Chart Beat
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Ariana Grande’s “We Can’t Be Friends (Wait for Your Love)” lifts to No. 1 on Billboard’s Pop Airplay chart (dated May 25). With the track, from Grande’s Republic Records album Eternal Sunshine, she notches her 10th Pop Airplay leader, becoming the sixth act to amass a double-digit total. Taylor Swift boasts a record 13 No. […]
Tyler Hubbard earns his second No. 1 as a soloist on Billboard’s Country Airplay chart as “Back Then Right Now” ascends to the summit on the May 25-dated list. The single increased 6% to 29.5 million audience impressions May 10-16, according to Luminate.
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Hubbard co-authored the song with Jessie Jo Dillon, David Garcia and Geoff Warburton, and co-produced it with Jordan Schmidt. It’s the lead single from Hubbard’s sophomore LP, Strong, which launched at its No. 35 high on Top Country Albums in April.
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The track follows Hubbard’s “Dancin’ in the Country,” which hit No. 2 on Country Airplay in May 2023, becoming his second of three top 10s. “5 Foot 9” led for a week in November 2022.
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Hubbard, 37, from Monroe, Ga., made 16 previous trips to No. 1 on Country Airplay as half Florida Georgia Line with Brian Kelley, who is also working solo.
Post Malone, Wallen Soar to Top 10
In its second week on Country Airplay – after it debuted from just one day of play the week before – Post Malone’s “I Had Some Help,” featuring Morgan Wallen, hits the top 10 (18-9; 15.8 million May 10-16; up from 10.4 million May 9). The song, a contender for No. 1 on the Billboard Hot 100 dated May 25, is Post Malone’s second Country Airplay entry, following his featured turn on the late Joe Diffie’s “Pickup Man” (No. 44, January). Wallen adds his 15th top 10.
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“Help” is the first song to reach the Country Airplay top 10 in two or fewer weeks since Garth Brooks’ “More Than a Memory” launched at No. 1 in September 2007. It’s also the first to do so not by Garth Brooks, dating to the chart’s 1990 start.
Songs to Reach the Country Airplay Top 10 in Two or Fewer Weeks:
Garth Brooks, “More Than a Memory,” Sept. 15, 2007, one – the only song to debut at No. 1
Post Malone feat. Morgan Wallen, “I Had Some Help,” May 25, 2024, two
Garth Brooks, “It’s Your Song,” Nov. 21, 1998, two
Garth Brooks, “Longneck Bottle,” Nov. 29, 1997, two
Garth Brooks, “She’s Every Woman,” Sept. 16, 1995, two
Garth Brooks, “The Thunder Rolls,” May 25, 1991, two
Of the five songs above prior to “I Had Some Help,” four hit No. 1 on Country Airplay; “It’s Your Song” peaked at No. 9.
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Martin’s ‘Ride’ Rolls On
Plus, Bryan Martin, who hails from Logansport, La., and worked on an oil rig before pivoting to music, hits the Country Airplay top 10 with his first entry, “We Ride” (11-10; 15.5 million, up 2%). It’s from his third LP, Poets & Old Souls, released in March 2023.
Falling in Reverse, Tech N9ne and Alex Terrible’s collaboration “Ronald” bows big on Billboard’s Hot Hard Rock Songs chart, debuting at No. 1 on the May 18-dated survey. “Ronald” starts with 2.4 million official U.S. streams and 3,000 downloads sold in the week ending May 9, according to Luminate. It reigns from only three days […]
In May 2019, Morgan Wallen’s initial No. 1 on Billboard’s Hot Country Songs chart, “Whiskey Glasses,” began a two-week command. “My first No. 1 on Hot Country Songs happened on my 26th birthday,” Wallen told Billboard upon learning of the achievement that May 13. “This is truly a day I’ll never forget.” The track, which was […]
Taylor Swift makes it a month on top in Australia with The Tortured Poets Department (Universal), while Post Malone’s “I Had Some Help” featuring Morgan Wallen roars to No. 1 on the national singles chart.
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Swift’s record-shattering Tortured Poets completes a fourth week at No. 1 on the ARIA Albums Chart, published Friday, May 17, holding off Troy Cassar-Daley’s fast-starting Between The Fires (Sony).
Cassar-Daley, a homegrown country legend, recorded the new album at his old family home in Halfway Creek, northern New South Wales, where his beloved mom died. Between The Fires is Cassar-Daley’s 14th studio album, and his most personal to date. With its debut at No. 2, Fires becomes Cassar-Daley’s equal highest-charter with 2013’s The Great Country Songbook, his collaborative recording with Adam Harvey. Until now, his highest charting solo album was The World Today, which peaked at No. 3 in 2021, one of his six top 10 LPs. Across a 30-year career, Cassar-Daley has collected five ARIAs and 40 Golden Guitar awards.
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Following the announcement of her Australian arena tour later this year, Olivia Rodrigo’s sophomore album Guts (Geffen/Universal) rebounds 10-3, and her debut Sour (Interscope/Universal) lifts 11-4. Both albums have led the ARIA Chart. The domestic leg of Rodrigo’s GUTS World Tour (produced by Live Nation) expands to eight shows, spread across Sydney and Melbourne.
Angus & Julia Stone nab a top 5 debut with Cape Forestier (Sony), new at No. 5. All five of the sibling act’s studio albums have reached the top 10, including leaders with 2010’s Down The Way and 2014’s Angus & Julia Stone.
Meanwhile, U.S. rock veterans King of Leon land at No. 20 with Can We Please Have Fun (Interscope/Universal), their ninth studio album. All told, six KoL LPs have cracked Australia’s top 10, four of them hitting No. 1: Only By The Night (in 2008), Come Around Sundown (2010), Mechnical Bull (2013) and When You See Yourself (2021). Can We Please Have Fun led the U.K.’s midweek chart.
Over on the ARIA Singles Chart, Malone’s country-tinged “I Had Some Help” (via Universal) featuring Wallen opens at the penthouse. Posty recently enjoyed a stint at No. 1 with “Fortnight,” his duet with Taylor Swift, while Morgan logged eight weeks at No. 1 last year with “Last Night,” lifted from his ARIA Chart-topping LP One Thing at a Time.
Tommy Richman’s “Million Dollar Baby” (CONC) and Shaboozey’s “A Bar Song (Tipsy)” (EMP) are unchanged at No. 2 and 3, respectively.
Finally, Kendrick Lamar’s controversial diss track “Not Like Us” (Interscope/Universal) is on fire, improving 5-9. According to ARIA, it’s Kdot’s his first top five appearance since “Die Hard” went to No. 5 in 2022.
Over two decades since 50 Cent strapped on his bullet-proof vest and dropped his iconic Get Rich or Die Tryin’ debut, the G-Unit boss is still making history. According to Billboard Boxscore, 50’s The Final Lap Tour has eclipsed $100 million in earnings, making him only the second rapper to ever surpass that mark. The […]
From “Bury a Friend” to Barbie, Billie Eilish has been setting the culture ablaze with each of her releases. The acclaimed singer-songwriter is among the leading musicians of her generation, earning two Academy Awards, nine Grammys and a slew of eye-popping streaming achievements before the age of 23. As her highly anticipated new Hit Me Hard and Soft LP arrives May 17, Billboard takes a look back at Eilish’s impressive chart success.
She made her Billboard chart debut back in 2017 with her Dont Smile at Me EP, which has since spent more than 250 weeks on the all-genre Billboard 200, peaking at No. 14 (chart dated Jan. 26, 2019). 2017 also boasted Billie’s first charting song when “Ocean Eyes” entered Alternative Digital Song Sales at No. 21.
On the Billboard Hot 100, Billie has notched a whopping 33 entries. Her first appearance came in 2018 by way of the haunting Khalid duet, “Lovely,” which peaked at No. 64 in early 2019. In the years since, Billie has collected five Hot 100 top 10 hits, including “Everything I Wanted” (No. 8), “Therefore I Am” (No. 2) and “Bad Guy,” which spent one week atop the chart in 2019.
Outside of her own music, Billie has also lent her songwriting talents to several blockbuster films, earning her some of the film industry’s highest honors. Two of her tracks — “No Time to Die” from the 2021 James Bond film of the same name and “What Was I Made For?” from 2023’s Barbie — earned the Academy Award for Best Original Song and reached the top 20 on the Hot 100. The former reached No. 16, while the latter peaked at No. 14.
Her Barbie smash also made a splash on the Alternative Songs Chart, where it spent 19 weeks at No. 1. Billie also holds two other chart-toppers on that ranking: 2020’s “My Future” (one week) and 2021’s “Happier Than Ever” (four weeks).
Billie has also landed five projects on the Billboard 200, including both of her studio albums: 2019’s When We All Fall Asleep Where Do We Go? (No. 1, three weeks) and 2021’s Happier Than Ever (No. 1, three weeks).
With Hit Me Hard And Stuff due May 17, Billie is likely to add even more accomplishments to her stunning Billboard chart history.
After the video, catch up on more Billboard Explains videos and learn about Peso Pluma and the Mexican music boom, the role record labels play, origins of hip-hop, how Beyoncé arrived at Renaissance, the evolution of girl groups, BBMAs, NFTs, SXSW, the magic of boy bands, American Music Awards, the Billboard Latin Music Awards, the Hot 100 chart, how R&B/hip-hop became the biggest genre in the U.S., how festivals book their lineups, Billie Eilish’s formula for success, the history of rap battles, nonbinary awareness in music, the Billboard Music Awards, the Free Britney movement, rise of K-pop in the U.S., why Taylor Swift is re-recording her first six albums, the boom of hit all-female collaborations, how Grammy nominees and winners are chosen, why songwriters are selling their publishing catalogs, how the Super Bowl halftime show is booked and more.
Nicki Minaj wrapped the North American leg of the Pink Friday 2 World Tour earlier this week. Not only did it deliver the biggest grosses of her career, it sets a new high mark among women in hip-hop. According to figures reported to Billboard Boxscore, the Pink Friday 2 World Tour grossed $67 million and sold 439,000 tickets, making it the highest grossing and bestselling rap tour by a woman in Boxscore history.
Minaj launched the tour on March 1 in Oakland, Calif., bringing in $2.3 million from 14,000 tickets. That was the first of 34 shows in American and Canadian arenas, before closing up on May 13 in Oklahoma City.
The Pink Friday 2 routing included four double-headers, providing $3 million-plus grosses in Atlanta, Boston, Brooklyn, Chicago and Toronto. Two nights at Brooklyn’s Barclays Center on April 4 and May 1 proved the biggest, with $4.3 million and 28,100 tickets.
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In addition to her two Brooklyn plays, Minaj also performed at Manhattan’s Madison Square Garden and the Prudential Center in New Jersey. Combined, those four NYC-area shows brought in $9.3 million and sold more than 54,000 tickets, with the MSG show claiming honors as the single highest grossing show of the tour so far.
The Pink Friday 2 World Tour was tracking to become Minaj’s biggest from opening night. Throughout the 34-date North American leg, the trek averaged just under $2 million and 13,000 per night. That’s nearly triple the pace of 2012’s Pink Friday: Reoloaded Tour ($776,000) and 2015-16’s The Pinkprint Tour ($657,000).
In November, Billboard published a list of the highest grossing rap artists of all time, with Minaj as the only woman at No. 20. With updated grosses from the Pink Friday 2 World Tour, she climbs to No. 11.
Still, Minaj’s record-setting trek arrives amid a particularly fruitful time for rap tours, and especially so among women. The Pink Friday 2 World Tour re-writes a record set by Doja Cat just five months ago, when The Scarlet Tour became the top rap tour among women acts with $37.3 million in the bank. Earlier this week, Megan Thee Stallion kicked off an arena tour of her own, launching the Hot Girl Summer Tour in Minneapolis. And in July, Missy Elliott – the first woman in hip-hop to be inducted into the Rock & Roll Hall of Fame – will set out on the Out of this World: The Missy Elliott Experience Tour. It will be her first headlining tour in a pioneering career that spans almost 30 years.
The Pink Friday 2 World Tour isn’t done bringing in business yet. Minaj will kickstart the tour’s European leg next week, with a show at Ziggo Dome in Amsterdam on May 23. In addition to a bevy of festival shows, she’ll play 15 headline dates that could add another $10 million to $20 million to the tour’s record-setting total. At $93.9 million and 911,000 in reported career grosses and attendance, it’ll all but certainly put Minaj over $100 million and 1 million tickets.
Creepy Nuts’ “Bling-Bang-Bang-Born” extends its stay atop the Billboard Japan Hot 100 to 15 weeks on the chart dated May 15.
Fifteen weeks at No. 1 on the Japan Hot 100 is second only to YOASOBI’s “Idol,” which holds the all-time record at 22 weeks. “BBBB” dominates four metrics this week — downloads, streaming, video views, and karaoke — and while points for each are down from the week before, the differences are slight: 91% for downloads week-over-week, 88% for streaming, 74% for radio, 87% for video and karaoke. A video of the duo’s performance of the long-running hit was recently featured on the Recording Academy’s “GRAMMYs Global Spin” segment and the hip-hop banger continues to reach global listeners. The track also continues to rule the Global Japan Songs chart.
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Bowing at No. 2 is &TEAM’s “Samidare.” It’s the nine-member global group’s first single, though the band debuted in December 2022 from HYBE LABELS JAPAN. The track comes in at No. 2 for sales with 440,615 CDs sold in its first week, No. 7 for downloads with 5,295 units, No. 21 for radio, No. 36 for video, and No. 90 for streaming, accumulating points in a balanced way though it didn’t top any of the metrics.
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At No. 3 is Hinatazaka46’s “Kimi wa Honey Dew.” The 11th single by the J-pop girl group sold 521,676 copies in its first week to hit No. 1 sales, while coming in at No. 34 for downloads, No. 15 for karaoke, and No. 89 for video.
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Mrs. GREEN APPLE’s “Lilac” slips 2-4 this week, with points for radio dropping significantly by 20% from the week before. But points for video and karaoke have increased, and while not a metric included in the methodology of the Japan Hot 100, points for User Generated Content have also gained, a trend indicating that the track could further expand its reach. Additionally, five songs by the three-man band have climbed the Japan Hot 100 this week: “Dancehall” moves 26-22, “Ao to Natsu” 31-24, “Soranji” 33-29, “Romanticism” 91-83, and “Blue Ambience (feat. asmi)” hits No. 98.
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The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from May 6 to 12, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Mexican hitmakers Luis R Conriquez and Neton Vega each score their first career Billboard Hot 100 chart hit as their collaboration “Si No Quieres No” debuts at No. 86.
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Released March 9 on Kartel Music, the song arrives on the May 18-dated chart with 7.9 million official U.S. streams (up 22%) in the May 3-9 tracking week, according to Luminate. The song also jumps from No. 10 to No. 3 on the Hot Latin Songs chart, having become both singers’ first top 10.
“Si No Quieres No” is also bounds 100-70 on the Billboard Global 200 and 111-73 on the Billboard Global Excl. U.S. ranking.
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Conriquez, from Sonora, Mexico, first appeared on Billboard’s charts in April 2021, when his single “El Buho” debuted on Hot Latin Songs, eventually peaking at No. 19. He has charted 18 total songs on the ranking, including collaborations with fellow Mexican acts Peso Pluma, Fuerza Regida, Grupo Marca Registrada and Tito Double P. He has also logged 10 songs on the Regional Mexican Airplay list, including two No. 1s: “JGL” with La Adictiva, and “Si Ya Hiciste El Mal” with Jesse Uribe, both in 2022.
In May 2022, Billboard named Conriquez a Latin Artist on the Rise. His debut full-length, Corridos Bélicos, Vol. IV, reached No. 5 on the Top Latin Albums chart and No. 36 on the Billboard 200 this January.
As for Vega, “Si No Quieres No” is his first overall chart hit.
The debut of “Si No Quieres No” continues an unprecedented hot streak for regional Mexican music on the Hot 100. The song is the 53rd regional Mexican track to reach the chart, and the 10th in 2024. The first song in the genre to chart on the Hot 100 was Gera MX and Christian Nodal’s “Botella Tras Botella” in May 2021. Three other regional Mexican hits debuted that year, followed by two in 2022 and a whopping 37 in 2023 – 18 of which were by Peso Pluma. Two regional Mexican songs have hit the Hot 100’s top 10, both in 2023: Eslabon Armado and Peso Pluma’s “Ella Baila Sola” (No. 4 peak) and Grupo Frontera and Bad Bunny’s “Un x100to” (No. 5).