Chart Beat
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Taylor Swift’s The Tortured Poets Department spends a sixth straight and total week at No. 1 on the Billboard 200 albums chart (dated June 8), as the title earned 175,000 equivalent album units in the U.S. in the week ending May 30 (down 54%), according to Luminate.
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Tortured Poets is the first album to spend its first six weeks at No. 1 since Morgan Wallen’s One Thing at a Time led for its first 12 weeks a year ago (March 18-June 3, 2023-dated charts). Among Swift’s collection of No. 1s, Tortured Poets ties Folklore for the most weeks at No. 1 from its debut with six weeks each.
With 175,000 units earned in Tortured Poets’ sixth week, the set scores the largest sixth-week for any album since Adele’s 25 earned 363,000 units in its sixth frame (chart dated Jan. 16, 2016).
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Swift adds her 75th career week at No. 1 on the Billboard 200, extending her record among soloists. (Elvis Presley has the second-most among soloists, with 67.) The total encompasses her 14 leaders. (She’s tied with Jay-Z for the most No. 1s among soloists.)
Also in the top 10 of the new Billboard 200, Twenty One Pilots’ Clancy debuts at No. 3 with the biggest week for any rock album in 2024 (in either equivalent album units or traditional album sales), while RM’s Right Place, Wrong Person launches at No. 5 with his biggest debut week (in both units and sales).
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 June 8, 2024-dated chart will be posted in full on Billboard‘s website on June 4. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of The Tortured Poets Department’s sixth-week unit sum of 175,000, SEA units comprise 133,000 (down 20% — it’s No. 1 on Top Streaming Albums; its SEA units equal 173.65 million on-demand official streams of the deluxe edition’s 31 songs), album sales comprise 41,000 (down 81%) and TEA units comprise 1,000 (down 30%).
Billie Eilish’s Hit Me Hard and Soft is a non-mover at No. 2 in its second week on the list, earning 145,000 equivalent album units (down 57%). It’s the largest second week for any Eilish album, a week after she scored her top weekly career total with the set (339,000).
Twenty One Pilots’ new studio album, Clancy, bows at No. 3 with 143,000 equivalent album units earned. Of that sum, albums sales comprise 113,000 (making it the top-selling album of the week and No. 1 on Top Album Sales), SEA units comprise 29,000 (equaling 38.64 million on-demand official streams of the set’s songs) and TEA units comprise a negligible sum. Clancy scores the biggest week, by both units and album sales, for any rock album in 2024. (Rock albums are defined as those that are eligible for, or have charted on, Billboard’s Top Rock Albums chart.)
Clancy marks the fourth top 10-charting set for Twenty One Pilots. The band previously visited the region with Scaled and Icy (No. 3 in 2021), Trench (No. 2, 2018) and Blurryface (No. 1, 2016).
The new album was led by the single “Overcompensate,” which reached No. 2 on the Alternative Airplay chart in May, marking the 16th top 10-charting song for the act. The track also hit No. 64 on the all-genre, multi-metric Billboard Hot 100 in March. The new album was announced on Feb. 29 as the final chapter of the band’s conceptual series which began with Blurryface.
Clancy’s first-week sales were bolstered by its availability across 11 vinyl variants, signed and unsigned zine/CD journal editions and digipak CDs, deluxe CD boxed sets containing branded merch, and a deluxe digital album with four bonus live tracks.
Morgan Wallen’s chart-topping One Thing at a Time falls 3-4 on the Billboard 200 with 73,000 equivalent album units earned (down 3%).
RM collects his second solo top 10-charting album as Right Place, Wrong Person debuts at No. 5 with 54,000 equivalent album units. Of that sum, album sales comprise 43,000, SEA units comprise 7,500 (equaling 10.16 million on-demand streams of the set’s songs) and TEA units comprise 3,500. The album yields the BTS member his best debut position on the Billboard 200, as well as his largest opening week by both units and traditional album sales.
Right Place, Wrong Person was preceded by the single “Come Back to Me,” which reached the top 30 on both the Billboard Global 200 and Billboard Global Excluding U.S. charts. The album’s first-week sales were supported by its availability across 13 different CD variants, all containing branded paper merch and other collectibles.
RM previously hit the top 10 with Indigo (No. 3, December 2022).
Wallen’s former leader Dangerous: The Double Album is stationary at No. 6 with 45,000 equivalent album units earned (down less than 1%); Future and Metro Boomin’s chart-topping We Don’t Trust You dips 5-7 (43,000; down 11%); Gunna’s One of Wun falls 4-8 (42,000; down 25%); Noah Kahan’s Stick Season is pushed down 7-9 despite a gain of 4% (to 40,000); and Zach Bryan’s self-titled former No. 1 falls 8-10 (37,000; down 2%).
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
Nate Smith rolls up his third consecutive career-opening top 10 on Billboard’s Country Airplay chart as “Bulletproof” pushes to No. 10 on the survey dated June 8. During the May 24-30 tracking week, the single increased by 7% to 18.6 million audience impressions, according to Luminate.
The song, which Ashley Gorley, Ben Johnson and Hunter Phelps wrote, is the lead single from the 38-year-old Smith’s seven-song set Through the Smoke, which opened at its No. 34 high on Top Country Albums in April.
Smith, from Paradise, Calif., crowned Country Airplay for 10 weeks starting in December with “World on Fire” – tying Morgan Wallen’s “You Proof” in 2022for the longest reign in the chart’s history, which dates to 1990. His rookie entry “Whiskey on You” led for two weeks in February 2023.
Smith won for best new male vocalist at the 59th Academy of Country Music Awards in Frisco, Texas, on May 16 and performed “Bulletproof” with Avril Lavigne at the festivities.
‘Ends’ Continues
Bailey Zimmerman tops Country Airplay second week with “Where It Ends,” which gained by 1% to 33.6 million in reach.
The 24-year-old from Louisville, Ill., adds his second multi-week dominator among his four consecutive career-opening Country Airplay No. 1s, joining “Rock and a Hard Place,” which led for six frames beginning in April 2023.
Zimmerman’s debut hit “Fall in Love” commanded Country Airplay for a week in December 2022, while his third No. 1, “Religiously,” notched a week on top in September 2023.
Of the 12 songs that have hit No. 1 on Country Airplay in 2024, “Where It Ends” is just the second to rule for multiple weeks, joining Sam Hunt’s three-week leader “Outskirts” beginning in April. In contrast, 12 of the chart’s 19 No. 1s in 2023 each led for more than one frame.
Slash charts new territory on Billboard’s rankings, as the guitarist’s new album, Orgy of the Damned, debuts at No. 1 on the Blues Albums chart (dated June 1). The new set, largely comprised of covers, is an all-star blues project, featuring guest vocalists including Gary Clark Jr., Beth Hart, AC/DC’s Brian Johnson, Demi Lovato, Iggy Pop and Chris Stapleton, among others. (It’s also Slash’s first entry on the Blues Albums tally.)
Orgy is Slash’s first solo studio album since the rock icon’s 2010 self-titled set. Between the two solo endeavors, he’s released four studio sets featuring Myles Kennedy and The Conspirators.
Orgy also launches in the top 10 on Billboard’s Top Album Sales, Vinyl Albums and Indie Store Album Sales charts, while also bowing in the top 20 on the Independent Albums and Top Rock Albums charts.
The Blues Albums chart ranks the top-selling blues titles of the week in the U.S., based on traditional album sales. Orgy sold 10,500 copies in the week ending May 23, according to Luminate. It marks the largest sales week for a blues album in a little over two years, since Bonnie Raitt’s Just Like That… launched at No. 1 on the May 7, 2022-dated list, with 14,000 sold in its first week.
In a press statement, Slash said, “I love blues music, but I haven’t really done the blues thing because I was always so busy with something else … [the album] was a very spontaneous thing. We just threw it together. There was no researching or trying to find the right tracks – these are just songs I like.”
Among the songs on the album: Robert Johnson’s “Crossroads” with Gary Clark Jr. on vocals and guitar, Willie Dixon’s “Hoochie Coochie Man” (made famous by Muddy Waters) with ZZ Top’s Billy F. Gibbons on vocals and guitar, and Peter Green’s “Oh Well” (first recorded by Fleetwood Mac) with Chris Stapleton on vocals.
Twenty One Pilots land a second No. 1 in Australia with Clancy (via Atlantic/Warner), the U.S. act’s seventh and latest studio album.
Hailing from Columbus, OH, Twenty One Pilots now boast four top 10s on the ARIA Chart, including 2018 leader Trench, plus 2015’s Blurryface (No. 7 peak) and Scaled and Icy (No. 3) in 2021.
Clancy is also on track for the U.K. crown, having led the midweek tally ahead of Paul Weller’s 66 and Taylor Swift’s The Tortured Poets Department.
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After bowing at No. 1 on the ARIA Chart, Billie Eilish’s Hit Me Hard And Soft (Interscope/Universal) dips 1-2, while Swift’s Tortured Poets (Universal) slips 2-3.
U.K. heavy rock band Bring Me The Horizon enjoy a top 10 start in Australia with Post Human: Nex Gen (RCA/Sony), their ninth studio album. It’s new at No. 4 on the ARIA Chart, published Friday, May 31. The fresh release is the second in the four-album Post Human series. The first, Post Human: Survival Horror, peaked at No. 3 in 2020. The Sheffield, England act has led the national chart on four occasions: There Is A Hell Believe Me I’ve Seen It, There Is A Heaven Let’s Keep It A Secret (in 2010), Sempiternal (2013), That’s The Spirit (2015) and Amo (2019).
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Homegrown hip-hop favorites Hilltop Hoods return to the top 10 with Walking Under Stars (Island/Universal), thanks to a 10th anniversary edition. The LP logged two weeks at No. 1 in 2014 for two weeks and is one of the Adelaide trio’s five consecutive No. 1 studio albums. Walking Under Stars won best urban album at the ARIA Awards, one of the group’s 10 career ARIAs.
Over on the singles chart, Tommy Richman’s “Million Dollar Baby” (Concrete Boat Boy) enters a second week at No. 1, while country tracks Shaboozey’s “A Bar Song (Tipsy)” (Empire) and Post Malone featuring Morgan Wallen’s “I Had Some Help” (Universal) respectively complete the top 3.
The top new entry on the current frame belongs to U.S. country star Zach Bryan, whose “Pink Skies” (Warner) open up at No. 15. It’s Bryan’s third top 20 hit in Australia, following “Something In The Orange” and “I Remember Everything” with Kacey Musgraves, which both peaked at No. 6.
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Let’s open the latest mailbag.
‘Help’-ing Hands
Hi Gary,
Where does Post Malone rank among artists with the most collaborative Billboard Hot 100 No. 1s? Thanks to his current leader “I Had Some Help,” featuring Morgan Wallen, and following his featured role on Taylor Swift’s “Fortnight,” which topped the chart earlier this month, five of his six No. 1s have been collaborations.
Also, “I Had Some Help” is notable for Post Malone’s musical versatility, given his history on numerous genre charts.
Thanks for any, well, help!
Pablo NelsonOakland, Calif.
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Hi Pablo,
Teamwork makes the dream work, per “I Had Some Help,” a strategy that has resulted in Post Malone tying for the second-most collaborative No. 1s in the Hot 100’s history.
Let’s look at the artists with the most Hot 100 No. 1s overall, the most on their own and the most with other billed artists (either in lead or featured roles), from the chart’s Aug. 4, 1958, inception through the ranking dated June 1.
Most Hot 100 No. 1s Overall:
20, The Beatles
19, Mariah Carey
14, Rihanna
13, Michael Jackson
13, Drake
12, Madonna
12, The Supremes
12, Taylor Swift
11, Whitney Houston
10, Janet Jackson
10, Stevie Wonder
9, Bee Gees
9, Beyoncé
9, Ariana Grande
9, Elton John
9, Paul McCartney
9, Katy Perry
9, Usher
Most Noncollaborative Hot 100 No. 1s:
19, The Beatles
16, Mariah Carey
12, Madonna
12, The Supremes
11, Whitney Houston
11, Michael Jackson
10, Janet Jackson
10, Taylor Swift
9, Bee Gees
8, The Rolling Stones
8, Stevie Wonder
7, Elvis Presley
Most Collaborative Hot 100 No. 1s:
8, Drake
8, Rihanna
5, Beyoncé
5, Justin Bieber
5, Diddy
5, Ludacris
5, Post Malone
The Beatles boast both the most Hot 100 No. 1s overall, 20, and without any other billed acts, 19; “Get Back,” which was amid its five-week reign 55 years ago this week, is co-billed with Billy Preston.
With collaborations more common in recent decades, and long prominent in hip-hop, Drake and Rihanna have each scored a record eight Hot 100 No. 1s with other credited acts, including two together: “What’s My Name?,” in 2010, and “Work,” in 2016.
Meanwhile, Swift is the only act whose chart career began the 2000s with a double-digit total of noncollaborative Hot 100 No. 1s. She and Mariah Carey are the only such acts whose chart histories date back no further than the 1990s.
Notably on the third list above, Diddy and Ludacris are the only artists with as many as five Hot 100 No. 1s in collaboration with other acts and no other leading hits, theirs all augmented by other rappers and singers including Faith Evans, Fergie and Pharrell.
Conversely, Madonna and The Supremes are the acts with the most Hot 100 No. 1s all without any guests, 12 out of 12 each.
As for Post Malone, prior to his two latest No. 1s, he ruled the Hot 100 with his lone leader on his own: “Circles,” for three weeks in 2019. In addition to Wallen and Swift, he has shared his stays atop the chart with Swae Lee, 21 Savage and Ty Dolla $ign.
Regarding his sonic versatility, “I Had Some Help” has given Post Malone his first Hot Country Songs No. 1, to go along with five on Hot Rap Songs and four on Hot R&B/Hip-Hop Songs, as well as one on Hot Alternative Songs, via his having joined on Noah Kahan’s “Dial Drunk.” He has also hit No. 3 on Hot Dance/Electronic Songs, as featured, with Preme, on Tiësto and Dzeko’s 2018 hit “Jackie Chan.” Latin is additionally on his chart résumé, as his first Hot 100 No. 1 (and one that shouts out another genre), “Rockstar,” featuring 21 Savage, spent a week on Latin Airplay in 2018.
Republic co-founder/CEO Monte Lipman told Billboard in 2022 that when the label signed Post Malone in 2015, “We kept reinforcing [that] Post rely on instincts. We also crystallized our position that we’d remain incredibly patient and support Post’s creative endeavors.”
Said Post Malone, “The whole thing is that you don’t want to compromise your art and your gut vibe on anything.”
‘Breakfast’ Before ‘Lunch’
Gary,
As (the perhaps radio-ready) “Lunch” by Billie Eilish debuts on the Hot 100 at No. 5, can you please provide a list of charted hits with “breakfast,” “lunch” and “dinner” in their titles?
Thanks,
Jesper TanSubang Jaya, Malaysia
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Hi Jesper,
Seemingly surprisingly, Billie Eilish scores the first Hot 100 hit with “lunch” in its title. Honorable mention: Lunchmoney Lewis served up two entries in 2015-16.
In the lead in the category, five songs with “breakfast” in their titles have reached the Hot 100 (along with two by The Breakfast Club, led by 1987’s No. 7-peaking “Right on Track”):
No. 4, 2007, “Cupid’s Chokehold/Breakfast in America,” Gym Class Heroes, feat. Patrick Stump
No. 5, 1996, “Breakfast at Tiffany’s,” Deep Blue Something
No. 62, 1980, “Breakfast in America,” Supertramp
No. 91, 1969, “Breakfast in Bed,” Dusty Springfield
No. 92 1976, “Breakfast for Two,” Country Joe McDonald
“Lunch” is now tied with “dinner” in terms of appearances in Hot 100 hits’ titles: “Dinner With Gershwin” by Donna Summer reached No. 48 in 1987.
No songs with “brunch,” “supper” or even “snack” in their titles have hit the Hot 100.
(Still, this likely remains pop culture’s lightest menu.)
King & Prince reign over the Billboard Japan Hot 100 with “halfmoon,” blasting in at No. 1 on the chart released May 29. The Takeshi Kobayashi-produced title track off the duo’s 15th single “halfmoon/moooove!” is being featured as the theme of the drama series Tokyo Tower starring member Ren Nagase. To celebrate the sixth anniversary […]
Welcome to Billboard Pro’s Trending Up newsletter, where we take a closer look at the songs, artists, curiosities and trends that have caught the music industry’s attention. Some have come out of nowhere, others have taken months to catch on, and all of them could become ubiquitous in the blink of a TikTok clip.
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This week: Kehlani sees bumps both for her own song and a song named after her, while Central Cee and Lil Baby have a trans-continental hit on her hands and a devastating ’80s synth-pop classic goes viral for surprisingly blithe reasons.
Kehlani’s Name Spurs Streaming Wins for Herself & Belfast Singer-Songwriter Jordan Adetunji
In just a few weeks (June 27), Kehlani will unleash Crash, her third studio album. “After Hours,” the set’s lead single, is already pulling ample streaming traction, but so is a breakout hit named after her from Belfast singer-songwriter Jordan Adetunji.
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Released on May 19, Adetunji’s “Kehlani” collected over 115,000 official on-demand U.S. streams in its first three days of release (May 19-21), according to Luminate. Four days before the track hit DSPs, Adetunji posted a snippet of the song to his official TikTok account, writing, “Bro wrote a whole song about Kehlani, but why it kinda go hard,” alongside a bevy of popular hashtags, including “#cashcobain,” “#melodicdrill,” “#slizzymusic” and, of course, “#kehlani.” On May 18, Kehlani herself left a singular flame emoji under his post.
Over the same period the following week (May 26-28), “Kehlani” jumped 434% in streaming activity to 615,000 streams. In addition to the song naturally gaining traction on socials — “Kehlani” plays in the three pinned TikToks on Adetunji’s page, all of which have garnered at least 870,000 views each – a more explicit co-sign from Kehlani helped get the ball rolling.
On May 23, Kehlani posted a pair of TikToks featuring her vibing and lip-syncing to the track. The more recent video of the two has since earned over five million views and over one million likes on the platform, directing plenty of new listeners to Adetunji’s track. The official “Kehlani” TikTok sound currently boasts over 12,5000 posts.
Of course, Kehlani’s magic doesn’t stop there. With the release of a “Cater 2 U Mix” for “After Hours” and increased visibility due to her passionate social media pleas in support of the Free Palestine movement, the Crash lead single has enjoyed a significant streaming bump. During the period of May 17-21, “After Hours” pulled in 2.1 million official on-demand U.S. streams. By the period of May 24-28, that number jumped 55% to 3.3 million streams. – KYLE DENIS
Central Cee & Lil Baby Rack Up a New Hit With ‘BAND4BAND’
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After dominating the UK. alongside Dave with “Sprinter” last summer and earning his first Billboard Hot 100 with his Drake-assisted “On the Radar Freestyle” (No. 80), Central Cee is gearing up for another hit on both sides of the pond – and this time Lil Baby is along for the ride.
This U.K.-Atlanta drill-based link-up earned 1.93 million official on-demand U.S. streams on its first day of release (May 24). Streams for “BAND4BAND” remained stable throughout the week, eventually hitting 2.04 million streams on May 27. By the following day (May 28), that number rose 29% to 2.64 million streams, marking the strongest streaming day out of the track’s first five days of release. With a total of 10.2 million streams in its first five days of the week, “BAND4BAND” is already off to a very promising start.
The new track has also already exploded on TikTok, with the official “BAND4BAND” sound garnering over 97,000 posts in just one week. Most users are using Cench and Baby’s back-and-forth hook to show-off their hilarious “U.S.” and “U.K.” sides. Over on YouTube, the official “BAND4BAND” music video has pulled in over 14 million views in under a week.
Should “BAND4BAND” hold steady, Cench and Baby could be looking at the next global rap smash. – KD
Heartbreaking Bronski Beat Classic Revived for Light-Hearted TikTok Trend
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Bronski Beat’s 1985 hit “Small Town Boy” was never a huge chart smash in the U.S. — it peaked at just No. 48 on the Billboard Hot 100, though it reached No. 3 on the U.K.’s Official Charts. But the song remains well-remembered for its passionately delivered lyrics and evocative music video, a tearjerking tale of a young gay man’s rejection and alienation from mainstream society. However, the song is making the rounds again in 2024 for reasons that have absolutely nothing to do with its content, and everything to do with its propulsive synth hook and danceable post-disco beat.
TikTok has really gotten swept up in the #80sDanceChallenge, in which users take videos of their parents dancing to a lightly sped-up version of the pulsing intro to “Small Town Boy” — supposedly with the moves they would’ve used if boogieing to the song back in the ’80s. No less an early-MTV-era authority than Cyndi Lauper has gotten in on the fun, posting a CapCut edit of some old performance footage of her full-bodied dancing set to “Boy,” with the caption, “Oh #80s #dancechallenge you say?”
The clips, several of which have already racked up millions of likes, have helped the song find new life on streaming: “Boy” racked up over 1.5 million official on-demand U.S. streams for the tracking week ending May 23, according to Luminate — a 114% gain from the 705,000 streams the song notched four weeks earlier, before the trend really took off. Bronski Beat singer Jimmy Somerville also shared a TikTok celebrating the song’s recent 40th anniversary, singing along to the song’s now-viral intro and sharing his joy at how the song has been revived.
“Everything is just kind of going so crazy in the world,” he said. “But here, on TikTok, there’s all these people just finding a moment to just have a bit of fun … It’s just been brilliant.” – ANDREW UNTERBERGER
The Contenders is a midweek column that looks at artists aiming for the top of the Billboard charts, and the strategies behind their efforts. Next week (for the upcoming Billboard 200 dated June 8), a cult favorite act looks to get in the way of Billie Eilish’s latest and Taylor Swift’s unsinkable blockbuster.
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Twenty One Pilots, Clancy (Fueled by Ramen): For a couple years in the mid-‘10s, the duo of Tyler Joseph and Josh Dun made the jump from regional Columbus, Ohio sensations to national hitmakers to legitimate A-listers, scoring a trio of Hot 100 top five hits and accepting Grammys in their underwear. Those days of massive crossover success are likely behind Twenty One Pilots at this point – their lone Billboard Hot 100 top 40 hit of the 2020s came at the beginning of the decade, with the COVID-themed “Level of Concern” – but the massive following the group accrued over those years has largely hung around, and should make them a contender for the top of the Billboard 200 this week for their latest LP Clancy.
The new album (released two Fridays ago, May 17) follows 2021’s Scaled and Icy, which debuted at No. 3 with 75,000 equivalent album units. Clancy has the advantage of arriving as the much-hyped final installment in their conceptual series dating back to 2015’s breakthrough set Blurryface, loosely telling the story of the titular Clancy in the dystopian city of Dema. The set should have modest streaming success – helped by the visual album aspect of the release, with videos filmed for each of its 14 tracks – but will likely do most of its damage in physical sales. To that end, the duo has released Clancy in 11 different-colored vinyl variants, as well as in signed and unsigned zine/CD journal packages and digipak CDs, and a couple deluxe CD box sets with branded merch included inside. On May 29, the group also released a limited-time Clancy – Digital Remains deluxe edition – only available until midnight on May 30 — which features four recently recorded live bonus tracks, as well as a lengthy exclusive digital booklet offering behind-the-scenes photos.
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Even with impressive sales and solid streams, Clancy will still be fighting an uphill battle trying to get to No. 1 next week, with the two sets that sparred for No. 1 last week – Taylor Swift’s The Tortured Poets Department and Billie Eilish’s Hit Me Hard and Soft – still posting massive numbers on streaming. With both of those artists essentially emptying the bench last week of their remaining deluxe editions and CD variants on sale for their respective new albums, however, Clancy could have a real advantage in sales. But the album will have to post a much better first-week units figure than Scaled and Icy’s 75,000 – likely at least in the low six figures – to really have a chance of passing either.
IN THE MIX
RM, Right Place, Wrong Person (Big Hit/Geffen): The BTS alum’s follow-up to 2022’s No. 3-peaking Billboard 200 hit debut album Indigo is even looser, more expansive and more sonically diverse than that impressive first effort. That means that RM still hasn’t scored a solo hit single or global streaming mega-smash like his bandmates Jimin and Jung Kook – who both topped the Hot 100 in 2023 – but it means he’s cultivating an albums audience, which will have the option of purchasing Right Place, Wrong Person in 13 different CD variants, all containing branded paper merch and other collectibles.
Wallows, Model (Atlantic): Like Twenty One Pilots, Wallows are no longer at the peak of their crossover moment – which was much more modest than that duo’s to begin with – but retain an extremely loyal following, one which should help their third album Model become one of the week’s top debuts. The set is available in a dozen different-colored vinyl variants – with three signed editions available on their website, one signed by each member – as well as a couple cassette and CD editions, while the group spent this week doing in-store promotional appearances at indie retailers.
Sexyy Red, In Sexyy We Trust (Rebel/gamma.): Sexyy Red was one of 2023’s biggest breakout stars, with her acclaimed Hood Hottest Princess mixtape and breakout hits “Pound Town” and “SkeeYee,” which she’s already one-upped this year with the No. 20-peaking Hot 100 hit “Get It Sexyy.” That song can be found on her new mixtape In Sexyy We Trust, as well as a new teamup with her “Rich Baby Daddy” collaborator Drake, “U My Everything,” which samples the “BBL Drizzy” beat that producer Metro Boomin had been using to mock Drake as part of the latter’s ongoing feud with Kendrick Lamar. That song has gotten off to a slower-than-expected start on some DSPs – perhaps as exhaustion with the larger feud finally starts to set in – but the set should still fare well on streaming, with the album currently only available digitally.
After succeeding Lay Bankz’s “Tell Ur Girlfriend,” a three-week No. 1 on the TikTok Billboard Top 50, Tommy Richman’s “Million Dollar Baby” also strings together its third frame atop the tally, ranking at No. 1 on the June 1-dated survey.
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The TikTok Billboard Top 50 is a weekly ranking of the most popular songs on TikTok in the United States based on creations, video views and user engagement. The latest chart reflects activity May 20-26. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50.
“Million Dollar Baby” is the fifth song with at least three weeks at No. 1 on the TikTok Billboard Top 50 since its September 2023 inception. Mitski’s “My Love Mine All Mine” is the all-time leader with a six-week reign.
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“Million Dollar Baby” concurrently ranks at No. 3 on the multimetric Billboard Hot 100 via 55.9 million official U.S. streams, 15.2 million radio audience impressions and 7,000 downloads in the week ending May 23, according to Luminate.
Kendrick Lamar’s “Not Like Us,” which spent its first week in the top five of the TikTok Billboard Top 50 dated May 25, jumps to a new peak of No. 2 on the latest list, followed by Billie Eilish’s “Birds of a Feather,” which debuts at No. 3.
As for “Birds of a Feather,” the song marks the second week of debuts from Eilish’s newly released album, Hit Me Hard and Soft. “Blue” led the pack on the May 25 tally with a No. 13 bow, with “Chihiro” also appearing at No. 49.
More songs from Hit Me Hard and Soft populate the June 1 list, but “Birds of a Feather” is far and away the top performer so far with its No. 3 debut. The song’s main trend features friends posting videos together, either past or present, highlighting their friendship. Eilish’s “birds of a feather/ we should stick together” chorus soundtracks the footage.
“Birds of a Feather” concurrently bows at No. 13 on the Hot 100 thanks to 25.3 million streams and 3,000 downloads. The album’s top-performing tune on the Hot 100, “Lunch” (No. 5), is one of the other Eilish tunes to reach the TikTok Billboard Top 50, starting at No. 13, led mostly by lip-synch content.
Below “Birds of a Feather,” Lay Bankz’s “Tell Ur Girlfriend” and Future, Metro Boomin, Playboi Carti and Travis Scott’s “Type Shit” rounds out the top five.
“Birds of a Feather” isn’t the only song to hit the top 10 for the first time. Tinashe’s “Nasty” leaps from No. 12 to No. 7, and Cayo’s “Close” shoots 28-9 while Luis R Conriquez and Neton Vega’s “Si No Quieres No” jumps 18-10.
“Nasty,” originally released April 12, has accelerated in recent weeks thanks to a dance trend on TikTok, as has “Close,” premiered in March. While “Nasty” has a few additional appearance on the Billboard charts under its belt, paced by a No. 10 debut on the Hot R&B Songs ranking dated June 1 (2.9 million streams), the TikTok Billboard Top 50 is the only chart appearance so far for “Close,” though it enjoys a 104% jump in streams to 385,000 in the week ending May 23.
As for “Si No Quieres No,” the duet’s TikTok rise (soundtracking a variety of content with no major throughline trend) coincides with a continued spike on other streaming services, rising 10% to 9.6 million streams.
See the full TikTok Billboard Top 50 here. You can also tune in each Friday to SiriusXM’s TikTok Radio (channel 4) to hear the premiere of the chart’s top 10 countdown at 3 p.m. ET, with reruns heard throughout the week.
Billboard Boxscore unveiled its midyear 2024 charts earlier today, and in addition to U2’s Sphere shows dominating various rankings, there are brand new venue charts that highlight some of the most iconic concert halls in the world. Historically, Boxscore’s capacity-specific venue charts have gone as far down to rooms that hold 5,000 people or less. In an effort to spotlight more clubs and small theaters, there are now separate charts for venues with capacities of 2,501-5k, and 2,500 or less.
Leading the inaugural 2,501-5k chart is Atlanta’s Fox Theatre. Across the eligibility period of Oct. 1, 2023 – March 31, 2024, its 110 shows earned a combined $34.5 million and sold 434,000 tickets. The theater hosted several national touring companies performing iconic Broadway shows, such as Annie, Beetlejuice and Hamilton. There were also highlights from Janelle Monae, My Morning Jacket, Steve Miller Band and the double-bill of Tina Fey & Amy Poehler.
The Fox Theatre finished second on year-end rankings in 2022 and 2023 and was No. 6 on last year’s midyear tally for venues with a capacity of 5,000 or less. Several other perennial theaters appear, with the Beacon Theatre (New York), Chicago Theatre (Chicago), Resorts World Theatre (Las Vegas) and the Au-Rene Theater at the Broward Center for the Performing Arts (Fort Lauderdale) rounding out the top five.
Among rooms with a capacity of 2,500 or less, Teatro Telcel in Mexico City reigns supreme, with a $14 million take from 248,000 tickets sold. Like the Fox Theatre, the CDMX venue’s gross was plumped up by theatrical productions, specifically Anastasia The Musical. Just beneath, Las Vegas’ Encore Theater at Wynn Resort is No. 2 with $13.2 million. Both venues would have been in the top 10 on the old combined 5k-cap-and-below chart.
What follows is a parade of some of the most iconic clubs and small theaters in the U.S. (Teatro Telcel is the only international venue on the chart). New York and Washington, D.C. are each represented twice. The former appears at Nos. 11 and 13 with Brooklyn Steel and Webster Hall, respectively, both booked and promoted by AEG Presents/The Bowery Presents. The latter is at Nos. 12 and 17 with IMP Presents’ 9:30 Club and Lincoln Theatre.
On the west coast, Seattle doubles up. Again, it’s a two-fer from AEG Presents, with Showbox SODO at No. 7 and its sister venue Showbox rounding out the list at No. 20.
Theaters still dominate the lower-capacity ranking, with the top six spots devoted to seated venues. But starting with Showbox SODO, general-admission clubs proliferate the back-end, with Atlanta’s The Eastern (No. 9) and Montreal’s MTelus (No. 15) rubbing up against San Francisco’s Warfield Theatre (No. 10) and the Philadelphia-area Keswick Theatre (No. 18).