. 2.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated April 29), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (April 25).

Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.

Miley Cyrus’ “Flowers” remains the biggest song in the world, as it notches a 12th week at No. 1 on both the Billboard Global 200 and Billboard Global Excl. U.S. charts (dated April 22).
Plus, Drake’s “Search & Rescue” debuts at No. 2 on the Global 200 and Peso Pluma reaches the top five of both tallies for the first time – with two hits: “Ella Baila Sola,” with Eslabon Armado, and “La Bebe,” with Yng Lvcas, as Eslabon Armado and Yng Lvcas also achieve initial top five hits.

Additionally, South Korea’s Fifty Fifty enters the Global Excl. U.S. top 10 as its breakthrough hit “Cupid” shoots 22-9.

The Billboard Global 200 and Billboard Global Excl. U.S. surveys, which began in September 2020, rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.

Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.

‘Flowers’ Leads, ‘Search’ Lights Up Global 200

Miley Cyrus’ “Flowers” adds a 12th week at No. 1 on the Billboard Global 200, with 75.5 million streams (down 9%) and 18,000 sold (down 6%) worldwide April 7-13. It breaks out of a tie with The Kid LAROI and Justin Bieber’s “Stay” (11 weeks at No. 1, 2021) for the third-longest command since the chart began, after only Harry Styles’ “As It Was” (15 weeks, 2022) and Mariah Carey’s “All I Want for Christmas Is You” (13 weeks, 2020-23).

Drake’s “Search & Rescue” surges onto the Global 200 at No. 2. After it arrived April 7 (a day after he announced the song’s pending release), it begins with 52.2 million streams and 4,000 sold worldwide through April 13.

Drake claims his 28th Global 200 top 10, twice more than runner-up Taylor Swift’s total (14) since the survey started.

Peso Pluma jumps to the Global 200’s top five for the first time – with two songs: “Ella Baila Sola,” with Eslabon Armado, bounds 9-3, powered by its 17% gain to 74.5 million streams worldwide, and “La Bebe,” with Yng Lvcas, climbs 7-4, up 4% to 71.5 million global streams.

Along with Peso Pluma, from Mexico, quartet Eslabon Armado (from California) and Yng Lvcas (also from Mexico) likewise achieve initial top five Global 200 hits.

Rounding out the Global 200’s top five, The Weeknd and Ariana Grande’s “Die for You” dips 3-5, after reaching No. 2.

Cyrus Reigns, Peso Pluma, Fifty Fifty Fly on Global Excl. U.S.

As on the Global 200, Miley Cyrus’ “Flowers” posts a 12th week at No. 1 on the Billboard Global Excl. U.S. chart, with 58.2 million streams (down 10%) and 10,000 sold (down 2%) outside the U.S. April 7-13. The song is now within one week of Harry Styles’ record 13-frame rule with “As It Was” since the list began.

Also as on the Global 200, Peso Pluma roars to the Global Excl. U.S. top five with two tracks: “La Bebe,” with Yng Lvcas (7-2; 54.2 million streams, up 2%, outside the U.S.), and “Ella Baila Sola,” with Eslabon Armado (8-5; 51.8 million streams, up 12%, outside the U.S.) All three acts rank in the Global Excl. U.S. top five for the first time.

The Weeknd and Ariana Grande’s “Die for You” rebounds to its No. 3 best, from No. 5, on Global Excl. U.S. and Karol G and Shakira’s “TQG” holds at No. 4, after it led for a week in March upon its debut.

Elsewhere in the Global Excl. U.S. top bracket, Fifty Fifty hits the top 10 for the first time as its breakthrough hit “Cupid” pierces the region with a 22-9 vault, up 35% to 40.2 million streams and 13% to 1,000 sold outside the U.S.

The four-piece – Aran, Keena, Saena and Sio – is the seventh K-pop group to have reached the Global Excl. U.S. top 10, joining BTS (10 top 10s), BLACKPINK (four), IVE, NewJeans, TWICE (two each) and BIGBANG (one).

The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated April 22, 2023) will update on Billboard.com tomorrow (April 18). For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard’s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.

Morgan Wallen’s “Last Night” leads a busy Billboard Hot 100 top 10, adding a third nonconsecutive week atop the chart. It first ruled last month, marking the country singer-songwriter’s initial No. 1.
The song is from Wallen’s LP One Thing at a Time, which notches a sixth week at No. 1 on the Billboard 200 albums chart.

Elsewhere in the Hot 100’s top tier, Drake’s “Search & Rescue” launches at No. 2. It marks the superstar’s record-extending 68th top 10.

Plus, Eslabon Armado and Peso Pluma log a historic Hot 100 top 10 with “Ella Baila Sola”: Their first top 10 each is also the first regional Mexican top 10 in the chart’s 64-year history.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated April 22, 2023) will update on Billboard.com tomorrow (April 18). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

Wallen’s “Last Night,” released on Big Loud/Mercury/Republic Records, drew 36.6 million streams (up 4%) and 34.5 million radio airplay audience impressions (up 16%, good for the chart’s top Airplay Gainer award for a second consecutive week) and sold 10,000 downloads (up 6%) in the April 7-13 tracking week, according to Luminate.

The track falls to No. 2 on the all-genre Streaming Songs chart, after five weeks at No. 1; holds at No. 3 on Digital Song Sales, following at the summit; and ascends 21-17 on Radio Songs. A multi-format radio hit, it pushes to No. 13 on the Country Airplay chart, No. 20 on Pop Airplay and No. 21 on Adult Pop Airplay and debuts at No. 27 on Adult Contemporary.

“Last Night” concurrently leads the Hot Country Songs chart, which uses the same methodology as the Hot 100, for a 10th week. It became just the 20th song to have topped both lists – and the first by a solo male unaccompanied by any other acts since Eddie Rabbitt’s “I Love a Rainy Night” ruled Hot Country Songs for a week and the Hot 100 for two weeks in 1981.

As “Last Night” has now ruled Hot Country Songs for 10 weeks and the Hot 100 for three, it’s the first song among those that have topped both charts with that many weeks atop that pair of tallies since Taylor Swift’s “We Are Never Ever Getting Back Together” also ran up 10 and three weeks at No. 1, respectively, in 2012-13.

Drake’s “Search & Rescue” bounds onto the Hot 100 at No. 4. After it premiered April 7 (a day after he announced the song’s pending release), it begins with 33.8 million streams, 6.9 million in radio airplay audience and 3,600 sold through April 13.

The track opens at No. 1 on Streaming Songs, becoming Drake’s record-furthering 16th leader. (While the song’s sum of raw streams is the week’s second highest, after Wallen’s “Last Night,” “Search & Rescue” tops the chart due to the application of weighting to all titles’ paid/subscription and ad-supported on-demand streams and programmed/radio streams.)

Drake posts his record-extending 68th Hot 100 top 10, and first of 2023.

Most Billboard Hot 100 Top 10s:

68, Drake

40, Taylor Swift

38, Madonna

34, The Beatles

32, Rihanna

30, Michael Jackson

29, Elton John

28, Mariah Carey

28, Stevie Wonder

27, Janet Jackson

“Search & Rescue” is also Drake’s record-padding 35th top five Hot 100 hit (distancing himself further from runners-up The Beatles’ 29); his 174th top 40 hit (ahead of Taylor Swift, second with 105); and his 294th entry overall (with the Glee Cast second with 207). (He adds his 20th top two hit; The Beatles and Mariah Carey lead with 23 each.)

The track concurrently crowns the multi-metric Hot R&B/Hip-Hop Songs and Hot Rap Songs charts upon its debut, marking Drake’s record-extending 27th and 28th No. 1s on the surveys.

We did some re-‘search’: “Search & Rescue” is the highest-charting Hot 100 hit with “search” in its title, surpassing Survivor’s No. 4-peaking love song “The Search Is Over” in 1985. (Honorable mention to the No. 3 classic “Love Potion Number Nine,” in 1965, by The Searchers.) Drake’s new hit is also the highest charting with “rescue” in its name. It bests The Rolling Stones’ “Emotional Rescue” (No. 3, 1980), followed by “Rescue Me” by Fontella Bass (No. 4, 1965).

Miley Cyrus’ “Flowers” keeps at No. 3 on the Hot 100, after eight weeks at No. 1, beginning upon its debut in January. It claims a ninth week atop Radio Songs (93.5 million in audience, down 9%).

SZA’s “Kill Bill” retreats to No. 4 on the Hot 100, from No. 2, where it has spent eight weeks at its highpoint. It also dominates the multi-metric Hot R&B Songs charts for a 17th week. (Its new remix featuring Doja Cat arrived Friday, April 14, and will begin contributing to next week’s charts [dated April 29], with all versions of the song rolling up into one chart listing.)

Metro Boomin, The Weeknd and 21 Savage’s “Creepin’ ” dips 4-5 on the Hot 100, after hitting No. 3, and Rema and Selena Gomez’s “Calm Down” climbs 7-6 for a new high. The latter tops the Billboard U.S. Afrobeats Songs chart for a 33rd week, extending the longest rule since the ranking began a year ago (in partnership with music festival and global brand Afro Nation).

The Weeknd and Ariana Grande’s “Die for You” drops 5-7 on the Hot 100, following a week at No. 1 in March, and PinkPantheress and Ice Spice’s “Boy’s a Liar, Pt. 2” slips 6-8, after reaching No. 3. Still, the latter becomes each act’s first top 10 on Radio Songs (14-10; 40.9 million, up 3%).

Taylor Swift’s “Anti-Hero” descends 8-9 on the Hot 100, following a personal-best eight weeks at No. 1 in November-January. It has now spent 24 weeks in the top 10 – equaling Swift’s longest stay in the region, first set by “Shake It Off” in 2014-15. Next up, her “Blank Space” totaled 17 weeks in the top 10, also in 2014-15, followed by “I Knew You Were Trouble.” (16 weeks, 2012-13) and “You Belong With Me” (16, 2009).

Rounding out the Hot 100’s top 10, Eslabon Armado and Peso Pluma’s “Ella Baila Sola” soars 17-10, led by 24.4 million streams, up 30%, as it wins the Hot 100’s top Streaming Gainer trophy, and jumps 6-3 on Streaming Songs.

Quartet Eslabon Armado, from California, and Peso Pluma, from Mexico, each reach the Hot 100’s top for the first time – as “Ella Baila Sola” makes history as the first regional Mexican song ever to hit the Hot 100’s top 10. The genre has surged this decade, thanks in part to exposure on TikTok and other social media, with Gera MX and Christian Nodal’s “Botella Tras Botella” having become the first regional Mexican Hot 100 hit in May 2021, peaking at No. 60.

After “Ella Baila Sola,” Peso Pluma also has the second-highest-charting regional Mexican Hot 100 hit: “La Bebe,” with Yng Lvcas, rises to a new No. 17 best on the latest, April 22-dated chart. The next-highest-peaking such hits: Yahritza y Su Esencia’s “Soy El Unico” (No. 20, April 2022 – it debuted at that rank, the highest entrance for a regional Mexican song) and Fuerza Regida and Grupo Frontera’s “Bebe Dame” (No. 25, this January).

Among Latin genres, regional Mexican’s arrival in the Hot 100’s top 10 follows that of Latin pop, which, after English-language hits by Gloria Estefan in the 1980s (plus Los Lobos’ “La Bamba,” in Spanish) surged in the late ‘90s and beyond thanks to songs (in varying degrees of English and Spanish) by Enrique Iglesias, Jennifer Lopez and Ricky Martin, among other stars. At the same time, Marc Anthony helped tropical break through on the chart. In more recent years, Daddy Yankee and Luis Fonsi’s pop-centered, mostly-Spanish-language “Despacito,” featuring Justin Bieber, spent a then-record-tying 16 weeks at No. 1 in 2017, while, this decade, Bad Bunny, with Spanish-language songs, has carried the torch for Latin rhythm in the top 10.

As for Latin music overall, Eslabon Armado and Peso Pluma earn the Hot 100’s third Spanish-language top 10 this year, following two Latin pop hits: Bizarrap and Shakira’s “Bzrp Music Sessions, Vol. 53” (No. 9, January) and Karol G and Shakira’s “TQG” (No. 7, March).

“Ella Baila Sola” was released on Prajin Parlay/DEL Records, both of which likewise appear in the Hot 100’s top 10 for the first time.

The collaboration concurrently achieves a second week at No. 1 on the multi-metric Hot Latin Songs chart, where it became the first leader for both Eslabon Armado and Peso Pluma. “We didn’t expect for the song to make so much noise!” Pedro Tovar, lead singer for the former act, and the song’s sole author, told Billboard upon its coronation. “I really liked the song when I first wrote it, but I didn’t really expect it to be such a big hit. I previewed it on my stories on Instagram and, two days after, it went viral on TikTok, and that’s when I knew that the song was going to do big numbers.”

“Normally I don’t expect to chart with songs,” Peso Pluma marveled. “We just enjoyed the process of doing it.”

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated April 22), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (April 18).

Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.

Country songs have been few and far between in the Billboard Hot 100’s top 10 over the past decade. From 2013 to 2022, only 12 top 10 songs represented the genre.

However, during just the first quarter of this year, six top 10s were country songs.

Leading the way for the genre, Morgan Wallen made history as the first country act to score five Hot 100 top 10s in a single week, all from his new album One Thing at a Time (March 18), a feat previously achieved by only five other artists (Taylor Swift, Drake, 21 Savage, Juice WRLD and The Beatles). His “Last Night” first hit the top 10 on the chart dated Feb. 3 and soared to No. 1 a month later. (It returns to the top of the list, dated April 15, this week.)

Joining Wallen, Zach Bryan’s “Something in the Orange” hit No. 10 on the Hot 100 in January.  Together, the acts brought country’s prominence to just over a quarter of all Hot 100 top 10s in Q1 2023 (26%) – tying pop for first place among all genres in that span. In the last decade, country had never reached a double-digit share, previously peaking at 9% in Q4 2020, then powered by hits from Gabby Barrett (“I Hope”) and Luke Combs (“Forever After All”).

While country songs possess certain characteristics that are unique to the genre, such as lap steel guitars, when you look under the hood, they actually have a lot in common with what’s trending in today’s Hot 100 top 10 overall.

For starters, take sub-genres and influences. In the first quarter of 2023, pop, hip-hop and R&B/soul were the top three influences across the top 10, followed closely by rock. All six country top 10s feature a pop influence, 83% a rock influence and half a hip-hop influence. R&B/soul, however, was a no-show, and generally has been in country over the past decade save for Bebe Rexha and Florida Georgia Line’s “Meant to Be” (2018) and Sam Hunt’s “Body Like a Back Road” (2017).

Another key commonality between Q1’s country hits and the overall Hot 100 top 10 is lyrical theme. The love/relationships theme rose to its highest quarterly level of prominence since way back in 2015, at 83% of songs, and is part of every Q1 country top 10.

Plus, each country Hot 100 top 10 in Q1 2023 kicks off with an intro that establishes the backing music of the section that directly follows and averages 15 seconds in length. Almost every Hot 100 top 10 in that span also begins with an intro, establishes the backing music of the ensuing section and averages 14 seconds long.

Lastly, in terms of structure, like hits overall in the Hot 100’s top 10 in Q1 2023, country favored shorter song lengths, with half landing in the under-three-minute range. All six country hits also possess two verses, three choruses and at least one post-chorus in their framework, characteristics that are also very much in line with the overall top 10.

So, while these hits stay true to their country roots, they are delicately balanced by qualities that are currently resonating with mainstream audiences, paced by Wallen (whose “Last Night,” in addition to its strong streaming, is both a pop and country radio hit).

Looking ahead, the genre could continue its newfound bigger presence, as country hits bookend the top 10 on the latest Hot 100: Bailey Zimmerman’s “Rock and a Hard Place” revisits its No. 10 high, joining Wallen’s “Last Night” at No. 1.

David and Yael Penn are the co-founders of Hit Songs Deconstructed, which provides compositional analytics for top 10 Hot 100 hits. In 2022, Hit Songs Deconstructed and fellow song analysis platform MyPart partnered to launch ChartCipher, a new platform analyzing hit songs, as defined by Billboard’s charts.

On April 13, 2013, Darius Rucker rode his smash single “Wagon Wheel” to No. 1 on Billboard’s Hot Country Songs chart.

“Wheel” was authored by rock and folk legend Bob Dylan and Ketch Secor (of Old Crow Medicine Show). Dylan wrote the chorus in the early 1970s, with Secor rounding out the verses years later.

The song was released from Rucker’s LP True Believers, which arrived as his third of four No. 1s on Top Country Albums.

With its catchy, sing-along chorus (and such whimsical rhymes as “New England” and “string band”), “Wheel” became Rucker’s most recent of six leaders on Hot Country Songs, among 11 top 10s. He boasts nine No. 1s on Country Airplay, through “Beers and Sunshine” in February 2021.

Rucker was born in Charleston, S.C., and reached mass-appeal success in the ‘90s as frontman of Hootie & The Blowfish. The band notched two No. 1s albums on the Billboard 200 – Cracked Rear View (which has sold 10.4 million copies in the United States, according to Luminate) and Fairweather Johnson – and three top 10s on the Billboard Hot 100.

Rucker was welcomed as a promoted country artist with three straight No. 1 singles on Country Airplay (excluding holiday fare) in 2008-09: “Don’t Think I Don’t Think About It,” “It Won’t Be Like This for Long” and “Alright.”

Now 57, Rucker released his newest track, “Fires Don’t Start Themselves,” March 31. Assisted by hourly plays on participating iHeartMedia stations that day, it debuts at No. 25 on the April 15-dated Country Airplay chart with 6.7 million impressions.

The song is from Rucker’s forthcoming album, Carolyn’s Boy.

Beyoncé banks a new milestone on the Billboard Hot 100, as “Cuff It” becomes the longest-charting hit on the survey of her solo career. The song adds a 34th week on the Hot 100, ranking, fittingly, at No. 34 on the April 15-dated chart, and surpasses the 33 weeks that “Telephone” with Lady Gaga logged in 2009-10.
“Cuff It” was released on Beyoncé’s album Renaissance, which launched as her seventh No. 1 on the Billboard 200 last August. The set’s lead single, “Break My Soul,” became her eighth Hot 100 No. 1 the same week, while “Cuff It” reached No. 6 this February. The latter song became her 21st top 10 as a soloist, while Renaissance became her first album with multiple top 10s since I Am…Sasha Fierce in 2008-09.

Here’s a look at Beyoncé’s longest-charting Hot 100 hits:

Weeks on Hot 100, Title, Peak Pos./Year:34, “Cuff It,” No. 6, 202333, “Telephone,” Lady Gaga feat. Beyoncé, No. 3, 201031, “Halo,” No. 5, 200930, “Irreplaceable,” No. 1 (10 weeks), 2007-0729, “Sweet Dreams,” No. 10, 200929, “Baby Boy,” feat. Sean Paul, No. 1 (nine weeks), 200328, “Check On It,” feat. Slim Thug, No. 1 (five weeks), 200627, “Single Ladies (Put a Ring on It),” No. 1 (four weeks), 2008-0927, “Crazy in Love,” feat. Jay-Z, No. 1 (eight weeks), 200324, “Me, Myself and I,” No. 4, 2004

Meanwhile, Beyoncé is now one week away from matching her longest Hot 100 stay including her time in Destiny’s Child. The group, with her as a member, spent 35 weeks on the survey with its debut hit “No, No, No” in 1997-98. The song became the act’s first of 10 top 10s, a total that includes four No. 1s.

Miley Cyrus’ “Flowers” remains the biggest song in the world, as it adds an 11th week at No. 1 on both the Billboard Global 200 and Billboard Global Excl. U.S. charts (dated April 15).
Plus, Jisoo becomes the third member of BLACKPINK to have hit the top 10 on each chart, as her single “Flower” debuts at No. 2 on both rankings. Additionally, Eslabon Armado and Peso Pluma’s “Ella Baila Sola” reaches the top 10 of both tallies, rising to No. 8 on Global Excl. U.S. and No. 9 on the Global 200.

The Billboard Global 200 and Billboard Global Excl. U.S. surveys, which began in September 2020, rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.

Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.

Here’s the Dirt on ‘Flowers’ & ‘Flower’ on Global 200

Miley Cyrus’ “Flowers” logs an 11th week at No. 1 on the Billboard Global 200. It ties The Kid LAROI and Justin Bieber’s “Stay” (2021) for the third-longest command since the Global 200 began, after only Harry Styles’ “As It Was” (15 weeks, 2022) and Mariah Carey’s “All I Want for Christmas Is You” (13 weeks, 2020-23).

Jisoo’s “Flower” sprouts at No. 2 on the Global 200 with 108.7 million streams and 21,000 sold worldwide in its first week, ending April 6, following its March 31 release.

Jisoo becomes the third member of star South Korean pop quartet BLACKPINK to have hit the Global 200’s top 10 solo. Here’s a recap of their solo top 10 hits:

Rosé, “On the Ground,” No. 1 (one week), March 27, 2021Lisa, “Lalisa,” No. 2, Sept. 25, 2021Jisoo, “Flower,” No. 2, April 15, 2023

As a group, BLACKPINK boasts four Global 200 top 10s, including two No. 1s: “Pink Venom” (for two weeks last September) and “Shut Down” (one week, last October). (The foursome’s Jennie has yet to hit the Global 200. Still, the first member of the group to release solo music, she topped Billboard’s World Digital Song Sales chart with “Solo” in December 2018, before the global surveys began.)

Also notably, “Flower” makes the third-biggest streaming start for an artist’s proper debut focus track since the global charts originated. Its 108.7 million first-week streams worldwide trail only the opening frames of Lisa’s “Lalisa” (152.6 million, Sept. 25, 2021) and Olivia Rodrigo’s “Drivers License” (130.1 million, Jan. 23, 2021).

The Weeknd and Ariana Grande’s “Die for You” holds at No. 3 on the Global 200, after reaching No. 2; Jimin’s “Like Crazy” drops 2-4 in its second week; and Rema and Selena Gomez’s “Calm Down” rebounds 6-5, after hitting No. 3 in January.

Also in the Global 200’s top 10, Eslabon Armado and Peso Pluma’s “Ella Baila Sola” ascends 11-9, with 63.9 million streams (up 23%) and 1,000 sold (up 24%) worldwide.

Quartet Eslabon Armado, from California, achieves its first Global 200 top 10, while Peso Pluma, from Mexico, adds his second, in as many weeks: “La Bebe,” with Yng Lvcas, holds at its No. 7 high in its second week in the region.

Cyrus, Jisoo Also Nos. 1 & 2 on Global Excl. U.S.

As on the Global 200, Miley Cyrus’ “Flowers” claims an 11th week at No. 1 on the Billboard Global Excl. U.S. chart. Only Harry Styles’ “As It Was” has led longer since the latter list began (13 weeks, 2022).

Jisoo’s “Flower” debuts at No. 2 on Global Excl. U.S. with 103.3 million streams and 16,000 sold outside the U.S. March 31-April 6.

Jisoo is the third member of BLACKPINK to have reached the Global Excl. U.S. top 10 solo, as she earns the fourth solo top 10 hit among them. Here’s a recap of their solo top 10s:

Rosé, “On the Ground,” No. 1 (one week), March 27, 2021Lisa, “Lalisa,” No. 2, Sept. 25, 2021Lisa, “Money,” No. 7, Oct. 23, 2021Jisoo, “Flower,” No. 2, April 15, 2023

BLACKPINK has notched four Global Excl. U.S. top 10s, including three No. 1s: “Lovesick Girls” (for one week in October 2020), “Pink Venom” (three weeks, last September) and “Shut Down” (one week, last October).

Jimin’s “Like Crazy” descends 2-3 in its second week on Global Excl. U.S.; Karol G and Shakira’s “TQG” falls 3-4, after it debuted at No. 1 on the March 11 chart; and The Weeknd and Ariana Grande’s “Die for You” drops 4-5, after reaching No. 3.

Elsewhere in the Global Excl. U.S. top 10, Eslabon Armado and Peso Pluma’s “Ella Baila Sola” jumps 12-8, led by 46.3 million streams (up 24%). Eslabon Armado earns its first top 10 on the tally, while Peso Pluma banks his second; “La Bebe,” with Yng Lvcas, ranks at No. 7, a week after reaching the tier with a 20-6 vault.

The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated April 15, 2023) will update on Billboard.com tomorrow (April 11). For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard’s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.