Chart Beat
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“On the Fourth of July, 1964, the Beach Boys topped the Billboard Hot 100 with ‘I Get Around,’ the first No. 1 single by an American male singing group in eight months,” Fred Bronson wrote in The Billboard Book of Number One Hits. “The timing was appropriate, for the Beach Boys were … promoting little deuce coupes, surfin’ U.S.A. and California girls.” Plus, “the Beach Boys often performed concerts on the Fourth of July.”
“I Get Around” – which followed four leaders by The Beatles since February 1964, among chart-toppers by British acts – became the Beach Boys’ first Hot 100 No. 1, with their 12th entry on the survey. They’d previously hit the top 10 with “Surfin’ U.S.A.” (No. 3, May 1963), “Surfer Girl” (No. 7, September 1963), “Be True to Your School” (No. 6, December 1963) and “Fun, Fun, Fun” (No. 5, March 1964). Notably, Beach Boy Brian Wilson, who wrote “I Get Around” with bandmate Mike Love, hit No. 1 as a writer in that span, via Jan & Dean’s “Surf City,” which reigned for two weeks in July 1963.
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Upon the Hot 100 reign of “I Get Around,” the Beach Boys comprised of Wilson and Love (who shared lead vocals in the group), Wilson’s younger brothers Carl and Dennis Wilson, and Al Jardine.
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The Beach Boys have since upped their career count to four Hot 100 No. 1s, among 15 top 10s. Following a two-week command for “I Get Around,” they ruled again with “Help Me Rhonda” (for two weeks in 1965), “Good Vibrations” (two weeks, 1966) and “Kokomo” (one week, 1988). When “Kokomo” sailed to No. 1, the act ended the longest break between leaders to that point. (Paul Grein headlined the magazine’s Chart Beat column that week: Resurgent Beach Boys Still Get Around.)
This past holiday season, the Beach Boys’ classic “Little Saint Nick” jingled to a new No. 25 Hot 100 high, their highest rank since the run of “Kokomo.”
The Beach Boys were inducted into the Rock and Roll Hall of Fame in 1988. In 2001, they were honored with a lifetime achievement award from the Recording Academy, while five of the group’s recordings have been voted into the Grammy Hall of Fame, including “I Get Around” in 2017.
On April 2, the Beach Boys released a self-titled autobiography, and a Disney+ documentary premiered May 24.
Wrote Wilson (who in May was judged to be in need of conservatorship due to his health) in the official Amazon description of the 408-page book, “There’s love in the music and people can relate to the love, regardless of whether you’re two years old or 92 years old. For me, music is about love. Love is the message I want to share. That makes the hard work worth it.”
Karol G achieves her 27th top 10 on Billboard’s Hot Latin Songs chart as “Si Antes Te Hubiera Conocido” debuts at No. 2 on the July 6-dated list. The song, released June 21 via Bichota/Interscope/ICLG, launches in the upper region three months after “Contigo,” with Tiesto, finished its four-week run in the top 10.
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“Si Antes Te Hubiera Conocido” starts at No. 2 with activity across all metrics integrated into Hot Latin Songs (airplay, streams and sales). In the July 21-27 tracking week, the song recorded 11.9 million official U.S. streams, according to Luminate. Thanks to that sum, the song opens at No. 33 on the overall Streaming Songs chart and an No. 2 on Latin Streaming Songs.
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For the remaining metrics that contribute to Hot Latin Songs, song sales and radio airplay, “Si Antes Te Hubiera Conocido” sold 2,000 downloads in the same period for a second week atop Latin Digital Song Sales. Plus, it starts at No. 29 on the overall Latin Airplay chart with 4.1 million audience impressions.
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With “Si Antes Te Hubiera Conocido’s” No. 2 entrance, Karol G claims her 27th top 10, and 10th unaccompanied by another artist. Her first top 10 unaccompanied by another act was the No. 5-peaking “Ay, Diso Mío” in 2020. Of her 27 top 10s, eight reached No. 1. Her most recent leader was “Qlona,” with Peso Pluma, for five weeks in 2023.
Notably, Karol and Gloria Estefan remain the only two women to debut in the top two on Hot Latin Songs with titles unaccompanied by another artist. Karol has debuted in the top two with three solo, unaccompanied songs (“Si Antes Te Hubiera Conocido,” “Mi Ex Tenía Razón” and “Provenza”) and Estefan did it with “Hotel Nacional” in 2012.
Beyond Karol’s No. 2 debut on Hot Latin Songs, the merengue-based track places Karol back on the top 10 on Tropical Airplay after almost eight years, where “Conocido” rallies 18-3 in its third week. Her first and last visit to the top 10 arrived through “Casi Nada” in 2016.
Further, “Si Antes” grants Karol her 31st career entry on the all-genre Billboard Hot 100, with a No. 34 start.
INI’s “LOUD” reaches the top of the Billboard Japan Hot 100 on the chart released July 3.
“LOUD” is the lead track from the 11-member boyband’s sixth single, THE FRAME. Powered by sales and downloads, it becomes the group’s third single to reach the top of the Japan Hot 100. The group marked their highest first-week CD sales and downloads with 812,184 CDs and 28,867 downloads (up approximately 2,800% from last week), while coming in at No.2 for radio airplay, No.9 for streaming (up 200%), and No. 14 for video views.
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Sakurazaka46‘s “Jigoujitoku” comes in at No. 2. Like INI, the group also recorded their highest weekly CD sales with 762,455 copies, hitting No. 2 for sales, while coming in at No. 3 for downloads, No. 5 for streaming, No. 57 for radio airplay, and No. 34 for video views.
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Creepy Nuts’ “Bling-Bang-Bang-Born” slips to No. 3. Despite the drop in the rankings, the track’s total points have gone up, with streaming, radio airplay and video views all increasing slightly.The track is in the top 5 for all metrics of the chart this week, with the exception of radio airplay.
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Debuting at No. 4 is NCT WISH’s “Songbird”, the title track of their second single. 103,340 copies sold puts it at No. 3 for CD sales, surpassing the sales of their debut single “WISH.” Meanwhile, the song peaks at No. 4 for radio airplay, starting with the same overall rank as their previous single.
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Da-iCE’s “I wonder” climbs 11-8, marking the song’s first top 10 since debuting at No. 68 on the Japan Hot 100 dated May 1. Notably, the song not only increased its rankings, but also its points in all indicators except radio airplay, partly due to the buzz around their appearance on “THE FIRST TAKE.”
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Additionally, songs by NewJeans, who held their first solo concert in Japan at the Tokyo Dome on June 26 and 27, are rising across the board. Mainly due to an increase in streaming, “Supernatural” rises 8-7 and “How Sweet” climbs 29-24, while “OMG” and “ETA”, both released last year, have returned to the chart again.
See the full Billboard Japan Hot 100 chart, tallying the week from June 24 to 30, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Welcome to Billboard Pro’s Trending Up column, 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. This week: Eddie Vedder, Trent Reznor and more Gen X stalwarts get a valuable boost from a hit dramedy’s new season, Dominic Fike scores a blink-and-you’ll-miss-it viral hit, GloRilla gets one of the most valuable cosigns imaginable and much more.
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‘The Bear’ Roars Back With Bumps for Eddie Vedder, Nine Inch Nails, Radiohead & More
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For those who have spent the last year fretting over whether or not Carmy ever got out of that damn freezer, good news: The Bear has finally returned for its third season. The much-anticipated new 10-episode drop from one of TV’s most acclaimed dramedies arrived last Wednesday night (June 26) – and according to its home streaming service Hulu, it’s scored the show’s best opening viewership yet, with 5.4 million views over its first four days of release. And as in the first two seasons, the show comes replete with a variety of memorable needle drops, which have led to big streaming gains this week – particularly for a number of esteemed ‘90s alt-rock veterans.
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Pearl Jam frontman Eddie Vedder is leading the way with the biggest Bear tune, albeit for a brand-new song. “Save It for Later,” his solo cover of the English Beat’s 1982 new wave staple, debuted along with the new season on Wednesday, and saw its official on-demand US streams nearly double from Thursday to Friday (39,000 to 73,000, according to Luminate) – as more people caught up with the season, in which it appears multiple times (though most prominently at the outset of episode two, “Next”). It totaled a combined 234,000 streams from Thursday to Sunday, while the Beat original (also featured in the Bear season) saw a notable bump as well, up 37% in streams over Friday to Sunday (116,000 total) from the same period the week before. (The English Beat version is also No. 1 on Billboard’s LyricFind U.S. chart after the release of Vedder’s cover – up 3,668% in lyric searches since the premiere.)
Nine Inch Nails also had several songs featured throughout the season, and the most notable – the instrumental “Together,” featured prominently in the season premiere “Tomorrow” – was up a staggering 1,477% in streams over that Friday to Sunday period, rising to 35,000 from just over 2,000 in the previous week’s equivalent period. Similar gains were seen over the same timeframe for featured songs by Radiohead (“(Nice Dream),” up 42% to 58,000) and Refused (recurring Bear staple “New Noise,” up 31% to 46,000). And it wasn’t just the ‘90s greats: Big Thief frontwoman Adrianne Lenker represented for the younger generation with a bump for her “No Machine,” which rose 73% to to 33,000. – ANDREW UNTERBERGER
Dominic Fike’s ‘Misses’ Hits on TikTok & Streaming
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“14 minutes of music that almost didn’t see the light of day”: that’s how Dominic Fike described 14 Minutes, a new EP that quickly followed last year’s Sunburn album, upon its May release. With a track list of eight self-produced songs that clock in between one and three minutes in length, 14 Minutes was unveiled as an odds-and-ends project for fans — but then one of its shortest tracks, the 74-second “Misses,” started to go viral, and is now logging seven-figure weekly streams.
While the jaunty soul-rock track has been used in TikTok posts by Kylie Jenner and The Kid LAROI in recent weeks, Fike has incorporated the song into his sets at festivals like Bonnaroo and Governors Ball. As a result, “Misses” spent all of June steadily growing on streaming services — earning 4.41 million official on-demand U.S. streams during the chart week ending June 27, according to Luminate, after earning 2.35 million streams during the week ending June 6, a nearly 88% spike in three weeks’ time. Fike earned his first Billboard Hot 100 entry as a lead artist last year with “Mona Lisa,” which peaked at No. 89; if “Misses” keeps growing, the track could become an unlikely follow-up hit. – JASON LIPSHUTZ
Thank God It’s Rihanna: New GloRilla Single Blows Up After Pop Legend’s Viral Video
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It’s already been a hell of a 2024 for Memphis rapper GloRilla, who’s scored a pair of top 40 Hot 100 hits with “Yeah Glo!” and the Megan Thee Stallion teamup “Wanna Be.” Glo’s new single “TGIF” hasn’t quite joined them in that region yet – the weekend-celebrating anthem debuted at No. 46 on the Hot 100 last week. But it’s probably going to get there very shortly, after getting an instantly unforgettable co-sign from someone as familiar with the top of the chart as any artist this century: Rihanna.
On June 28, Rih shared a video of herself rapping along and dropping it low to the song, all in the face of her significant other A$AP Rocky – who observed her performance with his hands on his hips like a disapproving schoolteacher, before commenting “I’m too old for this” at video’s end (as Rihanna cackled in response). The couple’s delightful clip, captioned “happy friday,” caused the song to immediately explode: “TGIF” racked up nearly 4.5 million official on-demand U.S. streams combined over the following Saturday and Sunday after notching just 2.4 million the previous weekend (according to Luminate), a 74% gain. Good to know that while we’re waiting for her impossibly long-anticipated R9 album, Rihanna is still bringing new smash hits to the people, one way or the other. – AU
Could the Celine Dion Documentary Help a Former ‘AGT’ Contestant Become a Star?
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Last month, I Am: Celine Dion, a documentary capturing the life and career of the titular pop superstar (as well as her ongoing battle with stiff-person syndrome) enjoyed a limited theatrical run, before debuting on Amazon Prime Video. Its June 25 streaming bow allowed millions of viewers to marvel at Dion’s personal and professional achievements — as well as get introduced to “Who I Am,” an uplifting piano ballad from singer-songwriter Wyn Starks, which is showcased as an inspiring anthem in the doc.
Starks, a Minneapolis native, originally released “Who I Am” in 2020 and performed the song while competing on America’s Got Talent in 2022, the song’s emotion moving judge Sofia Vergara to tears. Now signed to Curb Records, Starks has landed another high-profile platform for “Who I Am,” and it’s paying off: the song earned 101,000 official on-demand U.S. streams from June 28-30, according to Luminate, after earning just a fraction of that (14,000 streams) during the same three-day period the previous week. Starks released a new single, “Run,” earlier this year, but the success of the documentary may have the singer-songwriter and his team pivoting back to another round of promo for “Who I Am.” – JL
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 Hot 100 dated July 13), one of the biggest breakout artists of the year hopes to take a post-4th of July victory lap with his first crossover hit.
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Shaboozey, “A Bar Song (Tipsy)” (American Dogwood/EMPIRE/Magnolia Music): For the last two and a half months, as established superstars like Taylor Swift and Kendrick Lamar and rising phenoms like Sabrina Carpenter and Tommy Richman have all made their big bows on the Hot 100, one artist has consistently been lurking just offscreen, slowly gathering steam: Shaboozey. The country singer-songwriter, who made his Hot 100 debut earlier this year via a pair of feature appearances on Beyoncé’s acclaimed Cowboy Carter album, bowed on the chart with “A Bar Song (Tipsy)” in April, and shot to No. 3 in May, before receding a bit as the crowded chart fielded new runaway smashes seemingly every week.
But now, the breakout hit is closer than it’s ever been: “Bar Song” reaches a new peak of No. 2 on the chart this week, with the song continuing to stream and sell very well – particularly the latter, as it reigns for a seventh week on Digital Song Sales. And it still has room to grow on radio, where it’s been climbing the Radio Songs tally (8-7 this week) and is still gaining momentum across formats – including on country radio, climbing 17-12 on Country Airplay. (If it goes top 10 on that chart next week, it will become the first song to ever reach that tier on each of Billboard’s Country Airplay, Pop Airplay, Adult Pop Airplay and Rhythmic Airplay charts.)
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Helping with the song’s momentum: a big showcase at Sunday’s (June 30) BET Awards, with Shaboozey becoming the very rare country act to get a full-song performance on Culture’s Biggest Night – and seizing the opportunity with a party-starting rendition of the song, including late guest appearance from St. Louis rapper J-Kwon, whose 2004 classic “Tipsy” it heavily interpolates. With the race already looking to be a close one, any amount of streaming or sales bump from that performance might be enough to put “A Bar Song” over the top on next week’s Hot 100.
Post Malone feat. Morgan Wallen, “I Had Some Help” (Mercury/Big Loud/Republic): Post Malone may finally be on the way to moving on from the wildly successful first taste of his long-promised country pivot, with the release two Fridays ago (June 21) of his second single from his upcoming F-1 Trillion set, the Blake Shelton collab “Pour Me a Drink.” That song is also off to a strong start on the Hot 100, debuting at No. 12, tying Shelton’s best-ever peak on the listing (with 2013’s “Boys ‘Round Here,” featuring Pistol Annies & Friends).
However, predecessor “I Had Some Help” is far from done, as it returns to the Hot 100’s apex this week for a sixth total frame on top – while also topping Radio Songs for the first time. Its streams are finally starting to slip a little, however, as the song descends 2-4 on Streaming Songs this week. So it will likely either need to continue building on radio — it hits the top five this week on both Pop Airplay and Adult Pop Airplay — or get a bit of a 4th of July barbecue bump to hold off Shaboozey and secure a seventh week atop the chart next week.
IN THE MIX
Sabrina Carpenter, “Espresso” & “Please Please Please” (Island): She may be done at No. 1 for the time being, after “Please Please Please” netted her first Hot 100-topper a week ago, but both that song and “Espresso” remain stable smashes for Sabrina Carpenter, ranking at Nos. 4 and 5 respectively on the Hot 100 this week, with major streaming profiles. “Espresso” has also long established its bonafides on radio, moving into the Radio Songs top five this week, but it may have to make room for “Please” soon as well, as that song is the Hot 100’s top Airplay Gainer this week, debuting at No. 24 on Pop Airplay (with help from radio edits replacing the end of its signature “don’t embarrass me, motherf—ker” lyric with “mother trucker” and/or “little sucker”).
Chappell Roan, “Good Luck, Babe!” (KRA/Amusement/Island): Chappell Roan has been diversifying her Hot 100 takeover over the past month: She now has five different songs currently climbing the chart, with “Casual” (No. 82) joining “Pink Pony Club” (No. 66), “Red Wine Supernova” (No. 46), “Hot To Go!” (No. 38) and “Good Luck Babe” (No. 11) at the party this week. She still hasn’t reached the chart’s top 10 – but that may change next week, as “Babe” continues to grow both on the DSPs (hitting the Streaming Songs top 10 this week) and the airwaves (moving 19-17 on Pop Airplay).
GloRilla, “TGIF” (CMG/Interscope/ICLG): Rihanna isn’t recording and releasing songs at the frequency she used to, but that doesn’t mean she’s lost her touch as a hitmaker – now it’s just other artists’ songs she’s blowing up. GloRilla’s latest single “TGIF” exploded on social media and streaming over the past weekend after RiRi posted a video of her rapping along with the song to a stern-looking A$AP Rocky – and now it looks well on its way to being her third major hit of the year, following “Yeah Glo!” and the Megan Thee Stallion collab “Wanna Be.” It’s not likely to hit the top 10 next week, but if its momentum continues it could be in the hunt soon enough – especially if Rihanna were ever to grace a remix of the song.
The TikTok Billboard Top 50 chart’s top four remains intact from the June 29-dated tally, while a newcomer in Ella Langley joins them in the top five of the July 6 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 June 24-30. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50.
Tommy Richman’s “Million Dollar Baby” leads the list again, stringing together its eighth week at No. 1, the longest reign of any song since the chart began in September 2023.
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The song is followed by Tinashe’s “Nasty,” Sabrina Carpenter’s “Please Please Please” and Billie Eilish’s “Birds of a Feather” at Nos. 2-4, respectively, their same order on the June 29 list.
But not all is the same in the top five. Ella Langley’s “You Look Like You Love Me,” featuring Riley Green, follows its No. 9 debut with a four-spot jump to No. 5.
Its leap is concurrent with the song’s premiere on the multimetric Billboard Hot 100; “You Look Like You Love Me” bows at No. 53, Langley’s first time on the Hot 100 and Green’s highest ranking appearance since Thomas Rhett’s “Half of Me,” on which he was also featured, peaked at No. 52 in 2022.
“You Look Like You Love Me” earned 8.6 million official U.S. streams and sold 3,000 downloads in the June 21-27 tracking week, according to Luminate.
The tune was released June 21 but had been teased on TikTok prior, going as far back as the beginning of May, building pre-release hype. The ensuing trend surrounding the song has involved all forms of love, from pets to significant others to offspring. In particular, many uploads show photo collages of couples on their wedding day.
“You Look Like You Love Me” leapfrogs Jordan Adetunji’s “Kehlani,” which also entered the TikTok Billboard Top 50’s top 10 on the June 29 survey; it lifts 7-6 on the latest list. “Kehlani” is mostly driven by a dance trend on TikTok, though uploads from its namesake artist have also helped the song soar on TikTok and beyond.
“Kehlani” concurrently debuts at No. 70 on the Hot 100; like Langley, it’s Adetunji’s first appearance on the chart. In the week ending June 27, it earned 8.1 million streams and 511,000 radio audience impressions.
A pair of songs populate the TikTok Billboard Top 50’s top 10 for the first time, led by BossMan DLow’s “Shake Dat Ass (Twerk Song),” which follows its No. 25 debut on the June 29 ranking by leaping to No. 9. It’s followed by a debut from BlackMayo, whose “Jus’ Know” starts at No. 10.
“Shake Dat Ass,” featured on the rapper’s 2023 album Too Slippery, has achieved recent TikTok virality via a dance trend. “Jus’ Know,” meanwhile, has been out since 2018 but is also the recipient of a dance-fueled trend, featuring a high-profile upload in the form of newly drafted NBA player Jared McCain, whose video in his Philadelphia 76ers jersey has accumulated over 2 million favorites.
“Jus’ Know” sports a 63% boost in streams to 200,000 in the week ending June 27, while “Shake Dat Ass” achieves a 203% jump to 1.5 million listens.
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.
The all-star tribute album Petty Country: A Country Music Celebration of Tom Petty makes a chart-topping debut, as the set enters at No. 1 on Billboard’s Compilation Albums chart (dated July 6). It also scores top 10 bows on Top Album Sales and Top Current Album Sales, and top 20-ranking entries on Top Country Albums, […]
$uicideboy$ achieve their first No. 1 on Billboard’s Top R&B/Hip-Hop Albums chart as the duo’s New World Depression rises from No. 2 to rule the list dated July 6. The set, released on G59 Records, launched in the runner-up spot last week with 66,000 equivalent album units, second to Don Toliver’s Hardstone Psycho, which premiered with 76,500 units. In the second-week race, Depression takes the title with 36,000 units (down 46%) while Psycho fell to 34,500 (down 55%).
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Of New World Depression’s 36,000 units for its coronation week, 28,000 of the sum came from streaming activity, representing 38.6 million official on-demand U.S. streams of the album’s songs. Traditional album sales contributed 8,000 units, while a negligible amount of activity stemmed from track-equivalent sales activity. (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 its second-week advance to No. 1, New World Depression is the first album to climb into the top spot (as opposed to debuting there) since Metro Boomin’s Metro Boomin Presents: Spider-Man: Across the Spider-Verse soundtrack also lifted 2-1 in its second chart week, in June 2023.
Elsewhere, New World Depression ascends to No. 1 on the Top Rap Albums chart, where it becomes the duo’s second champ, and slides 5-13 on the all-genre Billboard 200.
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Thanks to New World Depression, $uicideboy$, comprised of cousins Scrim (Scott Arceneaux Jr.) and Ruby da Cherry (Aristos Petrou), capture their first Top R&B/Hip-Hop Albums leader with their eighth appearance. The pair first visited the chart with their Radical $uicide EP, which reached No. 17 in 2016. Before Depression, their best showing came through Sing Me a Lullaby, My Sweet Temptation, which debuted and peaked at No. 2 in 2022.
Nine cuts from New World Depression have landed on the Hot R&B/Hip-Hop Songs chart, led by “The Thin Grey Line, which reached a No. 20 high last week. Here’s a look at the album tracks’ peak performance on Hot R&B/Hip-Hop Songs:
No. 20, “The Thin Grey Line”No. 25, “Burgundy”No. 26, “Us vs. Them”No. 27, “Thorns”No. 31, “Lone Wolf Hysteria”No. 32, “Misery in Waking Hours”No. 33, “Are You Going to See the Rose in the Vase, or the Dust on the Table”No. 36, “Mental Clarity Is a Luxury I Can’t Afford”No. 46, “The Light at the End of the Tunnel is $9.99 a Month”
Adding to the album era’s breakthroughs $uicideboys$ earned their first career Billboard Hot 100 hit when “Us vs. Them” reached the chart in May at No. 96. Since then, they’ve collected three more: “The Thin Grey Line” (No. 71), “Burgundy” (No. 86) and “Thorns” (No. 91).
Thalia and Grupo Firme each score a career milestone on Billboard’s Latin Airplay chart as their collaboration “Te Va a Doler” reaches No. 1 on the list dated July 6.
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With the new champ, Thalia returns to No. 1 after more than a decade, while Grupo Firme visits the summit for the first time. The track is from Thalia’s A Mucha Honra album, which includes another version of the song, without Grupo Firme, remixed by Deorro.
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“I’m really thrilled with all the love and support my fans and radio are giving ‘Te Va a Doler’ with Grupo Firme and the remix with Deorro,” Thalia tells Billboard. “Working alongside them was a real treat! This album is really special to me and knowing that the music is connecting with audiences means the world to me!”
“Te Va a Doler” stems from Thalia’s A Mucha Honra project, her 21st studio album released April 26 via Sony Music Entertainment.
“Te Va a Doler” rolls into the top spot with no pain on the overall Latin Airplay chart with a 10% gain in audience impressions, to 7.2 million, earned in the U.S. during the June 21-27 tracking week, according to Luminate. Last week’s No. 1, Kali Uchis and Peso Pluma’s “Igual Que Un Ángel,” falls to No. 4, after the latter’s one week reign, with an 18% dip in audience, to 6.5 million.
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“Te Va a Doler” gives both acts a reason to celebrate. Thalia scores her first No. 1 in 11 years, and Grupo Firme achieves its first leader.
Thalia returns to No. 1 for the first time since “Te Perdiste Mi Amor,” featuring Prince Royce, took over Latin Airplay for one week on May 4, 2013. In between, she placed three other songs below the top 15. The Mexican adds a sixth No. 1 to her account. Plus, she expands her span of champs to 24 years, dating back to first week at the apex on June 17, 2000, when “Entre El Mar y Una Estrella” seized the crown. As Thalia’s collection of champs grows, here is a look at the singer’s Latin Airplay chart-toppers:
Peak Date, Title, Artist, Weeks at No. 1June 17, 2000, “Entre El Mar Y Una Estrella,” oneJuly 20, 2002, “Tu Y Yo,” oneOct. 26, 2002, “No Me Enseñaste,” twoFeb. 28, 2004, “Cerca De Ti,” oneMay 4, 2013, “Te Perdiste Mi Amor,” featuring Prince Royce, oneJuly 6, 2024, “Te Va A Doler,” with Grupo Firme
Further, when “Doler” debuted at No. 39 in May, Thalia made her first chart appearance since “No Me Acuerdo,” with Natti Natasha, in Sept. 2018.
Grupo Firme, meanwhile, captures its first No. 1 after missing the throne with the No. 2-peaking “El Amor De Su Vida,” with Grupo Frontera, in Oct. 2023. The Tijuana-based band becomes just the third regional Mexican ensemble to rule Latin Airplay in 2024, following Fuerza Regida with its Marshmello collab, “Harley Quinn,” and Grupo Frontera through “(Entre Parentesis),” with Shakira, both for one week in charge, on the Feb. 3- and May 18-dated charts, respectively.
“Doler” additionally reaches No. 1 on Latin Pop Airplay. Thalia secures her first ruler since the three-week champ “Entre El Mar y Una Estrella” in June 2000, and Grupo Firme claims a first No. 1 on the Latin pop radio ranking with its first entry.
Just three months after Peso Pluma’s Génesis clocked its 28th week (and so far final week) at No. 1 on Billboard’s Top Latin Albums, the Mexican singer is back atop the 50-album ranking with Éxodo, his fourth studio set which rises 41-1 on the July 6-dated list. The set also launches at No. 5 on the overall Billboard 200 list.
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Éxodo debuted at No. 41 on Top Latin Albums (June 22-dated ranking) with only one day of activity, as the album was released June 20 via Double P, the last day of the tracking week. According to Luminate, the 24-song set (21 of which are collaborations), generated 64,000 equivalent album units in the U.S. during the 21-27 tracking week.
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Streaming units comprise essentially all Éxodo’s second week of activity, with a little over 63,000 units deriving from that consumption method. That sum equates to 87.5 million on-demand official streams of the album’s 24 songs. Traditional album sales and track sales, meanwhile, supply the remaining 1,000. One unit equals 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.
Éxodo becomes just the second album by a regional Mexican act to land at the summit on Top Latin Albums in 2024, following Fuerza Régida’s Pa Las Baby’s y Belikeada, which led for three weeks between April and May.
Beyond its coronation on Top Latin Albums, Éxodo likewise rallies 19-1 on Regional Mexican Albums, where Peso replaces himself at No. 1. The new set sends Génesis to No. 2 with a 4% dip in overall units, to 17,000.
The last act to swap No. 1 positions on the chart was Eslabon Armado, whose album Tu Veneno Mortal, Vol. 2 ceded the throne after three weeks to Armado’s Corta Venas, rebounding to the summit on the chart dated July 31, 2021, for its 18th week atop then. (The latter ruled for a total of 54 weeks, the third-most since the list’s inception in 1985.)
Éxodo was preceded by four songs on the multi-metric Hot Latin Songs chart, starting with “La Durango,” with Junior H and Eslabón Armado, which rallies 20-9 with the Greatest Gainer honors, awarded weekly to the song with the largest increase in audience.
“La People II” with Tito Double P and Joel De La P, travels 23-18. “Rompe La Dompe,” with Junior H and Oscar Maydon, re-enters at No. 27 after its No. 12 debut and peak (Jan. 13-dated list). “Peso Completo,” with Arcángel reached its No. 42 debut high, while “Teka,” with DJ Snake, climbs 36-45.
“Reloj,” with Iván Cornejo, leads 17 debuts on Hot Latin Songs, which combines airplay, digital sales and streaming data, where it opens at No. 3. It was the most streamed song during the debut week, with 7.7. million official U.S. streams in the tracking period.
With the 17 new recruits, plus two songs already on the list and a re-entry, Peso Pulma places 20 total simultaneous titles on the current chart, the most in 2024.
Here’s the full recap of Peso Pluma’s Éxodo on the Hot Latin Songs chart:
No. 3, “Reloj,” with Iván CornejoNo. 5, “Vino Tinto,” with Natanael Cano & Gabito BallesterosNo. 6, “La Patrulla,” with Neton VegaNo.9, “La Durango,” with Junior H & Eslabon ArmadoNo. 11, “Hollywood,” with Estevan PlazolaNo. 16, “Mami,” with Chino PacasNo. 17, “Put Em In The Fridge,” with Cardi BNo. 18, “La People II,” with Tito Double P & Joel de La PNo. 19, “Santal 33,” with Oscar MaydonNo. 20, “Me Activo,” with Jasiel NuñezNo. 21, “Bruce Wayne,” with Tito Double PNo. 22, “Sr. Smith,” with Luis R ConriquezNo. 24, “Belanova,” with Tito Double PNo. 27, “Rompe La Dompe,” with Junior H & Oscar MaydonNo. 28, “Ice”No. 29, “Solicitado”No. 31, “14 – 14”No. 37, “Pa No Pensar,” with QuavoNo. 40, “Tommy & Pamela,” with Kenia OsNo. 50, “Mala,” with Ryan Castro
Peso Pluma also reaches global success with three new songs on the Billboard Global 200: “Vino Tinto,” with Natanael Cano and Gabito Ballesteros, at No. 94, with 18.8 million global streams. “Reloj,” with Iván Cornejo, at No. 130 with 15 million universal clicks, and “La Patrulla,” with Neton Vega, at No. 164, with 13.9 million streams worldwide. “Vino Tinto” likewise launches at No. 109 on the Global Excl. U.S. ranking with 12.8 million streams outside the U.S.
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