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Joe Bonsall, a member of The Oak Ridge Boys for 50 years, died on July 9 at age 73 from complications of Amyotrophic Lateral Sclerosis (ALS).
Bonsall joined the act in 1973 after leaving gospel group The Keystones. He last toured with The Oak Ridge Boys last December, before announcing his retirement earlier this year.
The Oak Ridge Boys won two Country Music Association Awards: vocal group of the year in 1978 and single of the year in 1981 for “Elvira” – the track became their biggest Billboard Hot 100 hit, reaching No. 5. The Academy of Country Music likewise awarded the band top vocal group honors in 1978.
The Oak Ridge Boys were inducted into the Country Music Hall of Fame in 2015. “For 50 years, Joe Bonsall was the Oak Ridge Boys’ sparkplug,” Kyle Young, CEO of the Country Music Hall of Fame and Museum, shared in a statement upon Bonsall’s passing. “He was as exciting a performer as any who ever hit a gospel or country stage. His tenor voice was high and clear, and his jovial spirit always provided a jolt of energy, immediately rousing audiences to come on in and take a load off. He certainly lightened our cares every time he sang.”
On Billboard’s Hot Country Songs chart, The Oak Ridge Boys first appeared in 1976. They followed with 1977’s “Y’all Come Back Saloon,” which hit No. 3 that October, granting the act its first of 34 top 10s. “I’ll Be True to You” led in June 1978, becoming the band’s first of 17 chart-toppers, a haul that ran through “No Matter How High” in March 1990. The act last hit the top 10 in 1991 with “Lucky Moon.”
The Oak Ridge Boys’ collection of 17 No. 1s ranks third-best among duos/groups since Hot Country Songs became the genre’s all-encompassing singles survey in 1958. Alabama boasts 33 No. 1s and Brooks & Dunn, 20. (George Strait leads all acts with 44.)
On Top Country Albums, The Oak Ridge Boys have notched three No. 1s among 14 top 10s.
Below, in celebration of the band’s music and Bonsall’s key contributions, count down The Oak Ridge Boys’ biggest hits on Billboard’s Hot Country Songs chart.
The Oak Ridge Boys’ 10 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.
“Love Song”
This week, country singer-songwriter Shaboozey clears the final “Bar” on the Billboard Hot 100 (dated July 13) with his breakout crossover hit.
“A Bar Song (Tipsy),” which heavily interpolates Chingy’s No. 2-peaking 2004 pop-rap smash “Tipsy,” climbs 2-1 in its 12th week on the Hot 100. The single, from Shaboozey’s recently released Where I’ve Been, Isn’t Where I’m Going becomes the second song from a Black artist to top both the Hot 100 and the Hot Country Songs charts in the same week this year — following Beyoncé’s “Texas Hold ‘Em,” from her Cowboy Carter album, which also features Shaboozey on two separate tracks.
What does the song hitting No. 1 mean for both Shaboozey and for country music? And who could be the next breakout start to reach the Hot 100’s apex for the first time in 2024? Billboard staffers discuss these questions and more below.
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1. Shaboozey scores his first Hot 100 No. 1 with “A Bar Song,” in its 12th week on the chart. What do you think was the biggest factor in it making the jump from viral hit to chart-topping crossover smash?
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Josh Glicksman: Not a sexy answer here, but it’s more of several factors compounding to push “A Bar Song” into the stratosphere. The song’s twang fits squarely within the ever-present mainstream moment for country music in 2024; Shaboozey’s savvy interpolation of J-Kwon’s “Tipsy” plays well with the nostalgia factor that thrives on TikTok (even when the core demographic is probably a touch too young to remember the original in its heyday); and a well-timed radio push has not only kept the hit afloat but helped it get over the hump to No. 1.
Lyndsey Havens: Timing, all around. Shaboozey has had mild success prior to “A Bar Song,” which more importantly points to the fact that he has been building his career prior to “A Bar Song.” He and his team were not only prepared for a viral hit, but also knew how to strategize around it, ensuring the song would sustain beyond a social media spike. Plus, the timing of its release – on the heels of Shaboozey’s features on Beyonce’s Cowboy Carter, and at a time when country music is prevalent in the mainstream, and at the height of summer – has helped boost this smash to the top of the charts.
Jason Lipshutz: “A Bar Song” eventually reached No. 1 because it performed well across platforms and formats. The single has racked up hundreds of millions of streams and has been a mainstay in the top 10 of Spotify’s U.S. top songs chart for weeks on end; meanwhile, “A Bar Song” has also topped charts overseas, reached No. 1 on Hot Country Songs, and hit the top 10 of radio charts like Pop Airplay, Country Airplay, Adult Pop Airplay and Rhythmic. Shaboozey has watched his breakthrough hit’s genre-straddling status unlock new audiences, and transcend its early viral-hit classification to become a multi-quadrant smash.
Melinda Newman: Without a doubt, the Beyoncé bounce. He was already making a nice name for himself as a developing artist, but in the six years since he had released his album debut, he had never charted. There was interest in the new album and music, but his association with Beyoncé poured gasoline on the fire and helped propel “A Bar Song” up many different charts covering several formats.
Andrew Unterberger: Like very few new songs, it’s actually selling! Most contemporary hits have one strong week of sales — if that — and then gently recede from there, but “A Bar Song” has topped Digital Song Sales for eight weeks now, consistently roping in new listeners and new fans. That’s allowed it to stay in range of the Hot 100’s top spot as it’s continued to grow on radio and leveled off (without really dropping off) on streaming.
2. Do you think “A Bar Song” is the start of a long career in hitmaking for Shaboozey, or do you think he’s going to struggle a bit living up to the massive breakout success of first solo chart hit?
Josh Glicksman: There are many instances of artists achieving a breakout hit so massive that it creates a looming shadow, but I don’t think that’s the case here. He’s not coming out of nowhere: late May full-length Where I’ve Been, Isn’t Where I’m Going — which debuted and peaked at No. 5 on the Billboard 200 — is already his third album. And between his own tracks, plus features on Beyoncé’s Cowboy Carter, he has had four other songs reach various Billboard charts this year. He’s not at the level of an automatic top 40 artist yet, but his 2024 achievements should give him some reliable status on the charts for the foreseeable future.
Lyndsey Havens: I’m not sure he will ever have another hit quite like “A Bar Song,” but considering the strength of his latest album, Where I’ve Been, Isn’t Where I’m Going, I do think Shaboozey is already close to becoming a household name in this era of country music – and as such, think he should have a long career ahead.
Jason Lipshutz: Somewhere in the middle — “A Bar Song” is such a singular hit that it’ll be hard to replicate, but Shaboozey has established himself as a true, new-school star, able to turn a throwback rap hit into a forward-looking country sing-along and imbue that anthem with pop hooks and personality. Shaboozey possesses a unique perspective, and sounds comfortable blending sounds; “A Bar Song” may be his only No. 1 hit for a while, but he’s going to be around for a long time.
Melinda Newman: “A Bar Song” is turning into such a multi-format smash that it’s possible this will be his biggest career hit, but he has enough talent to keep building from here. Not every song will necessarily cross format lines, but it feels like this is just the commercial beginning for an artist who had been putting in the groundwork for years.
Andrew Unterberger: The size of “A Bar Song” maybe feels unrepeatable, but it’s hard to imagine a song this big and this good won’t be the start of a pretty meaningful career in country and pop music for Shaboozey. Hell, he even seemed right at home as a rare country performer among a majority of hip-hop and R&B artists at the BET Awards last week. Even if he never hits No. 1 again, I’d be very surprised if this was anywhere near his last time on the Hot 100.
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3. There’s been a lot of discussion about whether or not Black artists in country music would be getting more opportunities as a result of the early-year success of Beyoncé’s Cowboy Carter album. Does the success of “A Bar Song” demonstrate to you that the Beyoncé Effect is real and demonstrable, or do you think it could still end up being more of a fluke?
Josh Glicksman: I wouldn’t call the song reaching No. 1 a fluke by any stretch whatsoever, but while the Beyoncé Effect is real — very real! — I’m not sure that I’d go so far as to say that it’s demonstrable yet, either. Or, at the very least, the music industry should be cognizant that there is still much work to be done before people should feel ready to pat themselves on the back with regard to giving Black artists in country music the opportunities they’ve long deserved and long been overlooked for within the genre.
Lyndsey Havens: I do think the Beyffect is real, and we are seeing its impact with an artist like Shaboozey — but that said, I also think Shaboozey would be having this moment even without the release of Cowboy Carter. Country music was gaining mainstream attention already, but Carter made sure that the foundational voices in the genre would not be left unheard. And for Shaboozey, I think it works both ways: some were introduced to him through Carter and stayed tuned in for his solo career, while others were attracted to his solo career, only to then discover Beyoncé was “early” on him. Either way, it’s not only a win for Shaboozey but for Black artists in country music as a whole — as he and Bey continue to make history on the charts and set the stage for more record breakers to come.
Jason Lipshutz: The connection between Cowboy Carter and the success of “A Bar Song” cannot be denied, considering how Beyoncé’s latest album introduced Shaboozey to a much wider audience thanks to a pair of features. However, I wouldn’t describe Cowboy Carter as a panacea for the lack of opportunities that Black artists have received in country music prior to this year, or proclaim “A Bar Song” hitting No. 1 as proof positive that those opportunities are finally being given. Artists of color with large and small footprints in the country music community have been gradually enacting change over the course of decades, and while a project like Cowboy Carter or a single like “A Bar Song” scan as important flash points, neither can solve this issue singlehandedly. There’s still a ton of work to do — let’s hope that both chart-toppers help speed up progress.
Melinda Newman: Unfortunately, it still feels more like a fluke. Cowboy Carter is a culturally significant album and one that highlighted the rich role that pioneering Black artists like Linda Martell, who appears on the album, played in country music’s history. But we’re not seeing a huge lift for current artists, and none of the other young Black artists on Cowboy Carter — Willie Jones, Tanner Adell, Brittney Spencer, Reyna Roberts or Tiera Kennedy — have seen major radio results or ongoing upticks in streams after the initial burst.
Andrew Unterberger: Yeah, it’s not exactly a dam-bursting moment for Black artists in country music, but I do still think it’s a meaningful one. Even for as much chart success as Bey had with “Texas Hold ‘Em,” she didn’t quite reach escape velocity on country radio — the song peaked at No. 33 there, and nothing else from the album has even gotten near that much airplay. But “A Bar Song” is now a certified country radio smash, flying 12-6 on the chart this week and bursting through the door Beyoncé helped open. Hopefully the next Black country artist with a song as undeniable as “Texas” or “Bar” will have an even easier time being accepted into the Nashville fold, thanks in part to both of them.
4. Between Sabrina Carpenter and Shaboozey, it’s been a pretty good stretch lately for 2024 breakout artists scoring their first No. 1 on the Hot 100. Who’s an artist that’s been rising lately who you could see joining them in that club before year’s end?
Josh Glicksman: It’s hard to bet on anyone other than Chappell Roan, right? Listeners cannot get enough of her right now, sending four tracks from her 2023 debut album, The Rise and Fall of a Midwest Princess, to the Hot 100 in addition to her April 2024 single, “Good Luck, Babe!,” which enters the chart’s top 10 for the first time this week. Her star trajectory makes a No. 1 hit seem much more like a “when” than an “if” at this point.
Lyndsey Havens: I’m rooting for Role Model. The alternative artist is gearing up to release his second album Kansas Anymore, and while he has had a taste of the spotlight with prior releases and a past (and public) relationship with Emma Chamberlain, the music on his forthcoming effort marks a new direction. While the songs may not be as fun-filled as “Espresso” or “A Bar Song,” they fall more into the singer-songwriter lane that’s also resonating right now.
Jason Lipshutz: The logical answer would be Chappell Roan, based on her across-the-board momentum, and one could make the case that Tommy Richman could push his way up to No. 1 with “Million Dollar Baby” after spending weeks in the top 10, similar to what Shaboozey just achieved. But I’ll still go with Noah Kahan, who has turned into an arena-level A-lister, and is still earning tons of plays with “Stick Season” years after its release. If he drops a new single before year’s end, I could see that single reaching the top of the Hot 100, based on how much his profile has expanded over the past 12 months.
Melinda Newman: Chappell Roan. “Good Luck, Babe!” has just entered the Top 10 and it feels like she is going to be the next pop superstar. Like Shaboozey and Sabrina Carpenter, she has been at this game for years (including a previous record deal with Atlantic), so she’s been honing her craft and now her time has come.
Andrew Unterberger: Chappell Roan and Tommy Richman are probably the leaders in the clubhouse here given their current presence in the top 10, but I’m gonna go with a bit of a longer shot and say Central Cee. He’s been a chart-topping superstar in his home country of the U.K. for some time, and he’s inching ever-closer to being one here too — thanks largely to co-signs from (and collabs with) stateside A-listers like Drake, J. Cole and Lil Baby. Feels like only a matter of time to me until he gets one over the top on the Hot 100.
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5. J-Kwon’s “Tipsy”: certified classic, fun throwback, or best left in 2004?
Josh Glicksman: It’s a classic (that also doubles as a throwback). From the moment the crunchy, clapping production kicks in, it’s on. Few people have made simple counting more fun than J-Kwon in the past two decades, and even fewer have made the radio mix of their hits superior to the explicit version. Kudos to you, J-Kwon.
Lyndsey Havens: Certified classic – and very deserving of the revival.
Jason Lipshutz: Certified classic! Two decades after its release, that beat still makes my head knock when it stomps into view. Mid-00s hip-hop will always have a special spot in my heart, but “Tipsy” still sounds fresh today, even as some of the contemporary hits around it come across as dated. Perhaps that’s why Shaboozey scooped it up and held it high for the world to revisit and appreciate.
Melinda Newman: Total fun throwback. If you’re not old enough to know the original song from 2004, you still can enjoy Shaboozey’s song and if you do, it’s a nostalgic reminder to a time when your double shot of whiskey days were still in full effect
Andrew Unterberger: It’s funny: At the time, I would have been happy to leave it in 2004, since I thought it just sounded like a knock-off Nelly hook laid over a watered-down version of the “Grindin’” beat. But it’s aged much better than I expected — or maybe I’m just less snide about it after a couple of decades (what’s wrong with a knock-off Nelly hook or a watered-down “Grindin’” beat, anyway?) In any event, now I’d say it’s a very fun throwback, and in the right circumstances you could probably talk me into it being a certified classic.
It’s Lucky Daye’s winning week on Billboard’s Adult R&B Airplay chart as the singer achieves his first No. 1 in a lead role with “That’s You.” The song, released on Keep Cool/RCA Records and co-written by Bruno Mars, advances from the runner-up spot to rule the list dated July 13, although it declined 4% in plays for the tracking week of June 28 – July 4, according to Luminate.
Despite the drop, “That’s You” becomes the most-played song on U.S.-monitored adult R&B stations as last week’s champ, Keith Sweat’s “Lay You Down,” sank 18% in plays for the tracking week.
While “That’s You” gives Lucky Daye (born David Brown) his first champ in a lead role, the singer-songwriter previously topped the list thanks to his and Khalid’s featured spots on Alicia Keys’ “Come for Me (Unlocked).” The single ruled Adult R&B Airplay for two weeks in June 2023.
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Beyond the pair of chart-toppers, Lucky Daye claims two more top 10s on Adult R&B Airplay, from six total career appearances. His debut entry, “Roll Some Mo,” climbed to No. 8 in April 2019, while his supporting turn on Earth, Wind & Fire’s “You Want My Love,” resulted in a No. 2 peak in November 2021.
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In addition to Lucky Daye, the “That’s You” triumph also boosts the Adult R&B Airplay achievements for two of its co-creators, Bruno Mars and D’Mile. The two produced the track and co-wrote it alongside Lucky Daye, Mike “Hunnid” McGregor and Austin Brown. As an artist, Mars has become an Adult R&B Airplay staple in the last few years, with eight No. 1s from 2015 – 2022 thanks to his solo output and as one-half of Silk Sonic, his duo with Anderson .Paak. Producer and songwriter D’Mile, meanwhile, continues his standing as one of R&B’s steady hitmakers, composing 10 top two Adult R&B Airplay hits since 2019.
Elsewhere, “That’s You” advances 19-17 on the R&B/Hip-Hop Airplay chart, which ranks songs by combined audience totals from adult R&B and mainstream R&B/hip-hop radio stations. There, the song enjoys its two-spot gain despite a 5% slide to 5 million in total audience, from 5.3 million in the previous week.
“That’s You” appears on Lucky Daye’s latest album, Algorithm, which was released on June 28.
Yuki Chiba, Loco and BabyTron all notch their first career entries on the Billboard Hot 100 chart (dated July 13) thanks to a series of A-list collaborations.
Yuki Chiba is already established in the Japanese hip-hop scene, but he earns his first crossover hit in the United States thanks to his featured appearance on Megan Thee Stallion’s “Mamushi.” Released June 28 on her third studio album Megan, the song debuts at No. 68 on the Hot 100 with 7.3 million official U.S. streams and 1,000 downloads sold in its opening week, according to Luminate. It also starts at No. 18 on Hot Rap Songs and No. 21 on Hot R&B/Hip-Hop Songs. The bilingual track features Megan dishing a few bars in Japanese. (Megan debuts at No. 3 on the Billboard 200.)
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The Japanese-Korean artist, who primarily releases music under the name KOHH (his father’s surname), hails from Oji, Kita, Tokyo, and has been releasing music for over a decade. He has released six studio LPs (all as KOHH), most recently The Lost Tapes in 2022. Before “Mamushi,” Yuki Chiba had appeared on Billboard’s charts with Dirt II (Side A), which reached No. 14 on World Albums in July 2016.
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Loco (real name: Kwon Hyuk-woo) makes his Hot 100 arrival thanks to his new track with Jimin, “Smeraldo Garden Marching Band.” The song, released June 28 via BigHit Music/Geffen/ICLG, debuts at No. 88 with 6.8 million U.S. streams and 11,000 sold. It also launches at No. 3 on Digital Song Sales, as well as No. 1 on World Digital Song Sales, earning Loco his first leader and Jimin his fifth (apart from BTS).
Loco, from South Korea, has been releasing solo music for over a decade, including two studio albums — Bleached in 2017 and Weak in 2023, with the former reaching No. 7 on World Albums. The rapper has additionally charted four tracks on World Digital Song Sales, including three top 10s: “Can’t Help Myself” (by Eric Nam featuring Loco; No. 4 peak), “Young” (with Baekhyun; No. 4) and “All I Wanna Do” (by Jay Park featuring Hoody and Loco; No. 9).
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BabyTron (aka, James Johnson IV) likewise reaches the Hot 100 for the first time, thanks to his co-billed turn on Eminem’s “Tobey,” also with Big Sean. Released July 2 on Shady/Aftermath/Interscope/ICLG, the song debuts at No. 95 after just three days of tracking. It earned 5 million streams and sold 3,000 units. The song concurrently opens at No. 23 on Hot Rap Songs and No. 26 on Hot R&B/Hip-Hop Songs.
BabyTron, from Ypsilanti, Mich., is a member of hip-hop trio ShittyBoyz. He has also released five solo albums and multiple mixtapes, three of which have charted on the Billboard 200: Bin Reaper 3: Old Testament (No. 69 peak in 2022), Bin Reaper 3: New Testament (No. 100; 2023) and MegaTron II (No. 43; 2023).
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Megan Thee Stallion’s new album Megan launches at No. 1 on Billboard’s Top R&B/Hip-Hop Albums chart, giving the rapper her second career champ. Her new set crowns the list dated July 13 and arrives with 64,000 equivalent album units in the U.S. for the tracking week of June 28 – July 4, according to Luminate. The total marks the biggest debut, by units, for any rap album released by a woman in 2024.
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Of Megan’s 64,000 first-week sum, streaming activity contributes 47,000 units – equal to 62.3 million official on-demand U.S. streams for the album’s songs. The figure translates into a No. 5 debut on the Top Streaming Albums chart, where it ranks as the week’s highest-charting rap album. 16,000 of Megan’s units come from traditional album sales — giving the artist her best-ever sales week — and the remaining 1,000 derive from track-equivalent units. (One unit equals the following levels of consumption: one album sale, 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams for a song on the album.)
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With Megan, Megan Thee Stallion nets her second No. 1 on Top R&B/Hip-Hop Albums, after Good News debuted atop the chart in 2020 for its sole week in charge. Beyond the two chart-toppers, the Houston-bred rapper has collected four top 10 projects: Fever (No. 6 in 2019), Suga (No. 6, 2020), Something for Thee Hotties: From Thee Archives (No. 3, 2021) and Traumazine (No. 3, 2022).
Plus, Megan Thee Stallion becomes only the sixth female rapper to achieve multiple leaders on the Top R&B/Hip-Hop Albums chart. She joins Nicki Minaj (who has four No. 1 albums), Eve, Missy Elliott (each with three), Da Brat and Foxy Brown (two each).
Elsewhere, Megan starts at No. 1 on the Top Rap Albums chart, where it likewise secures the rapper a second champ, and at No. 3 on the all-genre Billboard 200. On the latter, Megan becomes the first top 10-charting rap set by a woman released this year.
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Five Megan cuts debut on the Hot R&B/Hip-Hop Songs chart, led by “Otaku Hot Girl” at No. 20. (It’s also the album’s most-streamed song for the week, with 7.5 million official U.S. streams.) “Mamushi,” featuring Yuki Chiba, begins at No. 21, followed by “Where Them Girls At” (No. 24), “Accent,” featuring GloRilla (No. 42) and “Rattle” (No. 47).
In addition to the new arrivals, three previously released Megan tracks have appeared on Hot R&B/Hip-Hop Songs: “Cobra,” which reached No. 10 last November, “Hiss,” a one-week No. 1 in February and “Boa,” which peaked at No. 13 in May. Thanks to the album’s streaming activity, “Boa” re-enters the chart at No. 27 and “Hiss” returns at No. 38.
A week after Grupo Firme scored its first career No. 1 on Latin Airplay, the group replaces itself at the summit with new single “El Beneficio De La Duda,” as the song flies 24-1 on the July 13-dated list. The new leader follows the one-week reign of “Te Va a Doler,” the group’s first collab with Thalia.
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“We are grateful to our audience for supporting each one of our crazy ideas,” Eduin Caz, lead singer for Grupo Firme, tells Billboard. “Both songs are completely different and the fact that they have accepted them as such, to take them to No. 1 one after the other is incredible and only motivates us to keep going.”
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“El Beneficio De La Duda” scores 6.2 million audience impressions, up 56%, earned during the June 28-July 4 tracking week, according to Luminate. “Te Va a Doler,” meanwhile, falls to No. 26 with a 48% decline in audience (down 48%) after one week on top.
Thanks to the 56% gain in audience, “El Beneficio De La Duda” takes home the Greatest Gainer trophy, a weekly award for the song with the largest increase in audience among the 50-title radio ranking. A pair of California stations lead the way with the most plays, KLAX in Los Angeles and KRZZ in San Francisco, in the latest tracking week, while KFZO in Dallas, rounds up the top three.
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“El Beneficio De La Duda,” composed by singer-songwriter Joss Favela and released May 28 via Music VIP, grants the label its first ruler on the overall Latin radio ranking. Music VIP came close when “Que Onda Perdida,” another Grupo Firme song, with Gerardo Coronel, reached No. 3 in July 2023.
“For us, it is wonderful to continue to represent our Mexican music in the highest possible way,” Music VIP’s Isael Gutiérrez, founder and CEO of Music VIP Entertainment, tells Billboard. “Every achievement and every record we break drives us to keep innovating and creating music that continues to break boundaries.”
As “El Beneficio” lands at the summit on the overall Latin radio tally, Grupo Firme replaces itself at No. 1, the second act to achieve the feat in 2024, following Myke Towers whose “Borracho y Loco” with Yandel ceded the throne to his own “La Falda,” after the latter’s one week in charge (Feb. 24-dated list).
Beyond its Latin Airplay coronation, “El Beneficio” takes the lead on the Regional Mexican Airplay chart, for the group’s 10th No. 1 there, tying with Christian Nodal for second-most champs this decade, both trailing only Calibre 50’s 11 No. 1s since 2020.
“When Joss Favela sent me the first take of the song, he simulated the accordion with his voice because the song wasn’t produced yet,” Caz adds. “I still liked how his voice hummed the melody and decided to incorporate it, and that is one of the most special details of the song.”
Grupo Firme, comprising Eduin and Johnny Caz, Abraham Hernandez, Joaquin Ruiz, Christian Gutierrez, Jose Rubio and Dylan Camacho, celebrates its second No. 1 on the heels of the group’s La Última Peda Tour 2024, the 32-date run that launched in San Antonio, Texas on May 10 and will wrap up Nov. 2 at the BMO Stadium in Los Angeles.
Will Smith’s first Christian/gospel single, “You Can Make It,” featuring Fridayy and Sunday Service Choir, arrives on Billboard’s charts (dated July 13).
Released June 28, the track enters the streaming-, airplay- and sales-based Hot Gospel Songs chart at No. 3, as well as the multimetric Hot Christian Songs tally at No. 23.. It drew 726,000 in radio audience and 665,000 official U.S. streams and sold 1,000 through July 4, according to Luminate.
The screen star and rapper makes his first appearance on the rankings. His latest film, Bad Boys: Ride or Die, also starring Martin Lawrence, premiered June 7.
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“I was really talking to myself,” Smith tells Billboard of the song, which he co-wrote. “To see so many people resonate with the intention gives me a clear North Star for this next chapter of my creative life.”
Smith and Sunday Service Choir performed “You Can Make It” live for the first time at the 2024 BET Awards at the Peacock Theatre in Los Angeles on June 30, joined by Kirk Franklin and Chandler Moore.
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Like Smith, R&B/hip-hop artist Fridayy earns his first Hot Gospel Songs top 10, while Sunday Service Choir adds its third. The track also opens in the top 10 on Gospel Digital Song Sales (No. 3), Christian Digital Song Sales (No. 6) and Gospel Streaming Songs (No. 10), as well as at No. 28 on Gospel Airplay.
Smith has scored a pair of No. 1s as a soloist on the Billboard Hot 100: “Gettin’ Jiggy Wit It” in 1998, and “Wild Wild West,” featuring Dru Hill and Kool Mo Dee, in 1999. He broke through in the late 1980s/early ‘90s as (the latter) half of duo D.J. Jazzy Jeff & The Fresh Prince, who reached a No. 4 Hot 100 high with “Summertime” in 1991, and as the lead on NBC’s pop-culture cornerstone The Fresh Prince of Bel-Air.
Smith, who won a best actor Academy Award for his role in the 2022 film King Richard, and who has taken home four Grammy Awards, is reportedly working on a full Christian/gospel album.
It looks like Sabrina Carpenter’s reign on the Official U.K. Singles Chart with “Please Please Please” isn’t ending anytime soon.
Projections indicate she’ll hold the No. 1 spot for a fourth consecutive week. Meanwhile, her former chart-topper “Espresso” remains steady at No. 2 in the midweek update.
But watch out Sabrina — Shaboozey is shaking things up! His single “A Bar Song (Tipsy)” – which famously interpolates J-Kwon’s 2004 smash “Tipsy” – is currently just over 1,000 chart units behind Carpenter, sitting pretty at No. 3.
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With such a narrow gap, could Shaboozey finally sip his way to the top?
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The track debuted at No. 41 on the Official Singles Chart, climbed to No. 16 the following week, and gave Shaboozey his first U.K. Top 10 single a week later when it rose to No. 6.
Shaboozey
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Meanwhile, British breakout star Myles Smith is aiming high with his track “Stargazing.” The single is set to leap two spots to No. 4, marking his highest chart position to date. Smith first appeared on the Official U.K. Singles Chart with his 2024 single “Solo,” which peaked at No. 69. His debut EP, You Promised A Lifetime, reached No. 30 on the Official Albums Downloads Chart.
Following their show-stopping headline slot at Glastonbury Festival, Coldplay’s latest track “feelslikeimfallinginlove” is on a sky-high trajectory, projected to reach a new peak in the top 20, landing at No. 12.
Meanwhile, Shady’s back (back again), as Eminem returns with his new track “Tobey” featuring Big Sean and Babytron, from his forthcoming album The Death of Slim Shady. “Tobey” is climbing a whopping 59 places to No. 17.
It follows the success of Eminem’s previous single “Houdini,” which marked his 11th U.K. No. 1 single in June 2024.
“Houdini” was the Detroit rapper’s first fully solo No. 1 since “Toy Soldiers” in 2005 and his first U.K. chart-topper since 2020’s “Godzilla,” featuring Juice WRLD.
Kasabian are set to claim their seventh consecutive U.K. No. 1 album with their latest release, Happenings. The Leicester-formed rock band, consisting of Sergio Pizzorno, Chris Edwards, Ian Matthews, and Tim Carter, has taken an early lead in the race to top this week’s U.K. Official Albums Chart.
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At the midweek mark, Happenings, the band’s eighth studio album, is outselling its closest competitor, Taylor Swift’s The Tortured Poets Department, by a margin of 2:1.
Kasabian have achieved six U.K. No. 1 albums throughout their career, with all but their first studio album hitting the top spot. The band has seen major success despite lineup changes, including the departure of lead vocalist Tom Meighan in 2020, after which lead songwriter and guitarist Pizzorno became the de facto frontman.
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Meanwhile, the chart action is heating up with several other notable entries. Rising pop sensation Chappell Roan is set to make a splash with her debut album, The Rise and Fall of a Midwest Princess, aiming for a top 5 position.
Zach Bryan performs at Capital One Arena in Washington, D.C.
Kyle Gustafson / For The Washington Post via Getty Images
On the country front, Zach Bryan’s fifth album, The Great American Bar Scene, is eyeing a debut at No. 15. The record features star-studded collaborations with Bruce Springsteen and John Mayer, alongside Bryan’s recent Top 40 hit “Pink Skies.” This could mark Bryan’s highest-charting debut in the U.K.
Previously, Bryan’s self-titled album reached No. 22 on the Official U.K. Albums Chart, while his third album, American Heartbreak, peaked at No. 1 on the Official Americana Chart in the U.K.
Rock band Enter Shikari’s Dancing On The Frontline is set to enter at No. 25. This will be the band’s ninth U.K. top 40 entry and comes after the St Albans-formed rock band snagged their first U.K. No. 1 with A Kiss for the Whole World in 2023.
Previously, the group scored top 10s with their 2007 debut album Take to the Skies (No. 4 peak), 2012’s A Flash Flood of Colour (No. 4), 2015’s The Mindsweep (No. 6), 2017’s The Spark (No. 5) and 2020’s Nothing Is True And Everything Is Possible (No. 2).
Indie rockers The Rifles return after an eight-year hiatus with Love Your Neighbour, which is on track to become their fifth Top 40 album, debuting at No. 26. The alternative-folk trio Fink is also making waves with Beauty In Your Wake, approaching their first-ever entry on the U.K. Official Albums Chart at No. 35.
As we approach the end of the week, all eyes will be on the U.K. Official Albums Chart to see if Kasabian can secure yet another No. 1 album to add to their list.
LISA’s “Rockstar” launches at No. 1 on the Billboard Global Excl. U.S. chart, becoming her first leader. She becomes the third member of BLACKPINK with a solo No. 1 on the survey, with the group itself having notched three chart-toppers. BLACKPINK was already the only group with multiple members that have led the list solo and now becomes the first act with as many as three members with No. 1s on their own.
Plus, two songs enter the Global Excl. U.S. top 10: Jimin and Loco’s “Smeraldo Garden Marching Band” debuts on the chart at No. 7 and Karol G’s “Si Antes Te Hubiera Conocido” jumps 12-8.
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On the Billboard Global 200, Sabrina Carpenter’s “Espresso” rebounds from No. 2 for a second week at No. 1, while LISA’s “Rockstar” rolls in at No. 4.
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.
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LISA’s “Rockstar” arrives at No. 1 on Global Excl. U.S. with 94.2 million streams and 44,000 sold outside the U.S. June 28-July 4, following its June 27 release.
The Thai rapper, singer and dancer, who earned two prior top Global Excl. U.S. top 10s, is the third member of BLACKPINK with a solo No. 1 on the chart, while the South Korean group itself has logged three leaders. Here’s a look at their No. 1s, all of which have debuted in the top spot:
“Rockstar,” LISA, one week at No. 1 (to date), Jul 13, 2024
“You & Me,” Jennie, one, Oct. 21, 2023
“Shut Down,” BLACKPINK, one, Oct. 1, 2022
“Pink Venom,” BLACKPINK, three weeks, beginning Sept. 3, 2022
“On the Ground,” Rosé, one, March 27, 2021
“Lovesick Girls,” BLACKPINK, one, Oct. 17, 2020
BLACKPINK previously made history as the only group with more than one member that has led Global Excl. U.S. solo. It now becomes the first act with as many as three members with No. 1s as soloists. (The group’s Jisoo has hit a No. 2 best, with “Flower” in April 2023.)
Sabrina Carpenter’s “Espresso” dips to No. 2 after six weeks atop Global Excl. U.S. beginning in May and her follow-up “Please Please Please” falls 2-3, two weeks after it reigned; Billie Eilish’s “Birds of a Feather” slips to No. 4 from at its No. 3 high; and FloyyMenor and Cris Mj’s “Gata Only” retreats 4-5 after reaching No. 3.
Jimin and Loco’s “Smeraldo Garden Marching Band” debuts at No. 7 on Global Excl. U.S. with 94.2 million streams and 34,000 sold outside the U.S., following its June 28 release. Jimin notches his fourth top 10 on the chart, tying V for the second-most among BTS members, following Jung Kook with six (including three No. 1s). The group’s Jin and SUGA each boast one top 10, while BTS has banked 11 (including seven No. 1s). Loco logs his first entry on the tally.
Elsewhere in the Global Excl. U.S. top 10, Karol G’s “Si Antes Te Hubiera Conocido” surges to No. 8 from No. 12, where it debuted a week earlier. Released June 20, the song, Karol G’s seventh top 10 on the chart, drew 46 million streams (up 15%) in its second full tracking frame.
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Sabrina Carpenter’s “Espresso” reheats 2-1 for a second week atop the Global 200, three weeks after it first led, with 92.9 million streams (down 6%) and 9,000 sold (down 9%) worldwide June 28-July 4.
Carpenter’s “Please Please Please” places at No. 2 on the Global 200, following two weeks at No. 1. Already the first artist to hold the chart’s top two spots for three consecutive weeks, the singer-songwriter-actress extends her achievement to a fourth frame.
Shaboozey’s “A Bar Song (Tipsy)” holds at its No. 3 Global 200 high; LISA’s “Rockstar” enters at No. 4, marking her third top 10; and Billie Eilish’s “Birds of a Feather” keeps at No. 5, after hitting No. 3.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated July 13, 2024) will update on Billboard.com tomorrow, July 9. 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.