State Champ Radio Chart Beat
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Trending on Billboard Pentatonix collects its 11th top 10-charted album on Billboard’s Top Holiday Albums chart, as the group’s latest release, Christmas In the City, debuts at No. 6 on the chart dated Nov. 8. The 16-track set features new original recordings and covers of familiar favorites, like “Silver Bells” and “Holly Jolly Christmas.” Explore […]
Trending on Billboard Bruce Springsteen’s Nebraska, first released in 1982, returns to Billboard’s charts following its expanded reissue. The set, which peaked at No. 3 on the overall Billboard 200 in its release year, re-enters that list (dated Nov. 8) at No. 26 for its first week on the chart since 1985 and its highest […]
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Mon Laferte is back in the top 10 on Billboard’s Top Latin Pop Albums chart as Femme Fatale, her 10th studio album, debuts at No. 10 on the chart dated Nov. 8, marking her third top 10 on the ranking.
“One night, I stayed on the terrace of my house, listening to voice notes and reading old texts on my phone,” Mon Laferte tells Billboard. “I finished a bottle of wine, probably smoked a pack of cigarettes, and watched the sunrise. That early morning, I gathered and invented 54 songs. That’s how Femme Fatale began.”
Femme Fatale starts at No. 10 on Top Latin Albums chart with 2,000 equivalent album units earned in the United States in the week ending Oct. 30, according to Luminate. The album, released Oct. 24 on Sony Music Latin, includes collabs with Conociendo Rusia, Nathy Peluso, Natalia Lafourcade, Silvana Estrada and Tiago IORC.
Of its opening-week total, 1,000 units come from streaming activity, equating to 1.9 million official on-demand streams of the album’s tracks. Another 1,000 units are attributed to traditional album sales, while song sales contribute minimally to the overall sum.
Laferte’s third top 10 on Top Latin Pop Albums follows the No. 9-peaking Norma in 2019. A year earlier, La Trenza earned the Chilean her first entry on any albums ranking. It peaked at No. 4 in May 2018.
Was Laferte surprised to debut in the top 10? “Honestly, not really,” Laferte says. “When I finished Femme Fatale, I realized it was a very personal, even uncomfortable album. To be honest, I didn’t think about the numbers; for me, it was kind of an exorcism. But the fact that it connected with so many people excites me a lot because it means there is an audience ready to look at vulnerability from a different place, without fear or guilt.”
Two weeks prior to Femme Fatale’s drop, Laferte secured her first appearance across multiple Latin songs chart through the Rauw Alejandro collab, “Callejón De Los Secretos.” The song debuted at No. 50 on Hot Latin Songs, plus peaked at Nos. 4 and 9 on Hot Tropical Songs and Tropical Airplay charts, respectively.
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Following Ozzy Osbourne’s July 22 death, the legendary rocker makes his presence known on the TouchTunes charts for the third quarter of 2025, paced by a No. 2 debut on the TouchTunes Artists Chart.
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The TouchTunes charts for the third quarter of the year track the most played songs and artists on TouchTunes jukeboxes from July 1 to Sept 30, with the Frontline ranking inclusive of music released in the last 18 months, followed by the Catalog tally for any music that was released more than 18 months ago. The TouchTunes Artists Chart tracks the same period, combining all of an artist’s plays across both rankings. TouchTunes has jukeboxes in over 60,000 locations worldwide. Its data is not factored into other Billboard charts.
Osbourne’s music had not been featured on TouchTunes’ charts since the songs-based rankings’ inception in the second quarter of 2024 or on the Artists survey since it began in the first quarter of 2025. But after his July death, he vaulted onto the Artists tally at No. 2, behind only Morgan Wallen, who has reigned for all three of the ranking’s iterations so far.
On the TouchTunes Catalog Chart, Osbourne appears three times, twice under his own name. “Mama, I’m Coming Home” leads the trio at No. 3, while “No More Tears” enters at No. 24. The former peaked at No. 28 on the Billboard Hot 100 in 1992, while the latter reached No. 71 the same year, both via the 1991 album No More Tears.
The third Osbourne-related song to chart, meanwhile, is Black Sabbath’s “War Pigs,” which enters at No. 21. The 1970 track stems from Osbourne’s time fronting the rock band and is featured on its sophomore release, Paranoid.
Both Osbourne and the original iteration of Black Sabbath performed at a star-studded final concert, Back to the Beginning, on July 5 in Birmingham, England.
Wallen’s reign on the Artists ranking, meanwhile, is assisted by music from his newest album, I’m the Problem, which was released in May, meaning the latest TouchTunes charts are the first full-quarter period the majority of the LP’s songs have been available. As such, one of the Frontline list’s big movers for the quarter is Wallen’s “What I Want,” featuring Tate McRae, which vaults 18 positions to No. 6 in its second quarter on the tally. Additionally, “I Got Better” and “20 Cigarettes” debut at Nos. 11 and 12, respectively.
In all, Wallen appears across the Frontline and Catalog charts 10 times this quarter — eight times on Frontline and twice on Catalog. That equals his count from the second quarter of 2025; “I Got Better” and “20 Cigarettes” replace “Lies Lies Lies” on Frontline, while “Last Night” departs from Catalog.
The Frontline and Catalog No. 1s are the same as they’ve been since their inception, as Shaboozey’s “A Bar Song (Tipsy)” reigns on the former while Chris Stapleton’s “Tennessee Whiskey” tops the latter. A change is coming soon, though, as “A Bar Song” is approaching its move to catalog status 18 months removed from its release.
Other Frontline movement includes debuts for songs from Alex Warren, Blake Shelton, Jessie Murph, Cardi B, Justin Bieber and Gavin Adcock. Murph in particular starts at No. 21 with “Touch Me Like a Gangster,” while her “Blue Strips” lifts 7-4 for a new peak.
Finally, the genre check-in: according to TouchTunes, the rock genre accounted for 39% of its plays across both Frontline- and Catalog-eligible titles, a 1% increase over quarter two and again the dominant genre on the platform. Country is second at 22%, though its dominance of Frontline-eligible songs remains, accounting for 41% of plays, followed by pop (19%), rap (14%) and rock (12%).
See all rankings below.
TouchTunes Frontline Chart
“A Bar Song (Tipsy),” Shaboozey (=)
“I’m the Problem,” Morgan Wallen (=)
“Pink Pony Club,” Chappell Roan (=)
“Blue Strips,” Jessie Murph (+3)
“I Never Lie,” Zach Top (-1)
“What I Want,” Morgan Wallen feat. Tate McRae (+18)
“I Had Some Help,” Post Malone feat. Morgan Wallen (-2)
“You Look Like You Love Me,” Ella Langley feat. Riley Green (-2)
“Just in Case,” Morgan Wallen (-1)
“All the Way,” BigXthaPlug feat. Bailey Zimmerman (+8)
“I Got Better,” Morgan Wallen (debut)
“20 Cigarettes,” Morgan Wallen (debut)
“Ordinary,” Alex Warren (debut)
“Not Like Us,” Kendrick Lamar (-5)
“Texas,” Blake Shelton (debut)
“Nokia,” Drake (-5)
“Messy,” Lola Young (-4)
“Love Somebody,” Morgan Wallen (-8)
“Luther,” Kendrick Lamar with SZA (-5)
“I’m a Little Crazy,” Morgan Wallen (-4)
“Touch Me Like a Gangster,” Jessie Murph (debut)
“Outside,” Cardi B (debut)
“Daisies,” Justin Bieber (debut)
“Last One To Know,” Gavin Adcock (debut)
“I Am Not Okay,” Jelly Roll (re-entry)
TouchTunes Catalog Chart
“Tennessee Whiskey,” Chris Stapleton (=)
“I Love This Bar,” Toby Keith (=)
“Mama, I’m Coming Home,” Ozzy Osbourne (debut)
“Lose Control,” Teddy Swims (-1)
“Friends in Low Places,” Garth Brooks (-1)
“Sweet Child o’ Mine,” Guns N’ Roses (+11)
“Simple Man,” Lynyrd Skynyrd (-1)
“Brown Eyed Girl,” Van Morrison (+7)
“Neon Moon,” Brooks & Dunn (-4)
“Whiskey Glasses,” Morgan Wallen (-2)
“I Think I’ll Just Stay Here and Drink,” Merle Haggard (-4)
“Drinkin’ Problem,” Midland (-3)
“Copperhead Road,” Steve Earle (-3)
“Family Tradition,” Hank Williams Jr. (-2)
“Fat Bottomed Girls,” Queen (-1)
“Rockstar,” Nickelback (-5)
“Thunderstruck,” AC/DC (+1)
“In the Air Tonight,” Phil Collins (+4)
“Cowgirls,” Morgan Wallen feat. ERNEST (=)
“Don’t Stop Believin’,” Journey (-7)
“War Pigs,” Black Sabbath (debut)
“Pour Some Sugar on Me,” Def Leppard (+2)
“Something in the Orange,” Zach Bryan (=)
“No More Tears,” Ozzy Osbourne (debut)
“Should’ve Been a Cowboy,” Toby Keith (debut)
TouchTunes Artists Chart
Morgan Wallen (=)
Ozzy Osbourne (debut)
Toby Keith (-1)
Chris Stapleton (-1)
Lynyrd Skynyrd (+1)
AC/DC (-2)
Zach Bryan (=)
Drake (=)
Shaboozey (-4)
George Strait (=)
Trending on Billboard SiriusXM is spotlighting the sounds of the season — and Billboard charts — with the Billboard Holiday Countdown. Based on cumulative performance on Billboard’s Holiday 100 chart through last holiday season, the Billboard Holiday Countdown is a festive journey from No. 100 to No. 1 spanning decades and generations of time-honored hits. […]
Luminate has announced a new global data partnership with Tencent Music Entertainment (TME), marking the company’s first data collaboration with a chart that measures music engagement in China, the companies announced Wednesday (Nov. 5).
Under the agreement, Luminate, Billboard‘s longtime data partner, will integrate streaming and sales metrics from TME’s platforms — including QQ Music, Kugou Music, Kuwo Music and JOOX — into its music data platform CONNECT. The data will be reflected on CONNECT in the coming weeks and integrated into Billboard‘s global charts on a date yet to be announced. This marks the first time Chinese music market activity will be measured and reflected on the Billboard global charts.
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Wednesday’s news represents the latest international expansion for Luminate, which now tracks data for more than 60 countries, with other recent additions in the Middle East and North and Sub-Saharan Africa. With the addition of TME to its data set, the company will be able to identify the appeal of genres and artists originating in China across markets.
Notably, in 2023, the TME UNI Chart became the first music chart from the Chinese Mainland to be featured on Billboard‘s U.S. website.
“This partnership marks a pivotal moment for the global music industry, underscoring Luminate’s unwavering commitment to providing the most accurate and comprehensive measurement of music activity worldwide,” said Luminate CEO Rob Jonas in a statement. “As the industry’s most trusted source of streaming and sales data, our customers and partners expect as much information as possible to make the best business decisions, and we know how valuable it is for a market as large and influential as China to be represented in those insights.”
Added TC Pan, group vp of TME and president of the Content Cooperation Department, “This collaboration with Luminate represents a data-driven effort to establish a unified global content ecosystem. China is one of the most dynamic music markets in the world, and through this partnership, all content on TME’s platforms — whether domestic or international — will participate in, and even help shape, global music trends. Moving forward, TME will continue to strengthen its content ecosystem, enabling more quality content to be discovered worldwide, realizing long-term value through a journey from ‘data connectivity’ to ‘ecosystem synergy.’”
Also weighing in was Ryan Liang, vp of corporate development and content system at TME, who said, “Our partnership with Luminate marks TME Chart as Billboard’s first in-depth data partner in China，which demonstrates that its objectivity and professionalism have gained recognition from international authorities. We see this partnership as an opportunity to further strengthen the TME Chart’s role as a bridge connecting Chinese music with the global market. By integrating China’s music data into the global chart ecosystem, we are dedicated to delivering Chinese music to a broader audience and enhancing its international recognition.”
4 Non Blondes’ “What’s Up?” is back on the Billboard charts, thanks to a viral trend.
The 1993 No. 14-peaking Billboard Hot 100 classic reenters the Hot Rock & Alternative Songs tally dated Nov. 8 at No. 13, as users on shortform video platforms such as TikTok have been mashing up the track with Nicki Minaj’s 2012 hit “Beez in the Trap.” (Older songs are eligible for Billboard’s multimetric charts if in the top half and with a meaningful reason for their resurgences.)
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In the week ending Oct. 30, “What’s Up?” drew 4.2 million official U.S. streams, up 17%, according to Luminate. It also sold 1,000 downloads, a 34% boost week-over-week, sparking a second week at No. 3 on the Rock Digital Song Sales tally.
Over the past few weeks, streams of “What’s Up?” have steadily gained. A month prior to the Nov. 8 rankings (in the tracking week for charts dated Oct. 4), the song accumulated 2.7 million streams. A year ago this week (Nov. 9, 2024), the track pulled 2.2 million streams.
As for “Beez in the Trap,” the tune from Minaj’s 2012 album Pink Friday: Roman Reloaded (the track hit No. 7 on Hot R&B/Hip-Hop Songs that year) totaled 1.7 million on-demand streams in the week of Oct. 24-30, up 47%. A month ago (week ending Sept. 25), it drew 484,000 streams.
The viral sound featuring both songs synchs up their choruses: 4 Non Blondes singer Linda Perry’s refrain of “And I say, hey, what’s going on?” merges with Minaj’s “Bitches ain’t shit and they ain’t sayin’ nothing/ A hundred motherfuckers can’t tell me nothing/ I beez in the trap” verse.
That said, the original versions of each are having their own moments on platforms including TikTok, although many videos still reference the prevailing meme; some of the top-performing clips, for instance, find users lip-synching to “What’s Up?” but then mouthing along to the lyrics of “Beez in the Trap” at its usual cue even though its audio isn’t playing.
The mashup sound is lip-synch-heavy, as well, with some of the most viral uses indicated by two participants standing back-to-back, one taking the 4 Non Blondes lyrics and the other assuming Minaj’s role. The trend has been utilized by everyone from typical creators to folks dressed up in cosplay or Halloween costumes to celebrities such as Anitta, Jimmy Fallon, Kylie Jenner, Khloe Kardashian and Jennifer Lopez. Lopez’s version even got Perry herself in on the fun.
Brandi Carlile breaks the record for most No. 1’s by a woman on Billboard’s Top Rock & Alternative Albums chart, as her latest album Returning to Myself debuts atop the Nov. 8-dated tally.
In its first week, ending Oct. 30, Returning to Myself earned 35,000 equivalent album units, according to Luminate. That sum includes 32,000 in album sales.
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Returning to Myself is Carlile’s fifth No. 1 on the ranking, all achieved consecutively. She first led with 2015’s The Firewatcher’s Daughter, followed by 2018’s By the Way, I Forgive You, 2021’s In These Silent Days and this year’s Elton John collaboration Who Believes in Angels?.
Carlile’s five leaders are the most by a woman or woman-led act since Top Rock & Alternative Albums began in 2006. Previously, she was tied for the mark with Florence + the Machine and Paramore. (The distinction may be short lived; the former’s new album, Everybody Scream, was released Oct. 31 and will hit next week’s Billboard charts, dated Nov. 15.)
Returning to Myself also starts at No. 1 on Top Rock Albums and Americana/Folk Albums. It’s Carlile’s sixth ruler on the latter list, second only to Bob Dylan’s eight.
Elsewhere, Returning to Myself marks Carlile’s second No. 1 on Top Album Sales, and first since By the Way, I Forgive You. Of the new set’s 32,000 in sales, 15,000 are via vinyl; as a result, the LP starts at No. 2 on Vinyl Albums.
On the all-format Billboard 200, Returning to Myself opens at No. 7, marking Carlile’s fifth top 10, where she first ranked with the No. 10-peaking Bear Creek in 2012. Her personal best on the chart was set by By the Way, I Forgive You (No. 5).
Returning to Myself’s title track lead single reached No. 12 on Adult Alternative Airplay (Oct. 18). Its follow-up, “Human,” is bubbling under the list.
Trending on Billboard Tyla storms in at No. 1 on the Billboard U.S. Afrobeats Songs chart as “Chanel” bags the top spot of the list dated Nov. 8. The new champ, an Afrobeat, amapiano and pop composition, namechecks the iconic designer brand and centers on the repeated lyrical refrain “Say you love me, put me […]
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The Contenders is a midweek column that looks at artists aiming for the top of the Billboard charts, and the strategies behind their efforts. This week, for the upcoming Billboard 200 dated Nov. 15, we look at the chances of a handful of albums to reach a top 10 still dominated by Taylor Swift and KPop Demon Hunters.
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Florence + The Machine, Everybody Scream (Polydor): The screaminess of the latest set from Florence Welch is less about traditional spooky scaries than the horrors of the life-threatening ectopic pregnancy Welch recently suffered, as well as the indignities of being a veteran woman artist in the music industry. Regardless, the Halloween-released set seems to be resonating for its more adult terrors, drawing some of the best reviews of the year for a major release.
The set is not expected to stream in exceptional numbers — Florence + The Machine have never scored a real breakout hit during the streaming era, outside of collaborations — but it should sell well, as the outfit’s albums traditionally have. Helping will be a multitude of options available for purchase: six vinyl variants and four CD variants, including a signed copy in each format, as well as deluxe digital and streaming editions that include four “chamber versions” bonus tracks, featuring stripped-down arrangements of some Scream highlights.
With its relatively minimal presence on DSPs, it’s unlikely that Everybody Scream will be able to challenge streaming behemoths like Taylor Swift and the KPop Demon Hunters soundtrack at the very top of the Billboard 200 next week. But the set does appear on pace to debut in the top 10 — which would mark Florence + The Machine’s fifth consecutive album to reach the region — and could also have a shot at the outfit’s first top five album since 2018’s High as Hope.
Tyler, the Creator, CHROMAKOPIA (Columbia): CHROMAKOPIA of course already debuted atop the Billboard 200 last November, with career-best first-week numbers for Tyler, The Creator despite arriving with an incomplete first tracking week. But for the set’s one-year anniversary, the rapper has reissued the set as CHROMAKOPIA+, with the bonus track “Mother” — featuring mid-song interjections and wisdom from his mom Bonita Smith, and previously only available on the album’s physical release — now inserted into its tracklist on DSPs.
In addition to the new song on streaming — which was featured near the top of Spotify’s New Music Friday and is streaming solidly, albeit not as much as an official new Tyler singler would — the “Plus” set has also been reissued for physical purchase on CD and vinyl. It’s also on sale in two boxed sets, each of which contains a branded merch item in a branded box, along with a copy of the CD.
The original CHROMAKOPIA has still yet to leave the Billboard 200, currently ranking at No. 117 in its 53rd week on the chart. But the additional sales and streaming interest from the reissue should be enough to give it a big boost for next week, perhaps all the way back to the chart’s top 10.
Michael Jackson, Thriller (Epic): And of course, the week after Oct. 31, you can’t discount the chart impact of actual Halloween-friendly music on the Billboard 200. As is often the case in recent years, Michael Jackson’s Thriller seems to be leading the pack on streaming — thanks to classics like its midnight-movie title track and vaguely spook-adjacent “Billie Jean” — followed by fellow holiday perennials like the Nightmare Before Christmas soundtrack and Andrew Gold’s Halloween Howls: Fun & Scary Music.
However, the timing of the tracking week may be dissuasive towards any of these albums making too big a jump. With Halloween falling on a Friday this year — the first day of the new tracking week — the lead-up excitement for the holiday is all contained to the previous tracking week (hence Thriller already climbing 46-30 on this week’s Billboard 200), and interest in such jams usually falls off quickly and dramatically once the calendar turns to November. But perhaps with a full weekend to celebrate, interest will sustain just enough this year for Thriller to return to the top 10 — or at least the top 20.
