Chart Beat
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It’s a big week for Colombian newcomer Kapo, who earns his first No. 1 on any Billboard chart with “Ohnana,” as the song jumps 2-1 to crown the Latin Rhythm Airplay chart (dated Nov. 2). It also nearly misses the crown on the overall Latin Airplay chart, rising 3-2.
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“Ohnana” gave Kapo his maiden visit to any Billboard ranking when it debuted on the Billboard Global Excl. U.S. tally in July. A month later the song peaked at No. 30 (Aug. 31-dated list), the same week he became Billboard’s Latin Artist on The Rise, and the track also reached the No. 60 mark on the Billboard Global 200 chart.
Kapo celebrates his first No. 1 on his Billboard chart career with 7.2 million audience impressions earned in the U.S. in the tracking week ending Oct. 24 for “Ohnana” (up 12%), according to Luminate. The song ejects Feid’s “Sorry 4 That Much” from the summit and sends it to No. 4, following its one-week reign.
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“Ohnana” joins “Passoa” at its No. 18 peak on Latin Rhythm Airplay, Kapo’s first team-up with Jhayco. The latter is one of 29 tracks from Le Clique: Vida Rockstar (X), Jhayco’s third studio album which gave the Puerto Rican his third straight top 10 on Top Latin Albums and Latin Rhythm Albums in September.
“Ohnana” also reaches its No. 2 peak on the Latin Airplay chart, where Kapo joins nine other soloists who have reached the top two on the overall list in 2024. Here’s the recap of the 10 artists and their songs, where only Karol G makes for a female representation:
Artist, Title, Peak Position, Peak DateBad Bunny, “Monaco,” No. 1, Jan. 27Xavi, “La Diabla,” No. 1, Feb. 10Myke Towers, “La Falda,” No. 1, Feb. 24El Fantasma, “El Exitoso,” No. 2, March 16Ozuna, “Baccarat,” No. 1, March 30, 2024Myke Towers, “La Capi,” No. 1, May 25, 2024Danny Ocean, “Amor,” No. 1, June 15, 2024El Fantasma, “Sabor A Michelada,” No. 1, June 22Karol G, “Si Antes Te Hubiera Conocido,” No. 1, July 27Venesti, “Es Normal,” No. 2, Aug. 3Feid, “Sorry 4 That Much,” No. 2, Oct. 26Kapo, “Ohnana,” No. 2, Nov. 2
Arthur Hanlon Returns To The Top 10 on Tropical Airplay with Youtuel and Darell: Elsewhere on the Latin charts, pianist and songwriter Arthur Hanlon is back in the top 10 on Tropical Airplay with “Repetimos,” his first Youtuel and Darell-team-up, that climbs 11-9 in its fifth week.
The song, which marks Hanlon’s first top 10 on a radio ranking in over a decade, rises to the top 10 despite a 2% dip in audience impressions, to 1.4 million, earned in the U.S. in the tracking week ending Nov. 24.
“Repetimos” is Hanlon’s third top 10 and first since 2013, when “I’ll Be There (Allí Estaré),” featuring Karlos Rose, landed at its No. 3 high. The arranger, previously reigned with “La Gorda Linda,” featuring Tito Nieves, for one week in 2005.
For Youtuel and Darell, both artists pick up their first top 10 performance on the tropical radio ranking. While the Orishas lead singer also scored a top 10 on a radio tally in 2024 through “Fría,” with Enrique Iglesias (No. 3 peak on Latin Pop Airplay in May), Puerto Rican Darrell last secured a top 10 almost a year ago, with the Ozuna and Maluma three-way, “Lollipop” (No. 7 on Latin Rhythm Airplay in December 2023).
Following the death of One Direction’s Liam Payne on Oct. 16, all five of the group’s full-length studio albums re-enter the Billboard 200 chart (dated Nov. 2). It’s the first time that any One Direction titles have ranked on the chart in over two years.
Returning to the ranking are Four (No. 31), Midnight Memories (No. 38), Made in the A.M. (No. 62), Up All Night (No. 88) and Take Me Home (No. 103).
In the tracking week ending Oct. 24, One Direction’s catalog of albums earned 77,000 equivalent album units in the United States, according to Luminate – up 156% compared to the previous week (30,000 in the week ending Oct. 18).
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Prior to the latest Billboard 200, One Direction last appeared on the list dated July 30, 2022, with Take Me Home, at No. 137.
One Direction charts five sets on the Billboard 200 simultaneously for the first time. The group had logged as many as four albums at the same time over five weeks in 2015-20.
Up All Night, Take Me Home (both 2012), Midnight Memories (2013) and Four (2014) all debuted at No. 1 on the Billboard 200 following their first weeks of release. Made in the A.M. (2015) opened and peaked at No. 2.
Meanwhile, One Direction’s “Night Changes,” a No. 31 Billboard Hot 100 hit in 2014, was the act’s most-streamed song in the U.S. Oct. 18-24, up 149% week-over-week to 8.2 million official U.S. streams. It was followed by “Story of My Life” (7.2 million), “What Makes You Beautiful” (4.6 million), “Perfect” (3.5 million) and “Steal My Girl” (3.4 million).
Payne’s biggest solo hit, “Strip That Down” (featuring Quavo), which reached No. 10 on the Hot 100 in 2017, drew 3 million streams, up 97%, Oct. 18-24.
Shaboozey’s “A Bar Song (Tipsy)” was on the verge of scoring a landmark 16th week at No. 1 on the Billboard Hot 100, tying the longest run atop the chart this decade. But for this week (on the chart dated Nov. 2), he’s kept at bay by the fellow country artist whose mark he would’ve been tying: Morgan Wallen.
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Wallen, whose “Last Night” reigned for 16 weeks over the course of 2023, enters the Hot 100 at its apex this week with his new song “Love Someone.” The heavily TikTok-teased and live-promoted new single becomes the country superstar’s first song as a lead artist to debut atop the listing, and his second overall — following his featured turn on Post Malone’s “I Had Some Help” earlier this year, ultimately a six week No. 1.
Why did this song turn out to be an instantaneous chart-topper? And does it set the stage for Morgan Wallen to get even bigger on his fourth album? Billboard staffers discuss these questions and more below.
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1. Though Morgan Wallen has been knocking off chart accomplishments left and right for most of the decade now, “Love Somebody” is his first single as a lead artist to debut at No. 1. What do you think the biggest reason is for the song’s massive debut?
Katie Atkinson: I would credit Morgan’s epic summer, which, yes, included his Hot 100 No. 1 duet with Post Malone, but also his One Night at a Time stadium-tour victory lap, where he played 10 60,000-capacity venues from April to August and kept his music top of mind all season. Now he’s playing across Europe, where he premiered “Love Somebody” onstage, and collecting an even wider audience. The release of this crowd-pleaser of a song is a cherry on top of a huge few years for him.
Kyle Denis: I think it’s probably a combination of things. Wallen perfected the art of the tease with “7 Summers” a few years bag, and he’s only tightened up his game since. He first teased “Love Somebody” on May 16 via TikTok, and he’s been performing the song in full as early as August 29. People have already decided that they enjoy and want to support the song – they just needed an official release. Of course, it also helps that Wallen’s hype train hasn’t lost any steam; he’s been parked in the upper reaches of the Hot 100 for most of the year thanks to his appearance on Post Malone’s “I Had Some Help” and he’s been packing stadiums with the last few shows of his One Night at a Time tour.
Elias Leight: Wallen had the wind in his sails coming into this week: His single “Last Night” spent roughly a third of 2023 at No. 1, and “I Had Some Help,” his collaboration with Post Malone, topped the chart in the early summer this year. “Love Somebody” outperformed Wallen’s previous solo single, “Lies Lies Lies,” across the board, pulling in 4.1 million more streams (31.1 million, compared to 27 million for “Lies Lies Lies”) and 3,000 more sales (17,000 for “Love Somebody” vs. 14,000 for “Lies Lies Lies.”). That all helped, but the biggest difference in support came from radio: While “Lies Lies Lies” earned 4.5 million in airplay audience opening week, “Love Somebody” more than tripled that total, reaching 15.2 million.
Jason Lipshutz: “Love Somebody” may be Wallen’s first solo single to debut at No. 1, but “Last Night” spent a whopping 16 weeks there last year, and “I Had Some Help” with Post Malone started in the top spot earlier this year. Plus, Wallen has had six top 20 hits on the Hot 100 as a lead artist in the roughly year-and-a-half since “Last Night” became his first chart-topper. He’s been a superstar for multiple years at this point, and while I expect “Love Somebody” to become one of his bigger hits, its No. 1 debut isn’t shocking considering Wallen’s stature upon its release.
Andrew Unterberger: Morgan Wallen hardly needs some help these days when it comes to launching a hit lead single, but it probably shows how much belief he has in “Love Somebody” to be a huge, maybe even defining hit that he hedged his bets by teasing it so extensively ahead of time, both on TikTok and at live shows, and by apparently going hard with the radio promotion, as evidenced by the song’s first-week numbers there. It’s the most concentrated push I can remember a Wallen single getting, and it’s not surprising it’s resulted in a No. 1 debut.
2. “Love Somebody” isn’t Wallen’s first No. 1 this year, as he was already featured on Post Malone’s “I Had Some Help,” a six-week No. 1 in its own right — and it’s not his first top 10 hit on his own, as his “Lies Lies Lies” debuted at No. 7 in July. Which of the two songs do you think “Love Somebody” more builds upon musically or thematically, if either?
Katie Atkinson: Definitely “Lies Lies Lies.” We often only get one side of the country-star life in song, whether the subject matter is the beer-soaked tailgate parties or the girls in impossibly tight jeans. But “Lies Lies Lies” and “Love Somebody” are both about the other side of that coin: namely, being surrounded by countless friends and lovers but feeling more alone than ever.
Kyle Denis: Of the two, “Love Somebody” feels more in line with “Lies Lies Lies” with its focus on the push-and-pull of love and heartbreak and its soft rock-inflected country sound. While it’s still a banger, “I Had Some Help” really leans into country-pop and feels more like a break-up party track than a moment of serious introspection. It also feels much more like a Post Malone song than both “Lies” and “Love.”
Elias Leight: “Lies Lies Lies” is bleary-eyed and desperate, overwhelmingly distraught in the manner of older Wallen ballads like “Your Bartender.” The lyrical motif also evokes Zach Top’s “I Never Lie,” another strong country record from earlier this year; both songs paint cheerful pictures of a put-together post-breakup life, only to reveal it’s all made up. “No thoughts of your body runnin’ through my head,” Wallen sings. “No bottle of bourbon beside the bed.” A few short lines later, the truth comes out: “I’m still a fool for you/Nothin’ I wouldn’t do for you.”
While both “I Had Some Help” and “Love Somebody” also live in the shadow of romantic wreckage, they are breezy and up-tempo, the type of thing that goes down smooth on pop radio. (“Love Somebody” was co-written by Jacob Kasher Hindlin, who also has credits on Maroon 5’s “Sugar” and Charlie Puth’s “Attention.”) Wallen said “Love Somebody” was “inspired by Latin-leaning influences,” but the result sounds more like vintage yacht rock, complete with a flashy needlepoint guitar solo.
Jason Lipshutz: “Love Somebody” doesn’t utilize the same sonic palette as “I Had Some Help,” but both singles represent oversized, mainstream-aimed smashes, with undeniable refrains and an understanding of Wallen’s strengths as a vocalist. “Lies Lies Lies” showcases his charm with a mournful tone and has hung around the top 20 of the Hot 100 for months, but isn’t as ready-made as a ubiquitous crossover hit; there’s a reason why it started at No. 7 on the Hot 100, at “Love Somebody” launched in the top spot.
Andrew Unterberger: Increasingly, I view Morgan Wallen songs as falling into one of two buckets: Those with a little tempo and those without. As a decided “with,” I feel “Love Somebody” is far more in league with “I Had Some Help” — and most of my other Wallen songs of choice.
3. Hard not to notice that “Love Somebody” interrupts the reign of Shaboozey’s “A Bar Song (Tipsy)” one week before the latter was set to tie Wallen’s “Last Night” mark of 16 weeks atop the chart for the longest reign of the decade. Do you think the reign will be an extended one, or do you see “A Bar Song” threatening to take back over the top spot for its 16th frame as soon as next week?
Katie Atkinson: I have a feeling Morgan is going to hang on awhile with this one. The poppy production and lyrical cadence make this one ripe for a beyond-country crossover moment, and it hasn’t left my head all week. Also, its melodic similarities to Dua Lipa’s “Training Season” (the songs share a handful of songwriters) means it already feels familiar just a week in.
Kyle Denis: Yes. Given Shaboozey’s massive cross-genre support on radio and the steady streaming success of “A Bar Song,” I expect the VA cowboy to return to the top spot sooner rather than later.
Elias Leight: Since Shaboozey’s “A Bar Song (Tipsy)” has been at the top of the chart for so long, it’s starting to lose altitude at streaming — an inevitable result after flying so high for so long. And although the single is still moving up at Hot AC radio, it’s declining at Pop, and he is now promoting a different track to country radio stations. Since Wallen’s song is new, he can move quickly to consolidate support at the Pop and Hot AC radio formats, expanding his reach, while climbing further in his core format of country. That said, Shaboozey and his label have had a long time to prepare defensive maneuvers to stave off a potential challenger.
Jason Lipshutz: While I would never want to count out the enormity of “A Bar Song” after the last few months we’ve experienced, it does feel like the time has come for the top of the Hot 100 to turn over to some degree, with “Love Somebody” leading the charge as an autumn-released smash. I’m not sure how long “Love Somebody” spends in the top spot since it’s still early days and it’s a slightly different, Latin-influenced sound for Wallen, but the timing of its No. 1 debut suggests that Shaboozey’s huge hit may finally be sliding a bit, and I’d bet against it logging more than maybe one more week at the top of the Hot 100.
Andrew Unterberger: I think “Love Somebody” might need a couple weeks to amass the total radio support he needs to hold on to a No. 1 spot once his first-week sales and streams recede — but in the meantime, looks like Shaboozey has extra competition for No. 1 from a newly motivated Lady Gaga & Bruno Mars and a blockbusting Tyler, the Creator. (He’s particularly lucky that the latter kneecapped the first-week numbers for his Chromakopia album by releasing it on a mid-tracking-week Monday, otherwise — given the first-day numbers that set is putting up — he might have had to fend off multiple tracks from that thing next week.) So we’ll see if Shaboozey gets to Week 16 next week or one of the few after, but I doubt Morgan Wallen will be his biggest obstacle regardless.
4. Despite some serious controversies and major backlash, Wallen has seemingly only gotten bigger in his career over his three albums to date. Based on his 2024 output, do you see him getting even bigger with album No. 4 when that comes, or is he bound to plateau by then?
Katie Atkinson: I think we’re still rising and that plateau is nowhere in sight. A lot of people credited Morgan with boosting Post Malone’s bona fides for his debut country single, but I think that mutually beneficial relationship will work in the other direction too. Anyone who doesn’t follow country music and maybe only knew Morgan’s name from when he said the N-word on camera likely at least gave “I Had Some Help” a spin over the summer. There’s room for Morgan to grow and it looks like he’s still growing.
Kyle Denis: I think he probably has one more monster album in him on the level of Dangerous or One Thing at a Time before he starts to plateau. He can ride the mainstream country boom a little while longer and take advantage of the genre being at the center of the zeitgeist right now. I think his real challenge is album No. 5, will a gargantuan 20+ track album work the same magic a fourth time in a row? I’m not sure I’d put my money on it just yet.
Elias Leight: He will continue to get bigger. There are still more listeners for him to reach outside of the country genre, both with pop-leaning records like “Love Somebody” and through his hip-hop collaborations — his song with Moneybagg Yo is being played at my gym, which otherwise ignores country music completely. There’s also more room for Wallen to grow outside of the U.S. as country’s global footprint continues to expand. According to his label Big Loud, Wallen just earned the first ever No. 1 debut on the U.K. Country Airplay Chart.
Jason Lipshutz: He’s going to get bigger — potentially a lot bigger. One Thing at a Time was Wallen’s first album since the controversy, and while it was a juggernaut, there’s no doubt that some number of listeners dismissed the project due to his negative actions. Now, with multiple years between him and those actions, Wallen is ready to pull in new listeners who were part of that outcry against him, while also super-serving the fan base that helped him join country music’s elite. We have a situation in which a superstar has been set up to become a decade-defining artist — as long as he sticks the landing with the music, and avoids anything untoward outside of it.
Andrew Unterberger: Crazy to think of what Morgan Wallen getting even bigger could look like at this point — ’90s Garth Brooks mixed with late-’00s Taylor Swift? — but it does seem like we’ll find out soon; his 2024 has only kept his arrow trending farther and farther upwards. Stadiums, seven-figure first-weeks, Grammys: Who knows for sure, but it all seems in play at this point.
5. Let’s say Wallen was properly motivated to maintain his 2020s mark and continue to keep “A Bar Song” out of No. 1. What new remix or video or other promotional tactic would you recommend him trying out to ensure “Love Somebody” was virtually unmoveable from the top spot?
Katie Atkinson: A remix of “Love Somebody” with a female artist that adds a second verse from a woman’s perspective — give it to me right now. Maybe to keep it personal (since they were once “not just friends”), we can enlist Megan Moroney for the new duet.
Kyle Denis: Drop the official music video with Brianna ‘Chickenfry’ LaPaglia as your leading lady.
Elias Leight: There haven’t been a lot of star-studded remixes helping artists win close chart races this year, though a well-timed music video release from Kendrick Lamar did help “Not Like Us” rebound to No. 1 on the Hot 100 in July. The key to a long run at the top of the chart these days seems to be maintaining interest from a streaming audience while also cultivating support from at least three radio formats.
Jason Lipshutz: Simple enough: perform on The Voice, with surprise guest Adam Levine in his triumphant return to the show, and create a mash-up with Maroon 5’s “Love Somebody” and his own. Will that sound good? Probably not. Will viewers love the synergy? You bet.
Andrew Unterberger: Post Malone returning the “Help” favor by adding some aid of his own here seems like a no-brainer.
Mexican singer Oscar Maydon claims his first No. 1 on Billboard’s Hot Latin Songs thanks to his Fuerza Regida collab, “Tu Boda,” which surges 8-1 on the list dated Nov. 2. As the song climbs seven spots, it marks the largest jump on the multimetric tally in almost two years.
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“Tu Boda” lands at the summit on Hot Latin Songs mainly on the strength of streaming data and sales. For the Oct. 18-24 tracking week, the song generated 15.2 million official U.S. streams according to Luminate, up 157% from the week prior. The growth pushes the song to a No. 14 debut on the overall Streaming Songs chart, for Maydon’s first appearance there. Fuerza Regida logs its sixth visit, where the group previously logged a No. 10 high with “Tu Name,” with Grupo Frontera, in October 2023.
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“Tu Boda” also registers enough streams in the U.S. for a 6-1 climb on Latin Streaming Songs where Maydon picks up his first visit and No. 1, while Regida secures its second champ.
Sales too, assist “Tu Boda’s” swell on Hot Latin Songs, which combines, airplay, streaming activity and downloads. The song sold 1,000 downloads in the tracking week, yielding a No. 1 debut on Latin Digital Song Sales.
As the song crowns Hot Latin Songs, it dethrones Karol G’s “Si Antes Te Hubiera Conocido” from the lead after the latter’s 14 consecutive week atop (a three-way tie with Xavi’s “La Diabla,” and FloyyMenor and Cris Mj’s “Gata Only,” for the longest-leading songs in 2024). “Si Antes” also adds a 15th week at No. 1 on the overall Latin Airplay, where it enters a tie with Don Omar and Lucenzo’s “Danza Kuduro” and Daddy Yankee’s “Rompe” for the 10th most weeks at No. 1 since the tally launched in 1994. There, Karol extends her record for the most weeks at the summit by a woman soloist, unaccompanied by any other act. (Among all women, Shakira holds the record, with 25 weeks atop through “La Tortura,” featuring Alejandro Sanz.)
Back to “Tu Boda,” which was released Sept. 26 on Rancho Humilde/Sony Music Latin, the song’s 8-1 surge marks the biggest climb to No. 1 on Hot Latin Songs in a year and 10 months, after Shakira’s “Bzrp: Music Sessions, Vol. 53,” with Bizarrap, rallied 16-1 in its second week (Jan. 28, 2023-dated list).
On a global level, “Tu Boda” takes the Greatest Gainer trophy on both global charts: rushes to No. 4 (from No. 22) on the Billboard Global 200 with 75.1million streams worldwide. The song shows a similar success outside the U.S. where it blasts 17-5 on the Global Excl. U.S. tally with 60 million clicks. Thanks to the streaming splash, both Maydon and Regida pick up their first top 10 on both rankings.
Lastly, “Tu Boda” takes both collaborators to their highest charting performance yet on the all-genre Billboard Hot 100, where it opens at No. 23.
Warriors, the star-studded concept album inspired by the 1979 cult film The Warriors, makes a splash on Billboard’s charts. The set, written by Lin-Manuel Miranda and Eisa Davis, debuts at No. 1 on the Compilation Albums chart, and in the top 25 on both the Top Album Sales and Top Current Album Sales rankings (all […]
Morgan Wallen’s “Love Somebody” becomes the latest country hit to top Billboard’s Streaming Songs chart in 2024, debuting at No. 1 on the Nov. 2-dated tally.
In the week ending Oct. 24, “Love Somebody” earned 31.1 million official U.S. streams, according to Luminate.
It’s Wallen’s first No. 1 debut as a lead act; earlier this year, he started atop the ranking as a featured act on Post Malone’s “I Had Some Help,” which reigned for two weeks, one in May and one in August.
He also led the chart for 19 weeks with “Last Night” in 2023, though the song did not reach No. 1 until its sixth week on the list.
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“Love Somebody” is the fourth No. 1 from the country genre on Streaming Songs in 2024. The year began with Brenda Lee’s “Rockin’ Around the Christmas Tree” reigning on the Jan. 6 list (after ruling for the final four weeks of 2023), followed by the aforementioned Malone/Wallen collaboration and then Shaboozey’s “A Bar Song (Tipsy)” for nine weeks to date beginning in July. “Love Somebody” takes over from “A Bar Song” atop the latest ranking.
In 2023, four country songs topped the list, including Lee, plus Wallen’s “Last Night,” Zach Bryan’s Kacey Musgraves-featuring “I Remember Everything” and Oliver Anthony Music’s “Rich Men North of Richmond.” The genre has not yet boasted more than four rulers in a year.
In the preceding nine years (2013-2022) of the chart, only Taylor Swift’s “All Too Well (Taylor’s Version)” had represented the country genre at No. 1 on Streaming Songs, doing so in 2021.
On Country Streaming Songs, “Love Somebody” is Wallen’s 12th leader, twice as many as the next-closest acts, Swift and Florida Georgia Line, with six apiece.
Concurrently, as previously reported, “Love Somebody” debuts at No. 1 on the multimetric Billboard Hot 100, becoming Wallen’s third ruler.
ROSÉ and Bruno Mars’ “APT.” moves in at No. 1 on both the Billboard Global 200 and Billboard Global Excl. U.S. charts.
BLACKPINK member ROSÉ achieves her second No. 1 as a soloist on each chart, after “On the Ground” likewise led in its debut week in March 2021. As a group, BLACKPINK boasts two leaders on the Global 200 and three on Global Excl. U.S. She is the first member of the quartet with multiple No. 1s on the charts; the act’s Jennie and LISA have notched one Global Excl. U.S. No. 1 each.
Mars, meanwhile, dethrones his first No. 1 on both surveys: “Die With a Smile,” with Lady Gaga, dips to No. 2 on each chart. He’s both the first act to replace himself at No. 1 and take the top two spots simultaneously on each list since Sabrina Carpenter earlier this year with “Espresso” and follow-up “Please Please Please.”
Elsewhere, Oscar Maydon and Fuerza Regida’s “Tu Boda” bounds to the top 10 of both the Global 200 and Global Excl. U.S.; Morgan Wallen’s “Love Somebody” launches at No. 8 on the Global 200; and One Direction’s “Night Changes” hits the Global Excl. U.S. top 10 following the passing of the group’s Liam Payne.
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The Global 200 and Global Excl. U.S. charts, 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.
Released Oct. 18, “APT.” arrives atop the Global 200 with a staggering 224.5 million streams, as well as 29,000 sold, worldwide through Oct. 24. The song claims the second-biggest streaming week since the Global 200 began.
Here’s a look at all five weeks in which songs topped 200 million streams worldwide (with one belonging to BLACKPINK):
289.2 million, “Butter,” BTS, June 5, 2021
224.5 million, “APT.,” ROSÉ & Bruno Mars, Nov. 2, 2024
217.1 million, “Seven,” Jung Kook feat. Latto, July 29, 2023
217.1 million, “Flowers,” Miley Cyrus, Feb. 4, 2023
212.1 million, “Pink Venom,” BLACKPINK, Sept. 3, 2022
“APT.” introduces ROSÉ’s solo studio album, rosie, due Dec. 6.
Despite dropping to No. 2 on the Global 200, following eight weeks at No. 1 (the most for any song this year), “Die With a Smile” drew 120.6 million streams (up 10% week-over-week) worldwide Oct. 18-24. The song has tallied more than 100 million streams globally in each of the last eight weeks, the most in a row since The Kid Laroi and Justin Bieber’s “Stay” linked nine triple-digit weeks in August-October 2021.
Billie Eilish’s “Birds of a Feather” slips 2-3 on the Global 200, following three weeks at No. 1 beginning in August.
Oscar Maydon and Fuerza Regida’s “Tu Boda” blasts 22-4 on the Global 200, led by 75.1 million streams (up 119%). Each act reaches the top 10 for the first time.
Rounding out the Global 200’s top five, Sabrina Carpenter’s “Espresso” descends 4-5, following three nonconsecutive weeks at No. 1 beginning in June.
Plus, Morgan Wallen’s “Love Somebody” debuts at No. 8 on the Global 200 with 38.2 million streams and 19,000 sold worldwide from its Oct. 18 release through Oct. 24. The country star scores his third top 10 on the chart.
“APT.” concurrently starts atop Global Excl. U.S. with 200 million streams and 21,000 sold outside the U.S. Oct. 18-24.
As on the Global 200, “Die With a Smile” ranks at No. 2 on Global Excl. U.S. following eight weeks at No. 1.
Eilish’s “Birds of a Feather” keeps at No. 3 on Global Excl. U.S., following three weeks at No. 1 beginning in August, and Jennie’s “Mantra” places at No. 4, a week after it opened at No. 2.
Oscar Maydon and Fuerza Regida’s “Tu Boda” jumps 17-5 on Global Excl. U.S., with 60.1 million streams (up 111%). The acts each appear in the top 10 for the first time.
Additionally, One Direction’s “Night Changes” surges 95-10 on Global Excl. U.S., up 131% to 37.6 million streams and 573% to 3,000 sold outside the U.S. Oct. 18-24, after the group’s Liam Payne died Oct. 16. The song becomes the boy band’s first top 10 since the Global 200 began; it hit No. 31 on the U.S.-based Billboard Hot 100 in 2014.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Nov. 2, 2024) will update on Billboard.com Tuesday, Oct. 29. 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 X, formerly known as 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 “Love Somebody” leaps onto the Billboard Hot 100 at No. 1.
The single, released Oct. 18, arrives as Wallen’s third Hot 100 leader, after Post Malone’s “I Had Some Help,” featuring Wallen, opened on top in May and reigned for six weeks, and “Last Night” dominated for 16 weeks in 2023.
Notably, Wallen maintains the longest Hot 100 reign of the 2020s with “Last Night” – his new No. 1 dethrones Shaboozey’s “A Bar Song (Tipsy),” which a week earlier tallied its 15th week in the top spot (and remains tied with Harry Styles’ 2022 hit “As It Was” for the second-longest command this decade).
“Love Somebody,” on Mercury/Big Loud/Republic, becomes the 1,175th No. 1 in the Hot 100’s 66-year history, and the first to debut atop the chart since “I Had Some Help.”
“‘Love Somebody’ is a little bit of a new approach lyrically and sonically,” Wallen shared in a statement upon the release of the longing love song, which he co-wrote. “I wanted to try something different, with what I wanted to talk about … how I wanted it to sound, and we were inspired by Latin-leaning influences. I’m really excited about this song and pumped that it is out.”
Plus, ROSÉ and Bruno Mars soar onto the Hot 100 at No. 8 with “APT.” BLACKPINK member ROSÉ earns her first top 10 as a soloist, outpacing the group’s No. 13 best set by “Ice Cream,” with Selena Gomez, in 2012. She also makes history as the first female artist prominent in K-pop (Korean pop) to hit the top 10. Mars, meanwhile, adds his milestone 20th Hot 100 top 10.
The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data, the lattermost metric reflecting purchases of physical singles and digital tracks from full-service digital music retailers; digital singles sales from direct-to-consumer (D2C) sites are excluded from chart calculations. All charts (dated Nov. 2, 2024) will update on Billboard.com Tuesday, Oct. 29). For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as 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.
‘Love Somebody’ Streams, Airplay & Sales
Sabrina Carpenter’s “Taste” (Island Records) refuses to let go of its grip on the U.K. Official Singles Chart, securing a ninth consecutive week at No. 1.
The unstoppable track remains the most-streamed song in the U.K. for the week, racking up over 5.2 million streams and cements its place as the longest-running No. 1 single of 2024, marking yet another milestone for Carpenter.
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The popstar’s impressive achievements with “Taste” follow a remarkable streak in 2024. Earlier this year, she became the first artist in 71 years to spend 20 weeks at No. 1 on the U.K. Official Singles Chart within a single year. This record includes her chart-toppers “Espresso” (seven weeks at No. 1) and “Please Please Please” (five weeks at No. 1). The last time an artist accomplished such a feat was Frankie Laine in 1953.
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But the competition for the top spot is heating up. Gigi Perez’s viral indie release “Sailor Song” climbed to No. 2, putting pressure on “Taste”, while Lady Gaga and Bruno Mars landed at No. 3 with “Die With A Smile” (Interscope).
Meanwhile, ROSÉ of BLACKPINK made U.K. chart history this week. Her track “APT.” (Black Label and Atlantic) featuring Bruno Mars debuts at No. 4, making her the first female solo K-pop artist to land in the Top 10 of the U.K. Official Singles Chart. This marks ROSÉ’s first solo Top 40 hit, as she previously peaked at No. 43 with her 2021 single “On The Ground” (YG Entertainment and Interscope). Two of her BLACKPINK bandmates, JISOO and JENNIE, have also had solo success, with “FLOWER” (BLISSOO) and “Mantra” (Odd Atelier and Columbia Records) respectively reaching the Top 40.
Elsewhere on the chart, the resurgence of One Direction continues following the passing of Liam Payne.
Two of the band’s fan-favorite tracks have re-entered the Top 10: “Night Changes” (Syco Music and Columbia Records) hits a new peak at No. 6, surpassing its original 2013 peak of No. 7, while “Story Of My Life” returns to No. 9. “What Makes You Beautiful” also sees renewed interest, climbing back to No. 23.
Additionally, three of Payne’s solo releases have re-entered the wider chart, including “Strip That Down” (Capitol) with Quavo at No. 41, “For You” (Universal Studios and Republic Records) with Rita Ora at No. 43, and his final solo release “Teardrops” (Capitol Records) making its chart debut at No. 85.
Adding to the movement on the charts, Addison Rae’s “Diet Pepsi” (Columbia) rises two spots to No. 12, Billie Eilish’s “WILDFLOWER” (Interscope) blooms at a new peak of No. 17, and Gracie Abrams secures her second Top 20 entry with “That’s So True” (Interscope) landing at No. 19.
Further down, Teddy Swims climbs 10 spots with “Bad Dreams” (Warner) at No. 25, while Morgan Wallen secures his third Top 40 hit in the U.K. with “Love Somebody” (Mercury Records/Republic Records) reaching No. 40.
As “Taste” holds on for another week, fans are eager to see whether Sabrina Carpenter can extend her streak into the double digits – or will a new challenger finally emerge?
Yeat lands his first No. 1 album on the Billboard 200 as Lyfestyle debuts atop the list dated Nov. 2. The set earned 89,000 equivalent album units in the U.S. in the week ending Oct. 24, according to Luminate — his best week ever by units, largely driven by album sales. Lyfestyle is the fifth total and consecutive top 10-charting set for the rapper, who had gone as high as No. 2 in March with 2093.
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Also in the new top 10 of the Billboard 200, SEVENTEEN snares its sixth top 10 effort, all earned consecutively, as SPILL THE FEELS debuts at No. 5. Meanwhile, Gracie Abrams’ The Secret of Us surges 19-8 following a deluxe reissue with added songs, for its first week in the top 10 since it debuted at No. 2 in July.
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 Nov. 2, 2024-dated chart will be posted in full on Billboard‘s website on Tuesday (Oct. 29). For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
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Of Lyfestyle’s 89,000 equivalent album units earned, album sales comprise 60,000 (Yeat’s best sales week ever; it’s No. 2 on the Top Album Sales chart), SEA units comprise 29,000 (equaling 39.67 million on-demand official streams of the songs on the streaming edition of the album; it debuts at No. 17 on the Top Streaming Albums chart) and TEA units comprise a negligible sum.
Lyfestyle’s first-week sales were bolstered by its availability across many variants, exclusively sold through the artist’s webstore. Lyfestyle’s opening-week sales actually exceed the cumulative sales of Yeat’s entire album catalog before this past week. Until Lyfestyle’s release, his catalog of albums had sold a combined 35,000 copies.
The new album, his fifth full-length studio effort, was issued as a widely-available 22-track digital download and streaming set, and in a CD and vinyl edition exclusively sold through his webstore. (It’s the first time Yeat has released an album on CD.) The CDs were only available as part of deluxe boxed sets (exclusive to his webstore), and all CDs and vinyls were signed by the artist. There were six different deluxe CD boxed sets, each containing a T-shirt and a CD inside a branded box. There were also three webstore-exclusive CD variants, signed by the artist, and each contained two additional bonus tracks unique to the CD (one has “Style Lyfe” and “Back Thën,” the second has “5Brazy” and “Barbarian” and the third has “Graveyard” and “Gonë”)
In addition, Yeat’s webstore offered two exclusive digital download album variants — one with the bonus track “Project Lyfestyle” and one with four bonus tracks: “Project Lyfestyle,” “For Lyfe,” “Night Come” and “5Brazy Remix,” featuring Quavo.
All of the bonus tracks on the CD and download album variants were not available to purchase as stand-alone tracks through any retailer, nor available to stream through an official service.
In total, of Lyfestyle’s first-week sales of 60,000, digital downloads comprise 43,500; CD sales comprise 12,000 and vinyl sales comprise 4,500.
Yeat’s last album, 2093, which debuted and peaked at No. 2 earlier this year, was available in its first week across three digital download variants, but only one of them was exclusive to the artist’s webstore. 2093 sold 12,000 copies in its first week — all from downloads.
Sabrina Carpenter’s chart-topping Short n’ Sweet climbs 4-2 on the Billboard 200 with 79,000 equivalent album units earned (down 7%). After debuting at No. 1, Jelly Roll’s Beautifully Broken falls to No. 3 with 68,000 (down 58%). Rod Wave’s Last Lap dips 2-4 in its second week with 67,000 units (down 47%).
SEVENTEEN collects its sixth top 10-charting effort on the Billboard 200 as SPILL THE FEELS debuts at No. 5 with 66,000 equivalent album units earned. Of that sum, album sales comprise 64,000 (it’s No. 1 on Top Album Sales), SEA units comprise 2,000 (equaling 2.61 million on-demand official streams of the set’s songs) and TEA units comprise a negligible sum. The album’s sales were bolstered by its availability across 17 CD variants, each containing collectible branded paper ephemera (such as photocards, posters, lyric books and stickers, some randomized).
Morgan Wallen’s former leader One Thing at a Time rises 9-6 on the Billboard 200 with 50,000 equivalent album units earned (up 5%), GloRilla’s Glorious falls 5-7 in its second week with nearly 50,000 (down 27%), and Gracie Abrams’ The Secret of Us surges 19-8 with 49,000 units (up 78%). The latter vaults up the chart, and back into the top 10 for the first time since its No. 2 debut in July, thanks to its Oct. 18 deluxe reissue on digital download and streaming services with seven additional tracks. Of the 49,000 units The Secret of Us earned in the latest tracking week, SEA units comprise the bulk of the sum — a little over 45,000 (up 89%).
Rounding out the top 10 of the new Billboard 200 are Billie Eilish’s Hit Me Hard and Soft (falling 7-9 with a little over 48,000 equivalent album units earned; down 4%) and BigXthaPlug’s Take Care (8-10 in its second week; with 48,000; up less than 1%).
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.