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Landon Barker reveals his favorite SoCal slang to Billboard. Landon Barker:Hey, it’s Landon Barker, and here’s some of the slang I used growing up. The first one is ‘bet.” I’m sure it’s, like, a lot of people say it, that just means, “OK,” instead of saying, “OK,” you say “bet.” The second one is “for […]
Drake’s For All the Dogs jumps back to No. 1 on the Billboard 200 (dated Dec. 2), for a second week atop the list, rising 4-1 with 145,000 equivalent album units earned in the U.S. in the week ending Nov. 23 (up 102%), according to Luminate. Nearly all of its units were driven by streaming activity. The album’s return to the top is fueled largely by its deluxe reissue on Nov. 17 with six new songs, dubbed For All the Dogs Scary Hours Edition. All versions of the album are combined for tracking and charting purposes.
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For All the Dogs debuted atop the chart dated Oct. 21.
Also in the top 10 of the new Billboard 200, Dolly Parton achieves her highest-charting album ever — and third top 10 — as Rockstar opens at No. 3, while ENHYPEN logs its third top 10 with the No. 4 arrival of Orange Blood.
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 Dec. 2, 2023-dated chart will be posted in full on Billboard‘s website on Tuesday (Nov. 28). For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of For All the Dogs’ 145,000 equivalent album units earned in the week ending Nov. 23, SEA units comprise 141,500 (up 99%, equaling 190.23 million on-demand official streams of the set’s 29 tracks, inclusive of its six added songs), album sales comprise 2,000 (up 884%) and TEA units comprise 1,500 (up 456%).
Taylor Swift’s chart-topping 1989 (Taylor’s Version) is a non-mover at No. 2 on the Billboard 200, earning 138,000 equivalent album units (down 14%).
Parton’s Rockstar makes a splashy debut at No. 3 on the Billboard 200, scoring the legend her highest-charting album ever and her third top 10. She previously visited the region with Blue Smoke (No. 6 in 2014) and Trio (her collaborative set with Linda Ronstadt and Emmylou Harris; No. 6 in 1987).
Rockstar launches with 128,000 equivalent album units earned in the week ending Nov. 23. Of that sum, album sales comprise 118,500, SEA units comprise 8,000 and TEA units comprise 1,500. The arrival marks Parton’s biggest week, by units earned, since the chart began measuring by units in December 2014. Further, with 118,500 copies sold, Parton achieves her biggest sales week for an album in the modern era, since Luminate began electronically tracking sales in 1991. She more than doubles her previous biggest week, notched in 1993 when Slow Dancing With the Moon sold 50,500 copies in its second week on the chart (rising 54-19 on the March 20, 1993-dated list).
The star-studded Rockstar was promoted as Parton’s first rock album (she’s primarily released country music in her nearly 60-year career), and its recording was sparked by Parton’s induction into the Rock & Roll Hall of Fame in 2022. The 30-song set has a mix of original songs and covers, and boasts a cavalcade of guest stars — 40 in all. Among them are Pat Benatar, Miley Cyrus, Melissa Etheridge, Joan Jett and the Blackhearts, Elton John, Lynyrd Skynyrd, Paul McCartney, Stevie Nicks, Chris Stapleton, Ringo Starr, Sting and Steven Tyler.
Rockstar’s first-week sales were bolstered by its availability across a variety of editions and formats, in addition to some non-traditional music retailers including Cracker Barrel, Dollar General and HSN. The album’s CD edition was available in four editions — a standard version and three variants, each with alternative cover art: for HSN, with three bonus tracks; a Dallas Cowboys version, and a Tennessee Volunteers edition with a bonus track. The latter two were tied to a pair of high-profile live TV performances from Parton: during the Georgia Bulldogs vs. Tennessee Volunteers football game on Nov. 19, and during halftime of the Washington Commanders vs. Dallas Cowboys football game on Thanksgiving Day (Nov. 23).
Rockstar was pressed on more than 10 vinyl variants, including exclusive editions (all in different colors, some with different cover art) for Amazon, Barnes & Noble, independent record stores, Parton’s webstore, the Rock & Roll Hall of Fame store, Target and Walmart. Parton’s webstore also carried a deluxe digital download version of the album with three exclusive bonus tracks. Rockstar was also offered in multiple deluxe boxed sets, sold through Parton’s webstore, containing either a vinyl or CD version of the album with a branded T-shirt of various designs.
ENHYPEN nabs its third top 10-charting effort on the Billboard 200 as Orange Blood bows at No. 4 with 90,000 equivalent album units earned. Of that sum, album sales comprise 87,000, SEA units comprise 3,000 (equaling 4.68 million on-demand official streams of the set’s songs) and TEA units comprise a negligible sum. The Korean pop ensemble previously hit the top 10 with Dark Blood (No. 4, in June) and Manifesto: Day 1 (No. 6, 2022). Nearly all of Orange Blood’s first-week activity was generated by CD sales (86,000), enhanced by the album’s availability across a dozen collectible CD packages (including exclusive versions sold by Barnes & Noble, Target and Walmart; all with branded merchandise inside, some with randomized elements).
The top 10 of the Billboard 200 is rounded out by six former No. 1s, as Morgan Wallen’s One Thing at a Time is steady at No. 5 (68,000 equivalent album units earned; down less than 1%); Swift’s Midnights rises 7-6 (56,000; up 9%); Stray Kids’ ROCK-STAR falls 1-7 in its second week (51,000; down 77%); Swift’s Lover bolts 14-8 (nearly 51,000; up 16%); Swift’s Folklore climbs 18-9 (45,000; up 22%); and SZA’s SOS bumps 12-10 (44,000; up less than 1%). (Many albums on the chart, including Swift’s Midnights, Lover and Folklore, see sizable sales gains owed to holiday shopping promotions and early Black Friday campaigns that kicked in during the tracking week.)
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.
One of the most multifaceted — and busy — artists working today, Jon Batiste sometimes seems like a superhuman — a seemingly inexhaustible bundle of exuberance, creativity and energy. The New Orleans-bred, Juilliard-trained pianist, singer, songwriter and composer. With his band Stay Human, he spent seven years gaining a huge audience as bandleader on The Late Show With Stephen Colbert; he’s led “love riots” through the streets of New York, playing melodica literally among the city’s inhabitants; he’s won an Oscar and a Golden Globe as co-composer of the score for Pixar’s Soul; and he’s of course won Grammys, five last year alone, including album of the year for his We Are.
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But as the moving new documentary American Symphony shows, Batiste, like so many artists, has a complex private life that his public rarely glimpses. Capturing an especially high-and-low-filled year in Batiste’s life, it interweaves Batiste’s experience as he composes the ambitious titular orchestral work for a Carnegie Hall debut, with the harrowing journey he and his partner, the author-artist Suleika Jaouad, find themselves on when, after a decade in remission, her cancer returns — all shortly before his astounding 11 Grammy nominations arrive.
Directed by Academy Award-winning director Matthew Heineman — who followed Batiste and Jaouad for seven months, filming over 1,500 hours of footage — and coproduced by Barack and Michelle Obama’s Higher Ground Productions, American Symphony opens in select U.S. theaters today before arriving on Netflix Nov. 29 (the film features a poignant new song, “It Never Went Away,” which Batiste wrote with Grammy-winner Dan Wilson, out now on Verve Records/Interscope). On Feb. 4, he could potentially make another significant showing at the Grammys, where he has six nominations, before heading out on his Uneasy Tour: Purifying the Airwaves for the People Feb. 16, supporting his latest album World Music Radio.
In the days leading up to his film’s premiere, he spoke to Billboard about opening up his and Jaouad’s lives to Heineman’s cameras, the importance of artists’ mental health, and why at this point he has to “chuckle” at the Grammy chatter around him.
In the film, we see your composing process up close, and it looks much more collaborative than the usual symphony composer’s may be. Is that your typical process? I’m always composing, and it’s not so different actually with a large-form but also longform piece. It was more about thinking about the form, from point A, B, C, D all the way to Z before starting, and then composing into a form that could shift and change depending on what discoveries I made along the way. When I’m writing songs or instrumental music or just a tune, it can happen in the moment, it doesn’t have to happen before I start. [For a symphony] there’s a lot more pre-planning, and then figuring out symbolically with American Symphony how I wanted to use the music as an allegory for certain values, the philosophy that was underpinning it.
If you think about the term classical music — which I love and has probably the biggest influence on my artistry, besides American music and jazz and New Orleans — every composer that comes from that tradition was drawing on the folk musics and traditions they grew up with, the country and time they lived in. The core quest with American Symphony was: if the symphony orchestra and symphonic compositions were to address America today, if they were invented today and I was the inventor, what would I be drawing from, what would I see in my culture and in the American landscape and the milieu I come from? That was really exciting.
Growing up in the generation where streaming music became the norm, electronic music and all the different technological advancements that we’ve come to now see as the norm — all these different approaches to collaboration and music in general that didn’t even exist back when Beethoven was making the seventh symphony or when Duke Ellington was around, but we can still use the lessons of those compositions. Duke, who’s one of my heroes, if he knew a certain musician in the orchestra had a specific approach to playing high notes, or playing ballads, or leading a section, he’d lean into that and compose toward that, and that’s something I always have a voice for. There’s so much you can speak to that many composers before me were speaking to, but I had a unique opportunity here to do a lot.
Creativity and creating art is clearly an important part of your relationship with Suleika, but at the premiere of American Symphony, it almost seems like a real surprise to her. When you’re at work on new music, do you play it for her?
She’ll hear pieces of things and I’ll play things for her typically in fragments, or in a state where the grandeur of what it will be isn’t obvious yet. As you saw in the film there’s a process of it coming to life that can only happen when I’m in the room with the other musicians. So it’s kind of hard to show that to Suleika in full before it happens, it just has to become what it is through a process of constant listening, refinement, composition. A piece like American Symphony is never meant to be completely finished, it’s meant to be a vehicle that evolves over many many years with different folks who can take ownership of all the themes of the piece, and the form and structure. Fifty years from now, if this is played in another part of the world by different musicians, it would be its own unique version.
Jon Batiste in “American Symphony.”
Courtesy of Netflix
We see a lot in the film how you have to constantly navigate between the public face you show the world and what you’re contending with privately, with Suleika’s illness. Especially when the public seems to expect you to be this joyful person at all times, that seems really challenging.
It’s really something that I’ve struggled with for awhile. And I value parts of it as well — the idea of being able to bring folks a sense of uplift-ment in dark times, as a performer, an entertainer, an artist is something I value. But in general it’s been a struggle to navigate the humanity of being all those things. A lot of times I think that’s the case, which is one of the reasons why such an invasive film like this, and the vulnerability required of our family to share what you see, is something we wanted to move forward with. Sometimes pulling the curtain back is an opportunity for us all to tap into our humanity and not only see me in a certain way and realize, “Wow, these are things we all go through.” We can all grow from seeing it and have a deepened respect for this person we admire.
Suleika Jaouad and Jon Batiste in “American Symphony.”
Courtesy of Netflix
You’re incredibly open in the film about therapy, and about the mental health aspect of being an artist on the level you are. What was behind your decision to be open about this?
I hope it’ll be a beacon for a lot of artists. I fear that when people are successful, especially in a public sense, it creates an illusion of ease. I don’t ever want to make anyone feel lesser, or any artist feel like because they’re struggling in this crazy business with their mental state and fortitude that they’re not just like everybody else. Especially folks who are successful, you never know what somebody has given up or decided to do to get to where they are. We’re all just human beings dealing with the same set of things. It’s better if we show it more, rather than hide it away in a curated social media presence.
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Your stunning performance of “Freedom” at the 2022 Grammys is in the film — contextualized with a very clear picture of what you and Suleika were going through at the time, which makes seeing its exuberance especially astounding. Watching it now, what do you see?
It’s tough to watch the film. I don’t have a good barometer because I’ve only seen it a handful of times over the course of the edits. I do have a sense of what the film is like, and living through those moments, the Grammys performance was very much a lot of catharsis, and also a lot of vindication. Just being present in the moment was a difficult thing for me to do given where Suleika was and how much I wanted to be there with her, but also knowing how much she wanted me to be in the moment I was in. So the performance was a great way of zeroing into the moment and, as it always is for me, just channeling and trying to lift the present to a place of transcendence to what we do on the stage. And that moment in particular was more like that than winning the awards we won — it was just a real manifestation of what I do, and what all those artists in there, what I imagine drives them: the performance, not the awards.
Jon Batiste accepts the album of the year award for “We Are” onstage during tat the 64th Annual Grammy Awards held at the MGM Grand Garden Arena on April 3rd, 2022 in Las Vegas.
Christopher Polk for Variety
We hear in voiceover some of the detractors who were rather loud in the wake of your big Grammy wins. How aware were you of that narrative in the moment, and how did you approach including it in the film, which I assume wasn’t easy?
I’m at a point, to be frank, that I don’t really care. These are things I’ve gotten used to in terms of creating music and doing things that are speaking to the culture, doing things that are counterculture, things that are perceived to be one way when they’re completely the opposite of that. I’ve been perceived to be an institutionalist, and to be not institutional enough. To be a person who is too sophisticated, and to be someone who is dumbing down what they do too much. To be a person who is a part of a fix in the system, someone who comes out of nowhere, and also as the industry darling or the vet or the favored one, who’s constantly had privileges. What that tells me overall, since I’ve been doing this from the age of 15 in New Orleans, is just that I have longevity and I have impact.
Even the fact of the symphony upon its performance at Carnegie Hall — which I unabashedly will say was a cultural moment, if not just for New York then for our country, for music — for there to be no critical review or discussion that was remotely intelligent discourse, with so many firsts [achieved with it that] I’ve lost count? I’m just so used to it. Twenty years in, you just kind of chuckle about it. Eventually, maybe, people will catch on, but I don’t really do it for that. Ultimately it’s just a matter of doing what I’m doing and doing what I love.
The new Broadway cast recording of Merrily We Roll Along debuts at No. 1 on Billboard’s Cast Albums chart (dated Nov. 25). The show stars Daniel Radcliffe, Jonathan Groff and Lindsay Mendez – all of whom have been a part of at least one top 10-charting Cast Album previously. (Groff, notably, performs on both the Nos. 1 and 2 titles on the latest Cast Albums chart – as Merrily We Roll Along bumps Hamilton: An American Musical from the top slot down to No. 2.)
Billboard’s Top Cast Albums chart ranks the top-selling musical cast recordings of the week in the U.S., based on traditional album sales, as tracked by Luminate. The new Cast Albums chart dated Nov. 25 reflects the sales week ending Nov. 16.
Merrily We Roll Along has music and lyrics written by Stephen Sondheim, with a book by George Furth, based on the play of the same name by George S. Kaufman and Moss Hart. The musical premiered on Broadway in 1981 for a brief run, and the 2023 production is its first revival on Broadway. It’s slated to run through March 24, 2024.
The new iteration began off-Broadway in 2022 at the New York Theatre Workshop, with the same leading cast, and played through Jan. 22, 2023. It then began previews on Broadway at the Hudson Theatre on Sept. 19, and officially opened on Oct. 10.
Groff has now been a part of three No. 1s on Billboard’s Cast Albums chart: Merrily We Roll Along, and the original Broadway cast recordings of Hamilton: An American Musical (2015) and Spring Awakening (released in 2006, peaked at No. 1 in 2007). He’s also been a part of the top 10-charting albums A New Brain (2015 New York cast recording; No. 3 in 2016), Little Shop of Horrors (the new cast recording; No. 7, 2021). Groff won a Grammy Award for best musical theater album for Hamilton, and garnered a second nomination for the same category for Little Shop of Horrors.
Radcliffe starred in the 2011 Broadway revival of How to Succeed In Business Without Really Trying, which saw its cast recording reach No. 2 that same year. He also scored a Grammy nomination for best musical theater album for the project.
As for Mendez, she’s appeared on five top 10-charting sets on Cast Albums: Grease (the new 2007 Broadway cast recording, No. 4), Everyday Rapture (original Broadway cast recording; No. 8, 2010), Dogfight (original cast recording; No. 2, 2013), Rodgers & Hammerstein’s Carousel (2018 Broadway cast recording; No. 2, 2013), Godspell (the new 2012 Broadway cast recording; No. 1) and now Merrily We Roll Along. Mendez also scored a Grammy nom for best musical theater album, for Carousel.
Bad Bunny makes history on the latest Latin Songwriters chart (dated Nov. 25), as he becomes the first person to spend 100 weeks at No. 1.
He continues his record-setting run thanks to 14 writing credits on the latest Hot Latin Songs chart, including “Monaco,” which tallies a fifth week at No. 1.
Here’s a look at all of Bad Bunny’s songwriting credits on the latest Nov. 25-dated Hot Latin Songs chart.
Rank, Artist Billing, Title:No. 1, Bad Bunny, “Monaco”No. 5, Bad Bunny & Feid, “Perro Negro”No. 11, Bad Bunny, “Un Preview”No. 12, Bad Bunny & Young Miko, “Fina”No. 16, Bad Bunny, “Where She Goes”No. 22, Drake ft. Bad Bunny, “Gently”No. 28, Bad Bunny, “Baby Nueva”No. 29, Bad Bunny, “Mr. October”No. 30, Bad Bunny & Mora, “Hibiki”No. 33, Bad Bunny, “Cybertruck”No. 38, Bad Bunny & Bryant Myers, “Seda”No. 40, Bad Bunny & Luar La L, “Telefono Nuevo”No. 43, Bad Bunny & YONVNGCHIMI, “Mercedes Carota”No. 47, Bad Bunny, “No Me Quiero Casar”
“Monaco” is Bad Bunny’s 14th career No. 1 on Hot Latin Songs (the fourth-most of all time), and his eighth to spend five-or-more weeks on top.
Across Billboard’s 13 weekly songwriter charts, Bad Bunny is just the second artist to spend 100 or more weeks at No. 1. Kirk Franklin, who has led Gospel Songwriters for 121 weeks, tallied his 100th week at No. 1 in March. “To have my music resonate with so many for 100 weeks is truly a humbling experience,” he told Billboard at the time. “I am grateful beyond words to those that love my music for their support and to everyone who has played a part in bringing my music to life.”
Reaching 100 weeks atop any of Billboard’s 13 producer charts is just as rare. Only two producers have achieved the feat: Joey Moi, with 122 weeks atop Country Producers, and Tainy, with 119 frames at No. 1 on Latin Producers.
Billboard launched the Hot 100 Songwriters and Hot 100 Producers charts, as well as genre-specific rankings for country, rock & alternative, R&B/hip-hop, R&B, rap, Latin, Christian, gospel and dance/electronic, in June 2019, while alternative and hard rock joined in 2020, along with seasonal holiday rankings in 2022. The charts are based on total points accrued by a songwriter and producer, respectively, for each attributed song that appears on the Billboard Hot 100. The genre-based songwriter and producer charts follow the same methodology based on corresponding “Hot”-named genre charts. As with Billboard’s yearly recaps, multiple writers or producers split points for each song equally (and the dividing of points will lead to occasional ties on rankings).
At age 90 and with more than seven decades of music under his belt, Texas native Willie Nelson is busier than ever. The 12-time Grammy winner was recently inducted into the Rock n’ Roll Hall of Fame on Nov. 3 and in September, he released Bluegrass, his first full-length album of bluegrass-styled music. The album has earned Nelson a Grammy nomination for best bluegrass album, leading into the 2024 ceremony.
On Dec. 17, CBS will present the music special Willie Nelson’s 90th Birthday Celebration, honoring the music icon with performances and collaborations from Nelson as well as Gary Clark Jr., Snoop Dogg, Miranda Lambert, Norah Jones, George Strait, Chris Stapleton, Keith Richards and Nelson’s sons Lukas Nelson and Micah Nelson. More top-tier stars will host, including Jennifer Garner, Chelsea Handler, Woody Harrelson, Ethan Hawke, Helen Mirren and Owen Wilson.
Nelson’s innovative songs, unique performance style and jazz-inspired, behind-the-beat style of phrasing, has made the iconoclast one of music’s most widely beloved artists, with 20 No. 1 hits on Billboard’s Hot Country Songs chart. His catalog of hits he penned for other artists includes “Night Life,” “Hello Walls,” “Crazy,” “Family Bible” and “Funny How Time Slips Away.” He earned his first top 10 country hits as an artist in the 1960s with “Touch Me” and “Willingly,” but it was 1975’s Red Headed Stranger that would garner Nelson his mainstream breakthrough. The album’s “Blue Eyes Crying in the Rain” would earn Nelson his first Grammy award, and his first No. 1 hit on the Hot Country Songs chart.
In 1976, Nelson’s music was part of the compilation album Wanted! The Outlaws, which also included Tompall Glaser, Waylon Jennings, and Jessi Colter; the album became country music’s first album to be certified platinum by the Recording Industry Association of America. Nelson and Jennings’ hit collaborations include the 1976, three-week Hot Country Songs chart No. 1 hit “Good Hearted Woman” and 1978’s four-week No. 1 “Mammas Don’t Let Your Babies Grow Up to Be Cowboys.”
A testament to his musical fluidity, Nelson’s albums over the years have paid homage to his Texas honky-tonk roots, but also included projects of pop standards (1978’s Stardust), tributes to Lefty Frizzell (1977’s To Lefty From Willie), Kris Kristofferson (1979’s Willie Nelson Sings Kristofferson), Cindy Walker (2006’s You Don’t Know Me: The Songs of Cindy Walker), Frank Sinatra (2021’s That’s Life) and George and Ira Gershwin (2016’s Summertime), and albums recorded with Ray Price, Roger Miller, Merle Haggard and Webb Pierce.
Nelson was named as the inaugural honoree of the Country Music Association’s Willie Nelson Lifetime Achievement Award in 2012. Three years later, Nelson became the first country artist to earn the Library of Congress Gershwin Prize for Popular Song.
Here, we look at Willie Nelson’s 25 biggest Billboard hits, from “Blues Eyes Cryin’ in the Rain” to “Beer For My Horses.”
Willie Nelson’s 25 Biggest Billboard Hits recap is based on actual performance on Billboard’s weekly Hot Country Songs chart. Songs are ranked based on an inverse point system, with weeks at No. 1 earning the greatest value and weeks at lower ranks earning less. To ensure equitable representation of the biggest hits from each era, certain time frames were weighted to account for the difference between turnover rates from those years.
“Heartbreak Hotel” (with Leon Russell)
Eric Nam reveals five things you didn’t know about him to Billboard! Eric Nam:Hey, this is Eric Nam, and here are five things that you probably don’t know about me. No. 1: My jersey number in high school for soccer was the number 18. I just like that number. No. 2: Here’s a random story […]
After Bad Bunny and Harry Styles ruled the 2022 year-end global rankings, 2023 is all about the ladies: Taylor Swift finishes as the No. 1 Billboard Global 200 Artist and Billboard Global Excl. U.S. Artist, while Miley Cyrus’ “Flowers” is the No. 1 title on the year-end Billboard Global 200 and Billboard Global Excl. U.S. recaps.
While the 2023 year-end tracking period began with the Nov. 19, 2022-dated chart, Cyrus rang in the calendar year almost immediately, with the Jan. 12 release of “Flowers.” By the end of the month, it debuted atop both global charts, and made itself at home. The song reigned for 13 weeks on Global Excl. U.S. and for 12 on the Global 200, tying Harry Styles’ “As It Was” for the longest run at No. 1 on the former list (dating back to its Sept. 2020 launch).
Explore All of Billboard’s 2023 Year-End Charts
Throughout the year, “Flowers” appeared on 39 of Billboard’s Hits of the World charts and topped lists in 26 international territories, including those in Africa, Asia, Europe and Oceania. In North America, it crowned the U.S.-based Billboard Hot 100 for eight non-consecutive weeks, winding up No. 2 on its year-end tally.
Eight songs appear in the year-end top 10 of both global lists. In addition to “Flowers,” there’s Rema and Selena Gomez’s “Calm Down,” “SZA’s “Kill Bill,” Taylor Swift’s “Anti-Hero,” The Weeknd & Ariana Grande’s “Die For You,” Sam Smith & Kim Petras’ “Unholy,” David Guetta and Bebe Rexha’s “I’m Good (Blue),” and last year’s champion, Harry Styles’ “As It Was.”
The Global 200 top 10 is rounded out by Metro Boomin, The Weeknd & 21 Savage at No. 9 with “Creepin’” and Morgan Wallen at No. 10 with “Last Night.” On Global Excl. U.S., the two final missing pieces are Tom Odell’s “Another Love” at No. 9 and Jung Kook’s “Seven,” featuring Latto, at No. 10. Last year, both charts’ top 10s contained the same songs, albeit in slightly different order.
Both lists’ top 10s are performed entirely in English. In each of their three annual recaps so far, “Dakiti” by Bad Bunny and Jhay Cortez is the only non-English song to hit the top 10, at No. 6 for both in 2021. Still, six non-English songs topped the weekly Global Excl. U.S. survey during the 2023 tracking period, up from four in 2022 and three in 2021. This year’s haul includes the first Japanese-language song the reach the summit, via YOASOBI’s “Idol.”
Bolstered by the hangover success of last year’s Midnights, plus the July release of Speak Now (Taylor’s Version), Taylor Swift finishes as the No. 1 Billboard Global 200 Artist and Billboard Global Excl. U.S. Artist. In all, she landed 54 songs on the former survey and 46 on the latter. In addition to new hits like “Anti-Hero” and “Karma,” featuring Ice Spice, Swift’s year on the charts was bolstered by buzz surrounding The Eras Tour. Though the trek never went beyond North America in the tracking period (the tour continues throughout next year, traveling from continent to continent), global buzz via word-of-mouth and social media spring boarded various hits across Swift’s eras onto the charts.
As the tour continues, so likely will her global chart success. Already in the 2024 tracking period, she has hit No. 1 on the Global 200 twice – first, with 2019’s “Cruel Summer,” and then with “Is It Over Now? (Taylor’s Version) (From the Vault),” one of 19 top-40 debuts from 1989 (Taylor’s Version).
Aside from Olivia Rodrigo as 2021’s No. 1 year-end Global 200 Artist, Cyrus and Swift are the first artists from the mainland U.S. to crown annual global recaps. BTS (South Korea) and Dua Lipa (U.K.) covered the other three in 2021, and Bad Bunny (Puerto Rico) and Harry Styles (U.K.) reigned over 2022.
Ed Sheeran and The Weeknd appear in the top 10 of both charts’ artist lists for the third year in a row. While global-chart-era hits like “Shivers” and “Save Your Tears” have been key to their sustained success, they’ve each maintained consistent weekly marks for older titles like “Perfect” and “Shape of You” for Sheeran and “The Hills” and “Starboy” for The Weeknd.
Just as Styles repeats in both top 10s with last year’s champ, “As It Was,” Bad Bunny is back on both artist tallies, at No. 2 on Global 200 Artists and No. 3 on Global Excl. U.S. Artists. Like Swift, he is setting himself for a successful 2024, as 19 songs from Nadie Sabe Lo Que Va A Pasar Manana debuted on each chart in the first week of the ’24 tracking period, including “Monaco” at No. 1 on both.
In year-end recaps for 2021 and 2022, Bad Bunny was the only Latin act to reach the top 10 of any of the four global charts. This year, he is joined in the top 10 by Peso Pluma (No. 6 – Global 200 Artists; No. 7 – Global Excl. U.S. Artists), plus Feid and Karol G, at Nos. 8-9, respectively, on Global Excl U.S. Artists.
NewJeans is the highest-ranking K-Pop act, at No. 9 on Global 200 Artists and No. 4 on Global Excl. U.S. Artists.
Billboard’s year-end music recaps represent aggregated metrics for each artist, title, label and music contributor on the weekly charts from Nov. 19, 2022, through Oct. 21, 2023. Rankings for Luminate-based recaps reflect equivalent album units, airplay, sales or streaming during the weeks that the titles appeared on a respective chart during the tracking year. Any activity registered before or after a title’s chart run isn’t considered in these rankings. That methodology detail, and the November-October time period, account for some of the difference between these lists and the calendar-year recaps that are independently compiled by Luminate.
Just one month after making his first Billboard chart appearance, 310babii is now officially a Billboard Hot 100-charting artist. The Los Angeles-based rapper scores his first career entry on the Nov. 25-dated Hot 100, as “Soak City (Do It)” debuts at No. 100. The song, released in June on sal.vo sounds, enters with 5.2 million […]
Stray Kids are officially Billboard Hot 100-charting artists, as the group scores its first entry on the Nov. 25-dated list with “LALALALA.”
The song, released Nov. 10 on the group’s new album ROCK-STAR, debuts at No. 90 on the Hot 100 with 6.1 million U.S. streams and 3,000 downloads sold in the Nov. 10-16 tracking week, according to Luminate.
The set launches at No. 1 on the Billboard 200 with 224,000 equivalent album units earned in its opening week. It’s the group’s fourth No. 1 (encompassing all of its entries), after ODDINARY (in 2022), MAXIDENT (2022) and 5-STAR (2023). Stray Kids become the first act to debut their first four chart entries atop the chart since Alicia Keys in 2001-07, when she achieved the feat with Songs in A Minor (2001), The Diary of Alicia Keys (2003), the live set Unplugged (2005) and As I Am (2007).
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All four of Stray Kids’ albums have topped the Billboard 200 in a span of nearly 20 months. That’s the fastest accumulation of four No. 1s since Taylor Swift notched four in just under 16 months with Folklore, Evermore, Fearless (Taylor’s Version) and Red (Taylor’s Version) between August 2020 and November 2021.
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While “LALALALA” earns Stray Kids their first career entry on the Hot 100, the group has already made a mark on several other Billboard charts. The act scored its first overall appearance on the chart dated Nov. 18, 2017, when “Hellevator” debuted and peaked at No. 6 on World Digital Song Sales. Since then, the group has charted 52 total hits on World Digital Song Sales (as of this week), the third-most in the chart’s 13-year history, after BTS (148) and EXO (81). Of Stray Kids’ 52 entries, four have hit No. 1: “Mixtape : OH,” “Maniac,” “Case 143,” and, as of this week, “LALALALA.”
The group has also charted 16 titles on World Albums, tied with Red Velvet for the fifth-most among K-pop acts, after GOT7 (19), SEVENTEEN (18), BTS (17) and TWICE (17). Of those 16 sets, four have hit No. 1.
Stray Kids have also logged seven songs on the Billboard Global 200 and 15 on Billboard Global Excl. U.S.
Stray Kids are the seventh K-pop group in history to chart on the Hot 100. They follow Wonder Girls (who earned their first entry in 2009), BTS (2017), BLACKPINK (2018), TWICE (2021), NewJeans (2023) and FIFTY FIFTY (2023).
Stray Kids, signed to JYP Entertainment, comprises Bang Chan, Changbin, Felix, Han, Hyunjin, I.N, Lee Know and Seungmin.