Chart Beat
Page: 109
Koe Wetzel may be one of 2024’s bigger breakout artists, but he’s certainly no rookie. The 31-year-old country-rock singer-songwriter has been releasing albums for nearly a decade, with a big sound that’s rooted in country but also mixes in plenty of alternative rock and Americana. His gritty (and sometimes uncomfortably personal) lyrics have helped him grow a sizable core audience. In 2022, he first made his presence felt on the Billboard charts with the anthemic “Creeps,” which reached the top 30 on Hot Country Songs and the top 15 on Hot Rock & Alternative Songs.
Now, Wetzel has reached the Billboard Hot 100 for the first time with a song that integrates a new genre to his usual mix. “We kinda wanted it to have a little R&B feel,” he says of the soulful “Sweet Dreams,” which entered the Hot 100 at No. 47 on the chart dated June 1. “We had talked about just computer drums on it, off a beatpad. I said, ‘I think it would be really cool if we just set up a smaller kit, and tightened up the snare drum a little bit, and give it that pad sound.’ I think it really set the mood for that song a little bit more, to give it that R&B feel.”
Trending on Billboard
“Sweet Dreams” is Wetzel’s long-awaited first taste of Hot 100 success, but it likely won’t be his only for very long — “High Road,” a new duet with country and pop hitmaker Jessie Murph released a few weeks after, is expected to follow it onto next week’s Hot 100 (dated June 22). Both are set to be included on the ascendant country-rocker’s upcoming album 9 Lives, due for a July 19 release on Columbia, which will be followed by the Damn Near Normal World Tour, taking Wetzel all over the U.S. and then through Europe this late summer and autumn.
Below, Wetzel talks with Billboard about his breakout chart hit, the factors that led to his recent crossover success and the unexpected cover song he has planned for this album cycle.
How did “Sweet Dreams” first come together?
We were in the studio writing — actually, a different song — and it was going nowhere. So we stepped back, like, “Do we want to go a different direction?” I wrote in my notes, probably two weeks prior, “It’s hard to have sweet dreams when I’m such a nightmare.” And we had a guitar lick that we had put together a couple days before on the road while touring. We went in and the song pretty much wrote itself. It came out quick and easy.
When you say “We,” who were the other primary players on the song?
It was Gabe [Simon, co-writer/producer], and then it was [co-writer] Amy Allen — she had a huge influence on it. She does a lot more pop music, and it’s something that I’m not really used to, working with somebody that’s in the pop world. My guitar player Josh Serrato, coming up with the melody for it, and the lick on it. Man, it turned out really good.
[embedded content]
“Sweet Dreams” has many lyrical similarities to your last single before this one, “Damn Near Normal,” including themes of sleeplessness and self-medication. Were those songs either inspired by the same moment or come together at the same time?
Yeah, the mood was in the same realm — we wrote those songs probably 24 hours apart from each other. So we were still in that mood, kind of the same air of the song.
Is there anything you feel comfortable sharing about the personal meaning behind those songs?
Yeah, absolutely. A lot of my songs come from personal experiences, past relationships or [whatever]. This song wasn’t about a certain personal relationship, or a past relationship. It was just kind of multiple relationships — and then bouncing it off people who had had similar problems with relationships and then making it all come together.
When you heard the final product of the song for the first time, did you feel like, “This is going to be a song that takes me to a new level?”
I mean, we knew it was good. We didn’t really have a plan for it. It was so much different than the rest of the record, different from anything I’d done before. So I was excited to have that kind of sidestep genre from the country-rock stuff that I’m normally used to. When we first heard it for the first time, we were like, “Man, this is cool, this is a different sound for us.” We didn’t expect the people to dig into it the way that they did, but we’re glad that they did.
You’ve been building momentum step by step with your audience, getting a bigger foothold on streaming. Do you feel like this song having the immediate results that it has is more a matter of it being a different feel sonically than your other stuff, or is it just good timing?
I think the timing is just great right now, because like you said, with “Damn Near Normal” and the other songs that we teased, people were getting behind [everything] because I feel like it’s something that they’ve expected from me for a while. The last five albums have kind of had the same similar sound. So this is me kind of getting away from that and trying a new sound. I never wanted to have the exact same sound all the time. I think that the way that these songs are going in a different direction, and people having the response that they are — especially after what I’ve put out the last five records — it’s awesome.
[embedded content]
You talked about teasing new music. Is that something that comes natural for you, that sort of TikTok promotional aspect of it? Is that fun for you, or is it just, “This is the business, this is how we gotta get this stuff done”?
Yeah, for me, it’s not really [that fun]. This is the first time we’ve actually teased the whole record. But I mean, in this world today, with social media and the way TikTok and all that stuff’s working, man, it’s so vital to do it. It helps out so much. Times are changing, and it’s really cool to see.
The week after “Sweet Dreams” debuted, the biggest debut on the Hot 100 was “Pink Skies” by Zach Bryan. You guys aren’t necessarily doing the same thing, but do you feel like his success opened up more opportunities for guys working in your lane of alt-country, country-rock, whatever you want to call it?
Yeah, absolutely. Zach Bryan is, like you said, opening up a whole new world to country music, or whatever genre you want to call it. Because [listeners] go look at “Pink Skies,” they go look at “Something in the Orange,” whatever Zach’s done. And it sets them up for other artists that are in that kinda same sound. So all he’s doing is bringing more people into our world — it’s incredible for all of us.
Do you have any more plans for “Sweet Dreams” now that it’s out? Anything to keep it in the spotlight given its success?
No, I think we’ll let it have its own time. Especially when the record comes out, it’ll make a little bit more sense. It’s one of those songs that kind of rounds out the whole sound of the record. So I think we’ll just let it have its own day in the sun — and that’s why we put it out as a single. We didn’t want it to get overlooked in the record.
Anything fans can look forward to on the album or tour that they wouldn’t be expecting, or maybe wouldn’t be obvious from what you’ve done already?
We did an XXXTENTACION cover of “Depression & Obsession.” It’s going to be on the deluxe, after the record comes out. He was one of my favorite underground rap artists, and I always like to throw something kinda left field into my records. I put my own spin to it, and I’m really excited for people to hear it.
“Sweet Dreams” is a pretty well-traveled song title from music history. Do you have a favorite “Sweet Dreams” from the past, whether it’s Eurythmics or Patsy Cline or Beyoncé?
Ah, man. Any that come to mind, no, [not] right now. I thought I was the only one that thought of “Sweet Dreams”! And then, like you said, a lot of people were like, “Well, there’s this song, and that song…” I was like, “Sh-t. Maybe I’m not as smart as I thought I was.”
A version of this story originally appeared in the June 8, 2024, issue of Billboard.
Eminem’s “Houdini” (Interscope) proves unstoppable on the U.K. chart, as it notches a second week at No. 1.
There’s a touch of magic about Marshall Mathers’ 11th and latest No. 1 on the Official U.K. Chart; it’s the first time the Rock Hall-inducted rap legend has secured more than one week at the summit.Em previously led the survey with “The Real Slim Shady” (2000), “Stan” (2000), “Without Me” (2002), “Lose Yourself” (2002), “Just Lose It” (2004), “Like Toy Soldiers” (2005), “Smack That” with Akon (2006), “The Monster” with Rihanna (2013), “River” with Ed Sheeran (2017) and “Godzilla” with the late Juice WRLD (2020).Sabrina Carpenter has had Brits drinking down “Espresso” (Island) all summer. The track holds at No. 2 on the chart, published Friday, June 14. Now, she’s getting a buzz from her new single “Please, Please, Please,” new at No. 3 for the highest new entry on the Official Chart.
Taylor Swift’s The Eras Tour is currently working its way through the U.K. Typically, TayTay’s tunes fly up the charts of those countries she visits, and the U.K. is no different. As The Tortured Poets Department (EMI) returns to No. 1 on the national albums survey, “Cruel Summer” reenters the U.K. top 40 at No. 17.After nabbing a record six Brit Awards earlier this year, RAYE bags a 15th U.K. top 40 appearance with “Genesis” (Human Re Sources). Clocking in at seven minutes, “Genesis” debuts at No. 22. It’s the followup to RAYE’s No. 1 hit from 2023, “Escapism.”Meanwhile, Swift’s Tortured Poets logs a sixth non-consecutive week atop the Official U.K. Albums Chart, setting a new mark for the U.S. pop superstar. Tortured Poets surpasses her previous best of five non-consecutive weeks with 2022’s Midnights. Tortured Poets retains top spot, thanks in part to the release of new, U.K.-exclusive digital formats including previously-unreleased bonus live recordings, in celebration of the current U.K. leg of her The Eras Tour.Five classic Swift albums climb the chart: Lover (19-7), 1989 (Taylor’s Version) (21-9), Midnights (26-13), folklore (25-14) and reputation (36-19).After leading earlier in the week, Charli XCX’s sixth LP Brat (Atlantic) bows at No. 2. According to the Official Charts Company, Brat’s first-week total eclipses that of her 2022 No. 1 Crash.Finally, Rock Hall-inducted rock legends Bon Jovi complete the podium with Forever (EMI), new at No. 3.
Explore
See latest videos, charts and news
See latest videos, charts and news
Billie Eilish’s Hit Me Hard And Soft (via Interscope/Universal) leads an all-female top three on Australia’s albums chart.
The U.S. pop phenomenon holds top spot on the ARIA Chart, published Friday, June 14, ahead of Taylor Swift’s former leader, The Tortured Poets Department (Universal), unchanged at No. 2.
The podium is completed by British artist and producer Charli XCX, whose Brat (Atlantic/Warner) bows at No. 3. Brat is her third top 10 appearance in Australia following 2019’s Charli, which peaked at No. 7, and 2022’s Crash, which led the frame for one week.
Explore
See latest videos, charts and news
See latest videos, charts and news
Further down the list, Rock and Roll Hall of fame-inducted band Bon Jovi lands its 14th top 10 album in a row with Forever (Island/Universal). It’s new at No. 4. The New Jersey natives have led the ARIA Chart with 10 titles, placing them equal sixth place on the all-time list alongside Rap God Eminem and legendary Australian singer John Farnham.
Trending on Billboard
There’s a timeless feel to this week’s ARIA Albums Chart. U.S. pop singer and former Australian Idol judge Meghan Trainor opens at No. 23 with Timeless (Epic/Sony), while Canadian producer and artist Kaytranada starts at No. 42 with his very own Timeless (RCA/Sony).
Over on the ARIA Singles Chart, Eminem’s new track “Houdini” (Interscope/Universal) holds at No. 1 for a second consecutive week.
Sabrina Carpenter continues her hot streak with her former No. 1 “Espresso” lifting 5-2, and her followup “Please Please Please” (both via Island/Universal) entering at No. 4, for the week’s top debut.
Shaboozey’s country tune” A Bar Song (Tipsy)” (via Empire) is unchanged at No. 3.
The highest-flying homegrown track belongs to Australian singer and producer Cyril with “Stumblin’ In” (Spinnin’ Records/Warners), unmoved at No. 32. The groovy cut interpolates the Suzi Quatro and Chris Norman song from the late ‘70s, which was co-written and produced by another Australian, Mike Chapman.
Taylor Swift’s The Tortured Poets Department holds atop the Billboard 200 chart (dated June 22) for an eighth consecutive and total week. The set earned 128,000 equivalent album units earned in the U.S. in the week ending June 13 (down 14%), according to Luminate.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Poets is the first album to spend its first eight weeks at No. 1 since Morgan Wallen’s One Thing at a Time led for its first 12 weeks a year ago (March 18-June 3, 2023-dated charts). Of Swift’s 14 No. 1s on the Billboard 200, Poets ties Folklore with eight weeks on top; only 1989 and Fearless, with 11 each, have more weeks at No. 1 among Swift’s leaders.
Meanwhile, Swift adds her 77th career week at No. 1 on the Billboard 200, extending her record among soloists. (Elvis Presley has the second-most among soloists, with 67.) The total encompasses her 14 leaders. (She’s tied with Jay-Z for the most No. 1s among soloists.)
Trending on Billboard
Also in the top 10 of the new Billboard 200, Charli XCX scores her highest-charting album ever as Brat bows at No. 3; Bon Jovi secures its 14th top 10 with the No. 5 arrival of Forever; and Chappell Roan reaches the top 10 for the first time, as The Rise and Fall of a Midwest Princess climbs 12-10.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new June 22, 2024-dated chart will be posted in full on Billboard‘s website on June 18. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of The Tortured Poets Department’s 128,000 equivalent album units earned, SEA units comprise 104,000 (down 14% — it’s No. 1 on Top Streaming Albums for an eighth week; its SEA units equal 135.53 million on-demand official streams of the deluxe edition’s 31 songs), album sales comprise 23,000 (down 13%) and TEA units comprise 1,000 (down 11%).
Billie Eilish’s Hit Me Hard and Soft rises 3-2 on the Billboard 200 in its fourth week, matching its debut and peak position, with 106,000 equivalent album units earned (down 9%).
Charli XCX achieves her second top 10 on the Billboard 200, and her highest-charting album yet, as Brat debuts at No. 3 with 82,000 equivalent album units earned (also her best week by units). Of that sum, album sales comprise 45,000 (her largest sales week ever), SEA units comprise 37,000 (equaling 46.72 million on-demand official streams of its deluxe edition’s 18 songs; her biggest streaming week yet) and TEA units comprise less than 1,000.
Charli XCX previously visited the top 10 with Crash, which debuted and peaked at No. 7 in 2022.
Brat was led by the single “Von Dutch,” which debuted and peaked at No. 7 on Billboard’s Hot Dance/Electronic Songs chart.
The album’s first-week sales were supported by its availability across 14 vinyl variants (mostly color variants, two were issued in deluxe editions containing collectible paper ephemera, one of which also housed a bonus 7-inch vinyl), which added up to 34,000 copies sold on vinyl — Charli XCX’s biggest week on vinyl. The set was also issued as a standard CD, a signed CD and as a deluxe boxed set containing a branded T-shirt and a CD. On June 10, the album was reissued as a deluxe digital download and streaming album with three bonus tracks.
Morgan Wallen’s chart-topping One Thing at a Time is a non-mover at No. 4 on the new Billboard 200 with 72,000 equivalent album units earned (up 2%).
Bon Jovi collects its 14th top 10-charting effort on the Billboard 200 as Forever starts at No. 5. The set earned 52,000 equivalent album units, of which album sales comprise 50,000 (it’s the top-selling album of the week and debuts at No. 1 on Top Album Sales), SEA units comprise 2,000 (equaling 2.31 million on-demand official streams of the 12 songs on the streaming edition of the set) and TEA units comprise a negligible sum.
The new album was led by the single “Legendary,” which reached the top 10 on the Adult Contemporary airplay chart (the band’s seventh top 10 and highest-charting song on the tally since 2011) and the top 15 on the Adult Pop Airplay ranking.
Forever’s first-week sales were supported by its availability across 11 vinyl variants (mostly color variants; three had collectible paper ephemera contained inside, one of which was a signed edition), four CD editions (a standard set, two with alternative cover art, and one that was signed), a cassette tape, a standard digital download album, and a deluxe digital download edition with two bonus tracks that was sold via the band’s official webstore starting June 8.
Bon Jovi made its Billboard chart debut just over 40 years ago, when the single “Runaway” debuted on the Mainstream Rock Airplay chart dated Feb. 11, 1984. Two weeks later, the band made its Billboard 200 debut with its self-titled album entering the Feb. 25, 1984-dated list at No. 178, on its way to a No. 43 peak that April.
In total, Forever marks the 22nd charting album on the Billboard 200 for Bon Jovi. The band first reached the top 10 in 1986 with Slippery When Wet, their first of six No. 1s. They have notched new top 10s in the 1980s, ‘90s, 2000s, ‘10s (adding their latest leader with This House Is Not for Sale in 2016) and now the ‘20s. Bon Jovi is the fifth group to achieve a newly-charting top 10 album on the Billboard chart in each of the last five decades, joining AC/DC, Def Leppard, Metallica and U2.
ATEEZ’s Golden Hour: Part.1 falls 2-6 in its second week on the Billboard 200 (45,000 equivalent album units earned, down 66%); Wallen’s former leader Dangerous: The Double Album slips 6-7 (44,000; up 1%); Noah Kahan’s Stick Season dips 7-8 (42,000; down 1%); and Shaboozey’s Where I’ve Been, Isn’t Where I’m Going falls 5-9 in its second week (41,000; down 17%).
Closing out the top 10 is a new arrival to the region, as Chappell Roan’s The Rise and Fall of a Midwest Princess pounces 12-10 with 40,000 equivalent album units earned (up 26%). The set posted double-digital percentage gains in album sales (8,000; up 87%), streaming equivalent album units (32,000; up 16%) and track equivalent album units (a negligible sum, though up 23%).
The album and artist has been basking in the glow of recent press coverage stemming from the singer-songwriter’s buzzy performance at the 2024 Governor’s Ball on June 9 (the third day of the chart’s tracking week), which prompted a shout-out from Ariana Grande.
Princess reaches the top 10 in its 12th week on the chart. It’s atypical for an album would climb into the top 10 for the first time, as most albums that peak in the top 10 debut in the region. The last current (non-catalog) album to climb to the top 10 for the first time after 12 or more chart weeks was Noah Kahan’s Stick Season, which bolted 100-3 on the June 24, 2023-dated list, in the set’s 29th chart week, after it was reissued in a deluxe edition and pressed on vinyl for the first time. Before that, the last non-catalog set to reach the top 10 after at least 12 chart weeks was Doja Cat’s Hot Pink, which rallied 19-9 on the May 16, 2020-dated chart — during the album’s 27th chart week. The set zoomed up the list following the release of a remix of the album’s “Say So” featuring Nicki Minaj.
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.
Kenny Chesney banks his record-padding 33rd No. 1 on Billboard’s Country Airplay chart as “Take Her Home” hikes from No. 4 to the summit on the survey dated June 22. It increased by 13% to 30.1 million audience impressions June 7-13, according to Luminate.
Explore
See latest videos, charts and news
See latest videos, charts and news
Since Country Airplay launched in January 1990, Tim McGraw ranks second with 29 No. 1s, followed by Blake Shelton with 28.
“Home” was written by Zach Abend, Hardy and Hunter Phelps. Chesney co-produced it with Buddy Cannon. It’s the lead single from Chesney’s album Born, which arrived at its No. 5 high on Top Country Albums in April, becoming his 22nd top 10.
Trending on Billboard
[embedded content]
Chesney notches his first Country Airplay No. 1 since Kelsea Ballerini’s “Half of My Hometown,” on which he’s featured, led for a week in March 2022. The Knoxville, Tenn., native first reigned with “She’s Got It All,” his ninth of 97 entries, for three frames beginning in August 1997. He also shares the record with George Strait for the most top 10s – 61 – dating to his first, “Fall in Love” (No. 6, July 1995). McGraw places third with 60; he ranks at No. 21 with his latest single, “One Bad Habit” (9.1 million, up 4%).
Chesney is currently on tour, set to make his next stop at Soldier Field in Chicago on June 15 with special guests Zac Brown Band, Megan Moroney and Uncle Kracker.
Higher ‘Help’
Post Malone’s “I Had Some Help,” featuring Morgan Wallen, ascends 3-2 on Country Airplay in just its sixth week on the survey (29.7 million, up 10%). The collaboration wraps the speediest trip to the top two since Garth Brooks’ “More Than a Memory” launched at No. 1 in September 2007, becoming the only hit in the survey’s 34-year history to debut at the summit.
“Help” also pushes 8-7 on Adult Pop Airplay and 10-8 on Pop Airplay. It has spent four weeks running at No. 1 on the multimetric Billboard Hot 100 and Hot Country Songs charts (through the lists dated June 15).
Additional reporting by Gary Trust.
ATEEZ scores its third No. 1 on Billboard’s Top Album Sales chart (dated June 15) as Golden Hour: Part.1 opens atop the tally with 127,000 copies sold in the U.S. in the week ending June 6, according to Luminate. That sum marks both the largest sales week for any K-pop album in 2024, and the year’s fifth-largest sales week among all albums.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Also in the top 10 of the latest Top Album Sales chart: The Marias log its first top 10 with the No. 4 debut of Submarine, Crowder’s The Exile enters at No. 7, Shaboozey nets his first chart entry with the No. 8 start of Where I’ve Been, Isn’t Where I’m Going and Black Sabbath’s boxed set Anno Domini: 1989 – 1995 bows at No. 10.
Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album units and streaming equivalent album units. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
Trending on Billboard
Golden Hour: Part.1’s first week sales were largely powered by CD sales, as the set was available in 25 CD variants, along with six vinyl variants, all containing branded paper merch and other collectibles. It was also issued as standard digital download album.
Taylor Swift’s chart-topping The Tortured Poets Department rises 3-2 on Top Album Sales with 27,000 copies sold (down 35%), while Billie Eilish’s Hit Me Hard and Soft climbs 4-3 with 25,000 (down 39%).
The Marias score its first top 10 and largest sales week yet as Submarine starts at No. 4 with 17,000 copies sold. Its sales were supported by eight vinyl variants (which totaled 15,000 of its overall sales), a standard CD, a CD with an alternative cover, and a boxed set containing a T-shirt and a CD.
Twenty One Pilots’ Clancy falls 1-5 in its second week on Top Album Sales with 12,000 sold (down 90%) while TOMORROW X TOGETHER’s chart-topping minisode 3: TOMORROW is a non-mover at No. 6 with 8,000 sold (down 11%).
Crowder collects his fourth top 10-charting set on Top Album Sales as The Exile bows at No. 7 with 8,000 sold. In its first week, the album was issued as a standard CD, a signed CD and a standard digital download album.
Shaboozey scores his first entry on Top Album Sales, with his third album, as Where I’ve Been, Isn’t Where I’m Going debuts at No. 8 with nearly 8,000 sold (all from digital downloads). RM’s Right Place, Wrong Person falls 2-9 with just over 7,000 sold (down 83%).
Rounding out the top 10 is Black Sabbath’s boxed set Anno Domini: 1989 – 1995, which bows at No. 10 with 7,000 sold.
Eminem’s “Houdini” launches at No. 1 on Billboard’s Streaming Songs chart dated June 15, the rapper’s first ruler since 2018. “Houdini” debuts with 48.8 million official U.S. streams earned in the week ending June 6, according to Luminate. It gives Eminem his first No. 1 on Streaming Songs, which began in 2013, since “Lucky You,” […]
Creepy Nuts’ “Bling-Bang-Bang-Born” rises again to No. 1 on the Billboard Japan Hot 100, climbing 4-1 on the chart released June 12 to extend its record to 17 weeks atop the tally.
[embedded content]
The return of the hip-hop duo’s long-running hit to the top spot follows Billboard Japan’s 2024 mid-year report, where the MASHLE Season 2 opener was crowned the top song on 13 different lists, a first for any song in the history of the Japan charts. Perhaps due to the impact of this news, points for radio airplay increased 1.8 times from the previous week, which helped keep the decrease in point total for the track at a minimum. “BBBB” returns to No. 1 after three weeks.
NCT DREAM’s “Moonlight” debuts at No. 2. The title track off the K-pop boy band’s second single launched with 253,965 copies to hit No. 2 for sales, while also coming in at No. 4 for radio.
Trending on Billboard
[embedded content]
Mrs. GREEN APPLE’s “Lilac” follows at No. 3. The song climbs 5-3 with increases in downloads, streaming, karaoke, and radio points. Mrs. GREEN APPLE ruled the mid-year Japan Artist 100 chart and currently still has 12 tracks charting on the Japan Hot 100 this week. The three-man band dropped a new song called “Columbus” digitally on Wednesday (June 12), which will likely join the list of the popular trio’s hits.
Omoinotake’s “IKUOKUKONEN” also rises 9-4 this week. The piano trio released “Tsubomi” on June 12, the track being featured as the ending theme of the anime series My Hero Academia Season 7, and has been promoting it through various channels including Instagram Live.
Bowing at No. 5 on the Japan Hot 100 is Strawberry Prince’s “Chikai no hanataba wo ~With You~.” The track hit No. 1 for sales with 502,921 CDs sold but didn’t score any additional points in the other metrics of the chart’s measurement.
[embedded content]
Sakurazaka46’s “Jigoujitoku” debuts at No. 10. The popular girl group’s ninth single dropped digitally on June 5 and came in at No. 14 in downloads, No. 5 for streaming, and No. 9 for video views.
[embedded content]
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 June 3 to 9, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Tommy Richman’s “Million Dollar Baby” becomes the first song to lead the TikTok Billboard Top 50 chart for at least five straight weeks, linking together its fifth frame in a row on the June 15 survey.
Explore
See latest videos, charts and news
See latest videos, charts and news
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 3-9. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50.
With five weeks at No. 1, “Million Dollar Baby” now sits one week from the reign of Mitski’s “My Love Mine All Mine,” which tallied six weeks atop the tally in late 2023. Mitski’s rule was split into two three-week segments at No. 1.
Trending on Billboard
“Million Dollar Baby” initially broke out on TikTok after Richman’s uploaded what eventually became a viral clip on the platform containing the then-unreleased song on April 13 (the video now has nearly 13 million views as of June 13).
Since its official release April 26, the song has been featured in a dance trend that has dominated its uploads since the end of April.
“Million Dollar Baby” has reached No. 2 on the multimetric Billboard Hot 100 so far; it ranks at No. 3 on the latest list via 45.2 million official U.S. streams, 35.2 million radio audience impressions and 7,000 downloads in the week ending June 6, according to Luminate.
Sexyy Red and Drake’s “U My Everything” lifts to No. 2 on the TikTok Billboard Top 50 in its second week. It continues to benefit from a trend where the user asks their significant other how many likes on TikTok they need for something to happen (to buy them something, to get back together, etc.)
The song falls to No. 49 after debuting at No. 44 on the Hot 100, accruing 9.5 million streams, 1.8 million audience impressions and 1,000 downloads.
Lay Bankz’s “Tell Ur Girlfriend” falls to No. 4, while Billie Eilish’s “Birds of a Feather” rises to No. 3. The latter remains a runaway hit from Eilish’s new album, Hit Me Hard and Soft, sporting a continued rise on charts weeks after the LP’s May 17 release. Its “Birds of a feather/ we should stick together” refrain is used to soundtrack creators’ uploads featuring friends, family and pets.
“Birds of a Feather” earned 28.4 million streams, 985,000 audience impressions and 3,000 downloads. The former metric is enough for the song to rise to No. 1 on the Alternative Streaming Songs chart, Eilish’s ninth ruler.
Kendrick Lamar’s “Not Like Us” ranks at No. 5 on the TikTok Billboard Top 50, while 310babii, OhGeesy and BlueBucksClan’s “Rock Your Hips” debuts at No. 6. Originally released May 3, “Rock Your Hips” has vaulted in TikTok activity thanks to a dance trend.
“Rock Your Hips” is 310babii’s second song to chart, following “Soak City,” which peaked at No. 17 last November. The tune accrued 883,000 streams in the week ending June 6.
One other song debuts in the top 10: Sabrina Carpenter’s “Please Please Please,” which saw its official release on June 7. The track was initially teased on TikTok on June 5, garnering 2.8 million views to date, while a post-performance video after Carpenter played Governors Ball in New York has more than 12 million watches so far.
As for uploads not from Carpenter herself, many of the top-performing uploads featuring “Please Please Please” include makeup tutorials, lip synchs and more.
The full impact of “Please Please Please” will be represented on the Billboard charts dated June 22.
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.
Carín León celebrates the week’s highest debut on Billboard’s Top Latin Albums and Regional Mexican Albums charts (dated June 15) as Boca Chueca, Vol. 1, comes in at No. 8 and No. 5, respectively. The 19-track set launches with 9,000 equivalent album units earned in the U.S. in the week ending June 6, according to Luminate.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
“Very happy to debut on the Billboard charts with this album that we love very much, and I am especially surprised with the results it is having,” León tells Billboard. “I am delighted to be able to show a little more of the music that we have and that we carry in our hearts.”
Trending on Billboard
On Top Latin Albums and Regional Mexican Albums, units comprise album sales, track equivalent albums [TEA] and streaming equivalent albums [SEA]. Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album.
Boca Chueca, Vol. 1’s first week sum is driven almost entirely by streaming activity. That figure equals 12.05 million official on-demand audio and video streams for the album’s songs this week, while a negligible amount of activity comes from album sales and track-equivalent units.
With Boca Chueca, the Mexican singer-songwriter mirrors his best showing to date on both charts: his fourth studio album follows 2023’s Colmillo De Leche, which reached an equal No. 8 and No. 5 high on Top Latin Albums and Regional Mexican Albums charts, respectively.
Elsewhere, León outdoes his previous showing on the all-genre Billboard 200, where Boca Chueca debuts at No. 169, surpassing the No. 184 peak of Colmillo.
On Billboard’s songs charts the set was preceded by one song on the multi-metric Hot Latin Songs chart, which combines streaming data, airplay and digital sales: “The One (Per No Como Yo),” with Kane Brown, debuted and peaked at No. 29 on the March 16-dated list.
As the album launches, “Despidase Bien” debuts at No. 29 on the current tally mainly on the strength of streaming activity. The song logged 2.5 million official U.S. streams in the tracking week.
“I think the song that I identify with the most, a song that is a little risky but that feels great in our desire to make music, is ‘Despidase Bien,’ with its soulful nuances and gives a refresh to our type of R&B with its very regional lyrics and by mixing all these types of genres and sounds that are a big part of the project that is Carin León,” adds León.
[embedded content]