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SZA’s SOS enters even more rarer air, as the set collects its 10th nonconsecutive week at No. 1 on the Billboard 200 albums chart (dated March 4). Since 2010, only eight albums have notched at least 10 weeks atop the list, including SOS. The last to do so was Bad Bunny’s Un Verano Sin Ti, with 13 nonconsecutive weeks in 2022. The last album by a woman with 10 weeks at No. 1 was Adele’s 25, with 10 nonconsecutively in 2015-16.
In the latest chart’s tracking week, ending Feb. 23, SOS earned 87,000 equivalent album units in the U.S. (down 7%), according to Luminate.
Also in the top 10 of the new Billboard 200, P!nk claims her ninth top 10-charting effort, as her latest studio album, Trustfall, lands at No. 2.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new March 4, 2023-dated chart will be posted in full on Billboard‘s website on Tuesday (Feb. 28). For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
Of SOS’ 87,000 equivalent album units earned in the week ending Feb. 23, SEA units comprise 86,000 (down 7%, equaling 118.39 million on-demand official streams of the set’s tracks), album sales comprise 500 (down 21%) and TEA units comprise 500 (down 8%).
The last R&B/hip-hop album with at least 10 weeks atop the list was Drake’s Views, which 13 nonconsecutive weeks at No. 1 (May 21-Oct. 8, 2016). SOS has the most weeks at No. 1 for an R&B/hip-hop album by a woman, or an R&B album by a woman, since Mariah Carey’s self-titled debut spent 11 weeks, all consecutively, at No. 1 in 1991. (Honorable mention to the Whitney Houston-led soundtrack to The Bodyguard, which logged 20 nonconsecutive weeks at No. 1 in 1992-93. The 12-track album has six songs by Houston and six songs by other artists.) SOS has the most weeks at No. 1 for any R&B album since The Bodyguard’s 20-week reign. (R&B/hip-hop and R&B albums are defined as those that have hit or are eligible for Billboard’s Top R&B/Hip-Hop Albums and Top R&B Albums charts, respectively.)
P!nk’s Trustfall debuts at No. 2 on the Billboard 200, giving the star her ninth top 10-charting album. The new effort, her first studio release since the chart-topping Hurts 2B Human in 2019, bows with 74,500 equivalent album units earned. Of that sum, album sales comprise 59,000, SEA units comprise 12,500 (equaling 16.61 million official on-demand streams of the set’s songs) and TEA units comprise 3,000.
Trustfall was preceded by the single “Never Gonna Not Dance Again,” which marked P!nk’s 30th hit on the Pop Airplay chart, 19th top 10 on the Adult Pop Airplay list and 35th entry on the Billboard Hot 100.
Five former No. 1s are next on the Billboard 200: Taylor Swift’s Midnights (a non-mover at No. 3; 54,000 equivalent album units earned, down 11%), Metro Boomin’s Heroes & Villains (6-4; 47,000 units, up 7%), Morgan Wallen’s Dangerous: The Double Album (4-5; 44,000 units, down 1%), Bad Bunny’s Un Verano Sin Ti (5-6; 41,000 units, down 7%), and Drake and 21 Savage’s Her Loss (a non-mover at No. 7; 38,000 units, down 6%) round out the top seven.
Zach Bryan’s American Heartbreak climbs 11-8 with 28,000 equivalent album units earned (down 6%), while Rihanna’s chart-topping ANTI falls 8-9 with 27,000 units (down 24%) and Harry Styles’ former leader Harry’s House dips 9-10 with 27,000 units (down 19%).
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.
Pink blasts to No. 1 on Australia’s chart with Trustfall (via RCA/Sony), the U.S. pop superstar’s ninth studio album.
With Trustfall debuting at the summit of the ARIA Chart, published Feb. 24, Pink bags a seventh leader in the parts, bringing her total number of weeks at the top to 44, ARIA reports.
Pink is considered an “honorary Aussie,” and she’s certainly spent enough time here to earn it.
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On her 2009 Funhouse Tour, she criss-crossed the country for an astounding 59 shows, an epic adventure that took three months and saw her sell 650,000 tickets. Not bad for a country of less than 25 million at the time.
For her Truth About Love Tour in 2013-14, Pink completed 46 dates; and for the Australasian leg of her Beautiful Trauma World Tour in 2018, she spent over two months on these shores, nailing 42 arena dates.
According to Billboard Boxscore, Pink is the highest-grossing act of the 2010s in Oceania with about $135 million. She even has her own ladies’ toilet block at the Brisbane Entertainment Centre, where she has smashed attendance records.
Her albums are also surefire hits. Among Pink’s leaders, three have logged more than eight weeks at No. 1 on the ARIA Chart: Funhouse from 2008 (nine weeks), Greatest Hits… So Far!!! from 2010 (13 weeks) and The Truth About Love from 2012 (10 weeks).
The Philly native also ruled the national chart with I’m Not Dead (2006), Beautiful Trauma (2017) and Hurts 2B Human (2019).
Meanwhile, the title track from Trustfall flies 34-19 on the ARIA Singles Chart, for Pink’s 44th top 20 hit in Australia, a feat that includes 37 top 10 appearances.
As Ed Sheeran winds his way around the country for his latest stadium tour in support of = (equals via Atlantic/Warner), two of the Brit’s LPs return to the top 10. His latest release from 2021, equals, rises 17-6, while divide (÷) from 2017 is up 15-8.
Another English superstar pop artist is currently touring Australia, and enjoying sales bumps for his recordings. Harry Styles, who is working his way around the country for the domestic leg of his Love On Tour trek, sees his global hit single “As It Was” (Columbia/Sony) gain 9-5, while its parent album Harry’s House holds at No. 2.
Over on the ARIA Singles Chart, Miley Cyrus’ “Flowers” (Columbia/Sony) beds down for a sixth consecutive week at No. 1.
If it returns for a seventh week at the penthouse, “Flowers” will equal the reign of Miley’s dad Billy Ray Cyrus, with his 1992 smash “Achy Breaky Heart.”
Finally, another pink-tinged artist is making a statement on Australia’s charts. The English singer, songwriter and producer PinkPantheress’s “Boy’s A Liar” (Parlophone/Warner) lifts 3-2, a new peak, thanks to a viral cut featuring rising U.S. rapper Ice Spice.
Miley Cyrus’ “Flowers” (via Columbia) is on track for a sixth U.K. chart title, though PinkPantheress might have other plans.
PinkPantheress’s viral hit “Boy’s a liar” (Warner Records) climbs to No. 2 on the midweek U.K. chart, and is hot enough to give Cyrus’ “Flowers” a duel in the second half of the chart cycle.
“Boy’s a liar” is already a career-high for the hotly-tipped British singer, songwriter and producer, soaring 8-3 on the most recent chart, published Feb. 17, doing so in its ninth week. It’s powered by a new cut featuring rising U.S. newcomer Ice Spice.
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Meanwhile, Cyrus’ “Flowers” leads the Official Chart Update, and, if it holds its course, will log a sixth consecutive week at No. 1. It’s already the longest-reigning No. 1 single of 2023 so far.
Further down the chart blast, Nigerian musician, rapper and singer Rema eyes his highest-ever position with “Calm Down” (Mavin), set to climb 8-5; Dutch EDM star Tiësto and Canadian singer-songwriter Tate McRae’s “10:35” (Atlantic/Ministry of Sound) is set for a new peak, up 10-7; and Emerging Artists Chart champ Coi Leray’s is chasing a first top 10 berth with her viral rap number “Players” (Uptown/Republic Records), up 11-8.
The highest new entry on the Official U.K. Singles Chart should belong to Niall Horan, with “Heaven” (Capitol), lifted from the former One Direction singer’s forthcoming third solo album, The Show. “Heaven” is set to bow at No. 12. Since the members of 1D went their separate ways in 2015, the Irishman has logged two U.K. top 10 singles, and one albums chart crown, for 2020’s Heartbreak Weather.
Finally, following her performance on the BBC’s The Graham Norton Show, Pink’s “Trustfall” (RCA), the title track to her latest, ninth studio album, is set to lift 37-11, for what would be a new peak position. The Philly native should see a bump for album track “Never Gonna Not Dance Again,” which flies 39-19 on the chart blast.
All will be revealed when the Official Chart is published Friday.
Nothing can crush “Flowers” (via Columbia) in the U.K., as Miley Cyrus’ track becomes the longest-reigning No. 1 single of 2023 so far.
The U.S. pop singer enters a fifth consecutive week atop the Official U.K. Singles Chart with “Flowers,” powered by 8.5 million streams across the cycle. That’s more than enough streams to lead all singles in that format for a fifth straight week.
“Flowers” is easily Miley’s biggest chart hit in the U.K., beating the single-week runs for her previous leaders “We Can’t Stop” and “Wrecking Ball,” both from 2013.
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After nabbing her first-ever U.K. top 10 spot earlier in the month, PinkPantheress pounces once more with “Boy’s a liar” (Warner Records), up 8-3 in its ninth week on the chart. It’s the third top 40 appearance for the British singer, songwriter and producer, and it’s helped up by a remix featuring rising U.S. rapper Ice Spice.
Linkin Park locks the highest new entry on the latest chart, published Feb. 17, with “Lost,” a previously unreleased track which features vocals from the band’s late leader singer Chester Bennington.
The nu-metal favorites bow at No. 18, for their first U.K. top 20 appearance in 14 years. “Lost” is one of six unreleased songs on Meteora 20, the 20th anniversary edition of their sophomore album. Meteora 20th Anniversary Edition will be released through Warner Records on April 7.
Further down the list, London rapper Strandz scores his first U.K. top 40 as “Us Against The World” (Relentless) jumps 42-27, while countryman Central Cee snags his 16th top 40 appearance with “Me & You” (Central Cee), new at No. 31.
Close behind is Brighton, England alternative-pop act Lovejoy with “Call Me What You Like” (Anvil Cat). It’s new at No. 32 for Lovejoy’s first top 40 appearance.
Finally, the Feb. 12 Brit Awards has juiced-up the chart performance of several winners, performers and nominees.
Among the beneficiaries is George Ezra “Green Green Grass” (Columbia), which lifts 19-14 after it was shortlisted for song of the year, eventually losing out to Harry Styles’ “As It Was” (Columbia), up 34-7 on the latest survey. Meanwhile, Lewis Capaldi’s “Forget Me” (Vertigo), which the Scotsman performed on the night, is up 44-37.
Paramore stands tall atop the U.K. albums chart as This Is Why (via Atlantic) blasts to No. 1.
This Is Why had led its closest rival at the midweek point by two-to-one, and it completes the job by securing the title.
According to the Official Charts Company, This Is Why, the Franklin, Tennessee-formed band’s sixth studio LP, was a particular hit on physical formats, which accounted for 76% of its final total.
The reunited trio of Hayley Williams, Zac Farro and Taylor York now has a third U.K. No. 1, including Brand New Eyes (from 2009) and Paramore (2013). This Is Why also leads the Official Vinyl Albums Chart, and it’s the best-seller in Australia.
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Also new to the Official U.K. Albums Chart, published Feb. 17, is You Me At Six’s Truth Decay (Underdog), the Surrey, England group’s eighth studio album. It’s new at No. 4 for the rockers’ seventh consecutive top 10 appearance.
ABBA continues to mine Gold (Polydor) with their 1992 greatest hits collection, which improves 15-10. The set has now chalked up a ridiculous 1,085 weeks on the U.K. chart, and July 2021 became the first LP to log 1,000 weeks on the survey.
The Swedish pop legends have made a home of sorts in the U.K. with ABBA Voyage. Digital avatars of the band – or ABBA-tars, as the show’s producers insist on calling them – are performing through November at the purpose-built 3,000-capacity ABBA Arena in Queen Elizabeth Olympic Park, London.
Another legendary act makes an impact on the latest chart — The Rolling Stones. Mick Jagger and Co. bow at No. 21 with live hits collection GRRR! Live (Mercury Studios), for the Stones’ 54th top 40 appearance.
Finally, two major TV broadcasts produce chart bumps for several performers.
After performing a medley of hits for her Super Bowl halftime slot, Rihanna’s ANTI (Roc Nation) returns to the top 40 at No. 39. The Barbadian pop artist’s eighth studio album enjoys a 74% week-on-week gain as it improves 69 spots, the OCC reports, while RiRi’s 2007 album Good Girl Gone Bad (Def Jam) rises 41 places to No. 42.
Harry Styles won album, artist and song of the year at the 2023 Brit Awards. He’s a winner again as Harry’s House (Columbia/Sony) lifts 6-2, and his previous, sophomore set Fine Line improves 31-20 on the latest list.
And Brighton, England alternative pop duo Wet Leg’s chart-topping, eponymously-titled Domino Recordings debut flies 83 spots to No. 29, after winning for group of the year and best new artist at the BRITs.
SZA’s SOS claims a ninth nonconsecutive week at No. 1 on the Billboard 200 albums chart (dated Feb. 25) — the most weeks atop the list for an album by a woman in nearly seven years. The last set by a female artist to spend at least nine weeks at No. 1 was Adele’s 25, which ruled for 10 nonconsecutive weeks between Dec. 12, 2015, and March 12, 2016.
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SOS earned 93,000 equivalent album units in the U.S. in the week ending Feb. 16 (down 7%), according to Luminate.
Also in the top 10 of the new Billboard 200: Paramore’s This Is Why debuts at No. 2 — the highest charting alternative album in eight months, while Rihanna’s former No. 1 Anti returns to the top 10 for the first time since 2016, following her halftime show performance at the Super Bowl on Feb. 12.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Feb. 25, 2023-dated chart will be posted in full on Billboard‘s website on Wednesday (Feb. 22), one day later than usual, owed to Presidents’ Day holiday on Monday (Feb. 20) in the U.S. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
Of SOS’ 93,000 equivalent album units earned in the week ending Feb. 16, SEA units comprise 92,000 (down 7%, equaling 126.73 million on-demand official streams of the set’s tracks), album sales comprise 500 (down 1%) and TEA units comprise 500 (up 2%).
In the last 10 years, only three albums by women have spent at least nine weeks at No. 1 on the Billboard 200: SOS, Adele’s 25 (10 in 2015-16) and Taylor Swift’s 1989 (11, 2014-15).
The last R&B/hip-hop album with at least eight weeks atop the list was Drake’s Views, which 13 nonconsecutive weeks at No. 1 (May 21-Oct. 8, 2016). SOS has the most weeks at No. 1 for an R&B/hip-hop album by a woman, or an R&B album by a woman, since Mariah Carey’s self-titled debut spent 11 weeks, all consecutively, at No. 1 in 1991. (Honorable mention to the Whitney Houston-led soundtrack to The Bodyguard, which logged 20 nonconsecutive weeks at No. 1 in 1992-93. The 12-track album has six songs by Houston and six songs by other artists.) SOS has the most weeks at No. 1 for an R&B album by any act since Usher’s Confessions ruled for nine nonconsecutive weeks in 2004. (R&B/hip-hop and R&B albums are defined as those that have hit or are eligible for Billboard’s Top R&B/Hip-Hop Albums and Top R&B Albums charts, respectively.)
Paramore scores its highest-charting album in nearly a decade, as This Is Why debuts at No. 2 on the Billboard 200. It’s also the highest-charting alternative album in almost a year. This Is Why is the band’s first album since After Laughter was released in May 2017; it debuted and peaked at No. 6. The group’s last album to go higher was its self-titled 2013 release, which debuted at No. 1 on the April 27, 2013-dated list.
This Is Why begins with 64,000 equivalent album units earned. Of that sum, album sales comprise 47,000, SEA units comprise 17,000 (equaling 21.3 million on-demand official streams of the set’s songs) and TEA units comprise a negligible sum. The album was ushered in by the album’s title track, which became the act’s first No. 1 on the Alternative Airplay chart (in February) after 11 previous entries going back to 2007.
This Is Why is the highest-charting alternative album on the Billboard 200 since Red Hot Chili Peppers’ Unlimited Love debuted at No. 1 on the April 16, 2022-dated chart. (Alternative albums are defined as those that have hit or are eligible for Billboard’s Top Alternative Albums chart.)
Swift’s former No. 1 Midnights falls 2-3 on the Billboard 200 with 60,000 equivalent album units earned (down 3%).
Morgan Wallen’s chart-topping Dangerous: The Double Album is a non-mover at No. 4 with 44,000 equivalent album units earned (down 4%). Dangerous has now accumulated 107 nonconsecutive weeks in the top 10 on the Billboard 200. It now solely has the third-most weeks in the top 10 among all albums since the chart began publishing on a regular, weekly basis in March of 1956, surpassing the 106 weeks tallied by the soundtrack to the film West Side Story. Dangerous continues to have the most weeks in the top 10 for an album by a single artist. The all-time top 10 record-holder is the original cast recording of My Fair Lady, with 173 weeks in the top 10 between 1956-60. See list, below.
Albums With Most Weeks in Top 10 on Billboard 200 Chart (March 24, 1956-onwards)
Weeks in Top 10, Artist, Title, Year First Reached Top 10
173, Original Cast, My Fair Lady, 1956109, Soundtrack, The Sound of Music, 1965107, Morgan Wallen, Dangerous: The Double Album, 2021106, Soundtrack, West Side Story, 1962105, Original Cast, The Sound of Music, 196090, Soundtrack, South Pacific, 195887, Original Cast, Camelot, 196187, Soundtrack, Oklahoma!, 195685, Peter, Paul and Mary, Peter Paul and Mary, 196284, Adele, 21, 201184, Bruce Springsteen, Born in the U.S.A., 1984(through the Feb. 25, 2023-dated chart)
Bad Bunny’s chart-topping Un Verano Sin Ti rises 7-5 with nearly 44,000 equivalent album units (down 4%); Metro Boomin’s former leader Heroes & Villains falls 5-6 with 43,000 units (down 5%); and Drake and 21 Savage’s former No. 1 Her Loss climbs 8-7 with 40,000 (down 7%).
Rihanna’s chart-topping Anti roars back into the top 10 for the first time since its release year, 2016, as the set vaults 50-8 with 36,000 equivalent album units earned (up 166%). The album, Rihanna’s most recent studio effort, surges back up the list following Rihanna’s Super Bowl halftime show performance on Feb. 12, where her setlist included the album’s hit single “Work.” (She also wove in elements of the album’s “Pose” and “Kiss It Better” into the performances of “All of the Lights” and “Rude Boy,” respectively.)
Anti was released a little over seven years ago, on Jan. 28, 2016, and spent two nonconsecutive weeks at No. 1 (Feb. 20 and April 2, 2016-dated charts). It was last in the top 10 on the Oct. 16, 2016 chart (No. 9) and last at No. 8 or higher on the Sept. 24, 2016-dated list (when it was also at No. 8).
Anti is Rihanna’s longest-charting album on the Billboard 200, with 355 weeks on the list. That also marks the most weeks ever on the chart for an R&B/hip-hop album by a woman or R&B album by a woman.
Closing out the top 10 of the new Billboard 200 are a pair of former No. 1s: Harry Styles’ Harry’s House is stationary at No. 9 with 33,000 equivalent album units earned (down 13%) and TOMORROW X TOGETHER’s The Name Chapter: TEMPTATION falls 3-10 with 32,000 units (down 33%).
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.
With their first album in six years, This Is Why (via Atlantic/Warner), Paramore powers all the way to No. 1 in Australia.
This Is Why becomes Paramore’s third leader on the ARIA Chart, following Brand New Eyes (in 2009) and Paramore (2013). It’s their sixth studio album and the followup to 2017’s After Laughter, which peaked at No. 3 in these parts.
The reunited pop-rock trio of Hayley Williams, Taylor York and Zac Farro can boast another neat feat this week; This Is Why is the only new release to impact the ARIA Top 50.
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Completing the podium on the latest ARIA Albums Chart, published Feb. 17, is Harry Styles’ Harry’s House (Columbia/Sony), up 3-2 following his triumphant nights at the BRITs and Grammy Awards; and Taylor Swift’s Midnights (Universal), down 1-3.
Over on the ARIA Singles Chart, Miley Cyrus makes it five weeks in a row with “Flowers” (Columbia/Sony), a record that just seems to grow on fans.
The pop star’s reign could face a challenge from “Boy’s A Liar” (Plg/Warner) by PinkPantheress, the hotly-tipped British singer, songwriter and producer. “Boy’s A Liar” roars 25-3, following the release of a remix featuring U.S. rising star Ice Spice.
Also on the move up is Miguel’s 2010 release “Sure Thing” (Sony), which lifts 11-7 after getting the viral treatment on TikTok. That’s well-up on the original No. 11 peak for “Sure Thing” back in 2011, and it marks the U.S. R&B artist’s second top 10 appearance (his 2013 collaboration with Mariah Carey on “Beautiful” went to No. 6). “Sure Thing” is now three-times platinum certified.
Finally, American rapper and singer Coi Leray’s catchy number “Players” (Universal) is on the rise. It’s up 18-10.
SZA’s SOS era keeps unlocking achievements for the hitmaking singer-songwriter, who captures her first No. 1 on Billboard’s Mainstream R&B/Hip-Hop Airplay chart as “Shirt” tops the tally dated Feb. 18.
The single pushes from No. 5 after a strong 19% jump in weekly plays that made it the most-played song on U.S. monitored R&B/hip-hop radio stations in the week ending Feb. 9, according to Luminate. Its sizable week-over-week improvement earned the track the weekly Greatest Gainer honor for the biggest play count increase among the chart’s 40 songs. KNDA-FM in Corpus Christi, Texas, led the way with the most plays this week, followed by KHTE-FM in Little Rock, Ark. as the second-biggest supporter and KBDS-FM in Bakersfield, Calif. in third.
With “Shirt,” SZA finally finds the right fit for a No. 1 on Mainstream R&B/Hip-Hop Airplay after seven previous top 10 efforts. She first broke the barrier in 2017 with her breakthrough hit, “Love Galore,” featuring Travis Scott, which reached No. 4, and became a staple at the format thanks to six more top 10s from her next 10 chart appearances. Here’s a full recap of SZA’s top 10 collection on Mainstream R&B/Hip-Hop Airplay:
Song Title, Artist (if other than SZA), Peak Date, Peak Position“Love Galore,” featuring Travis Scott, No. 4, Sept. 2, 2017“The Weekend,” No. 4, Dec. 9, 2017“All the Stars,” with Kendrick Lamar, No. 9, March 31, 2018“Broken Clocks,” No. 8, May 12, 2018“Hit Different,” featuring Ty Dolla $ign, No. 10, Dec. 12, 2020“I Hate U,” No. 2, March 12, 2022“No Love,” with Summer Walker, No. 5, June 4, 2022“Shirt,” No. 1 (one week to date), Feb. 18, 2023
The count could grow in the very near future, as SZA’s latest hit, “Kill Bill,” repeats at No. 13. At just five weeks on the chart, it’s the youngest title in the top 15. And, despite the non-movement in rank, it improved 4% in plays in the latest tracking week.
Back to the current champ: In addition to securing SZA’s first chart-topper on the radio ranking, it returns one of the track’s co-writers and co-producers, Rodney “Darkchild” Jerkins, to the summit for the first time in 23 years. The hitmaker last reigned for his songwriting and production contributions with Destiny’s Child “Say My Name,” a three-week champ in 2000.
Elsewhere, “Shirt” rallies 7-3 on the R&B/Hip-Hop Airplay chart, which ranks songs based on combined audience totals from adult R&B and mainstream R&B/hip-hop radio stations. There, the song reached 19 million in audience, a 22% from its prior week’s total. Plus, “Shirt” climbs 4-3 on Rhythmic Airplay (up 10%) and flies 28-18 on the all-genre Radio Songs chart (up 21% to 34.2 million in total audience).
Future’s “Wait” pays off as the rapper’s hit single “Wait for U,” featuring Drake and Tems, breaks the record for the most weeks in the top 10 on Billboard’s Rap Airplay chart.
The single, which won a Grammy Award for best melodic rap performance on Feb. 5, captures an unprecedented 40th week in the top 10 despite a 4-5 decline and 7% drop in weekly audience, according to Luminate.
With a 40th week in the top 10, “Wait” surpasses Pop Smoke’s “What You Know Bout Love” as the track with the most weeks in the Rap Airplay top 10. The late Pop Smoke set the mark on the chart dated Oct. 2, 2021, as “Know” ranked at No. 10 for its 39th week in the upper tier.
As the leaderboard shuffles, here’s a look at the tracks with the most weeks in the top 10 of Rap Airplay since the list began in 1999.
Weeks in Top 10, Song Title, Artist, Year(s) in Top 1040, “Wait for U,” Future featuring Drake & Tems, 2022-2339, “What You Know Bout Love,” Pop Smoke, 202138, “Back That Thang Up,” Juvenile featuring Mannie Fresh & Lil Wayne, 1999-200038, “Suge,” DaBaby, 2019-2038, “Baddest,” Yung Bleu, 2 Chainz & Chris Brown, 2021-2237, “Power Trip,” J. Cole featuring Miguel, 2013-1436, “For the Night,” Pop Smoke featuring Lil Baby & DaBaby, 2020-2134, “Girls Want Girls,” Drake featuring Lil Baby, 2021-2234, “Big Energy,” Latto, 2021-2234, “Super Gremlin,” Kodak Black, 2022
During its recordbreaking stay, “Wait” captured 18 weeks at No. 1 on the Rap Airplay chart to claim the second-longest run in the chart’s history. It trails only the 19-week reign for Kid Ink’s “Show Me,” featuring Chris Brown, in 2014.
The combination of three radio favorite artists has proven an irresistible teamup for radio programmers and listeners alike. Since its release in April 2022 on Future’s I Never Liked You album, “Wait” has dominated the artists’ home radio R&B/hip-hop format and led to breakthroughs in other arenas. “Wait” racked up a record 16 weeks at No. 1 on the Mainstream R&B/Hip-Hop Airplay chart and is nearing the all-time top 10 mark there, too. Plus, it led to Future’s biggest Pop Airplay success as a lead act with its No. 20 peak, as all three of his higher-peaking songs featured him alongside core pop acts: Maroon 5’s “Cold” (No. 8), Taylor Swift’s “End Game,” also featuring Ed Sheeran (No. 10) and Ariana Grande’s “Everyday” (No. 18).
The radio juggernaut has also boosted Tems’ appeal in the radio world. Between featured turns on “Wait” and Wizkid’s 2021 smash “Essence,” which ruled R&B/Hip-Hop Airplay for 27 weeks, the Nigerian singer-songwriter quickly became a favorite at the radio format. The two titans helped generate interest in her own work, with “Free Mind” the top beneficiary. The song, first released on her 2020 EP, For Broken Ears, improved in streams and led to a radio campaign of its own. It clearly worked – this week, “Free Mind” sits at No. 1 on the R&B/Hip-Hop Airplay chart for a sixth week.
Paramore’s reunion could net the pop-punk veterans a U.K. chart crown.
Hayley Williams, Zac Farro and Taylor York reunited on This Is Why (via Atlantic), their six album and first since 2017’s After Laughter. It could also be their first U.K. No. 1 in nearly a decade.
Based on sales and streaming data reported by the Official Charts Company, This Is Why is the clear leader at the midweek stage. It’s currently out-selling its nearest rival, You Me At Six’s Truth Decay (Underdog), by more than two-units-to-one.
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If it maintains its trajectory, This Is Why will follow Paramore’s Brand New Eyes (from 2009) and Paramore (2013) to the top of the chart.
You Me At Six’s Truth Decay, No. 2 on the Official Chart Update, should give the Surrey, England rock outfit a seventh top 10 entry.
The Rolling Stones, meanwhile, are rolling to a 42nd top 10 appearance with their live hits retrospective GRRR! Live (Mercury Studios). It’s on track for a No. 6 debut.
Several winners from last Saturday’s 2023 BRIT Awards should see gains on the Official U.K. Albums Chart, published Friday (Feb. 17). Harry Styles’ third studio album Harry’s House (Columbia) is on course to climb 12-3 after collecting album of the year, while British group and best new artist winners Wet Leg could reenter the top 40 with their chart-topping eponymously titled debut. Wet Leg (Domino Recordings) is at No. 33 on the Official Chart Update.
Finally, a string of reissues look set to peak positions on the national chart. Scottish alternative rock outfit Mogwai has a pair of re-issues on track for new highs — 1997 debut Mogwai Young Team (at No. 12 via Chemikal Underground), and their sophomore LP Come On Die Young (No. 24).
Also, Gary Numan’s new wave act Tubeway Army could see their 1978 self-titled debut beat its previous best. Tubeway Army (via Beggars Banquet) blasts into the midweek chart at No. 13, ahead of its No. 14 peak position from 1979.