Chart Beat
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Twenty One Pilots and Bring Me the Horizon score new No. 1s on Billboard’s rock album charts dated June 8, with the former’s Clancy debuting atop the Top Rock Albums survey and the latter’s Post Human: Next Gen entering atop the Top Hard Rock Albums list.
Clancy bows with 143,000 equivalent album units earned in the U.S. in the week ending May 30, according to Luminate. The sum largely encompasses 113,000 album sales and 29,000 streaming-equivalent units. The week is the biggest in units for any title on Top Rock Albums in 2024 and the best since Zach Bryan’s self-titled LP started with 200,000 on the Sept. 9, 2023, survey.
Clancy marks Twenty One Pilots’ fourth Top Rock Albums leader. The duo first led with Blurryface in 2015, followed by 2018’s Trench and 2021’s Scaled and Icy.
The new set also begins at No. 2 on Top Rock & Alternative Albums and Top Alternative Albums, where Billie Eilish’s Hit Me Hard and Soft reigns for a second week (145,000 units).
On the all-genre Billboard 200, Clancy debuts at No. 3, the act’s third top three entry.
The entirety of Clancy’s 13-song tracklist reaches the Hot Rock & Alternative Songs chart, led by “The Craving” at No. 20 with 5.9 million official U.S. streams, 3.9 million radio audience impressions and 1,000 downloads sold. The song, the latest promoted single from the LP, concurrently debuts at Nos. 23 and 40 on Alternative Airplay and Pop Airplay, respectively. Lead single “Overcompensate” peaked at No. 2 on Alternative Airplay in May.
Bring Me the Horizon’s Post Human: Next Gen starts at No. 1 on the Top Hard Rock Albums chart with 19,000 units. It’s the band’s second leader, following That’s the Spirit for a week in 2015.
Post Human: Next Gen also begins at No. 10 on Top Rock & Alternative Albums, marking the Oli Sykes-fronted act’s sixth top 10, all logged since 2010’s There Is a Hell Believe Me I’ve Seen It. There Is a Heaven Let’s Keep It a Secret.
“Top 10 Statues That Cried Blood,” the new album’s latest radio single, concurrently debuts at No. 1 on Hot Hard Rock Songs with 2.6 million streams and 266,000 airplay audience impressions. It also starts at No. 39 on Mainstream Rock Airplay.
Chappell Roan’s The Rise and Fall of a Midwest Princess reaches the top 10 of Billboard’s Top Album Sales chart for the first time, as the set re-enters the list dated June 8 at No. 8. The set sold 6,000 copies in the U.S. in the week ending May 30 (the album’s best sales week yet, up 168%), according to Luminate. The surge in sales is owed to a replenishment of stock for the CD and vinyl editions of the album across retail, along with continued exposure of the artist and the growth of the album’s hit single “Good Luck, Babe!,” which reaches the top 40 of the Billboard Hot 100 for the first time, rallying 43-31.
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Midwest Princess also hits new peaks on the Billboard 200 (28-16), Top Current Album Sales (38-8), Vinyl Albums (a re-entry at No. 5) and Top Streaming Albums (29-20).
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Also in the top 10 of Top Album Sales, the latest releases from Twenty One Pilots, RM and Wallows arrive.
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.
Twenty One Pilots’ Clancy debuts at No. 1 on Top Album Sales, marking the band’s second leader on the list. Clancy bows with 113,000 copies sold – the largest sales week of 2024 for a rock album. (Rock albums are defined as those titles that have charted, or are eligible to chart on the Top Rock Albums ranking.) Clancy’s first-week sales were bolstered by its availability across 11 vinyl variants, signed and unsigned zine/CD journal editions and digipak CDs, deluxe CD boxed sets containing branded merch, and a deluxe digital album with four bonus live tracks.
RM logs his third top five-charting set on Top Album Sales as Right Place, Wrong Person enters at No. 2 with 43,000 sold – his best debut sales week. The album’s first-week sales were supported by its availability across 13 different CD variants, all containing branded paper merch and other collectibles. Taylor Swift’s former leader The Tortured Poets Department falls 1-3 with 41,000 sold (down 81%), and Billie Eilish’s Hit Me Hard and Soft falls 2-4 with nearly 41,000 (down 79%).
Wallows scores its fourth top 10-charting effort, and highest sales week yet, as Model enters with nearly 15,000 sold at No. 5. The set’s first-week sales were supported by its availability across a dozen vinyl variants (including three signed editions, one for each of the trio’s members), two cassettes, two CDs (one of which was signed by the band) and a standard digital album.
TOMORROW X TOGETHER’s chart-topping minisode 3: TOMORROW climbs 12-6 with 9,000 (up 52% following a stock replenishment at brick-and-mortar retail). SEVENTEEN’s SEVENTEEN Best Album ‘17 Is Right Here’ rises 8-7 with 7,000 (down 7%) and two chart-toppers from Swift close out the top 10: Lover (11-9 with 6,000; down 6%) and 1989 (Taylor’s Version) (13-10 with nearly 6,000; down 7%).
Creepy Nuts, SixTONES and Mrs. GREEN APPLE lead in their respective categories on Billboard Japan’s 2024 mid-year charts, tallying the weeks from Nov. 27, 2023, through May 26, 2024.
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Creepy Nuts’ “Bling-Bang-Bang-Born” tops the Japan Hot 100 on the mid-year roundup. The MASHLE season 2 opener was released digitally on Jan. 7, and has been streamed 348,998,877 times during the tallying period. Total streams for the hip-hop hit sailed past 300 million at the second fastest pace in Japan chart history, second only to YOASOBI’s “Idol,” the No. 1 song of the year for 2023. “BBBB” also holds the No. 1 spot on Billboard Japan’s Global Japan Songs Excl. Japan list for the first half of the year. This chart ranks songs from Japan being heard in more than 200 countries and regions worldwide.
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On “BBBB” ruling the mid-year charts, Creepy Nuts’ rapper R-shitei shares, “I wasn’t expecting it at all, so I’m surprised, or rather… It still hasn’t really hit me yet. But I’m thankful. It’s gratifying,” while DJ Matsunaga says with a laugh, “The song became a hit when I was working at my own pace, in a kind of ‘I’ll just take it slow and have fun making music’ mindset, which highlighted the unexpectedness of it all. I’m at a place where it’s all too much of a blessing and I haven’t been able to take it in.”
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Fifteen-year-old singer-songwriter tuki.’s “Bansanka” follows at No. 2 on the mid-year Japan Hot 100, and YOASOBI’s “Idol” is still going strong at No. 3.
SixTONES
Billboard Japan
On the Japan Hot Albums list, SixTONES’ fourth project THE VIBES takes the top spot, selling a total of 571,187 copies during the tallying period after being released Jan. 10, hitting No. 1 for the sales metric.
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“We’re thankful for being ranked No. 1 for the first half of this year,” says SixTONES member Jesse. “We’re very happy and full of gratitude because this is the result of our music reaching so many people. Each of our albums has its own concept, and this time we aimed to create a work that ‘boosts your vibes’ by including a wide range of songs with a focus on rock. We’re sure anyone can find a song in this set that ‘boosts their vibes,’ and that this album will make people go, ‘Such idols exist?!’ with surprise. If you haven’t listened to it yet, please give it a try! Our group will continue to take on various musical challenges, so please look forward to it!”
At No. 2 on the mid-year albums chart is SEVENTEEN’s best-of collection 17 IS RIGHT HERE, and Hikaru Utada’s all-time greatest hits album SCIENCE FICTION, celebrating the 25th anniversary of the J-pop superstar’s debut, is at No. 3.
Mrs. GREEN APPLE
Billboard Japan
Mrs. GREEN APPLE is the top artist on the mid-year Japan Artist 100 chart, compiled from the results of the Japan Hot 100 and Hot Albums charts. The three-man band has been a constant on the Japan Hot 100, with 14 tracks including “Que Sera Sera” and “Dance Hall” charting on the list.
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“We’re very honored to be ranked No. 1 on the artist chart,” says Mrs. GREEN APPLE frontman Motoki Ohmori. “We’d like to thank our JAM’S (fandom) and the many people who always support us from the bottom of our hearts. We hope to keep making the ship that is Mrs. GREEN APPLE bigger through various activities to deliver works that we ourselves can be excited about and think are good! Once again, thank you very much for this honor.”
YOASOBI follows at No. 2 on the Artist 100 tally, now one of Japan’s biggest acts whose performances at this year’s Coachella and visit to the White House made headlines in the duo’s home country. Veteran band back number comes in at No. 3, with nine songs charting in the top 100, including hits “Suiheisen” and “Takaneno Hanakosan.”
Billboard Japan Hot 100 Mid-Year Chart 2024
1. “Bling-Bang-Bang-Born” / Creepy Nuts2. “Bansanka” / tuki.3. “Idol” / YOASOBI4. “Show” / Ado5. “Que Sera Sera” / Mrs. GREEN APPLE6. “Kaiju No Hanauta” / Vaundy7. “IKUOKUKONEN” / Omoinotake8. “SPECIALZ” / King Gnu9. “The Brave” / YOASOBI10. “Be a flower” / Ryokuoushoku Shakai
Billboard Japan Hot Albums Mid-Year Chart 2024
1. THE VIBES / SixTONES2. 17 IS RIGHT HERE / SEVENTEEN3. SCIENCE FICTION / Hikaru Utada4. THE GREATEST UNKNOWN / King Gnu5. SEVENTEENTH HEAVEN / SEVENTEEN6. MATCH UP / INI7. AWARD / WEST.8. Road to A / Travis Japan9. PULL UP! / Hey! Say! JUMP10. Reboot / TREASURE
Billboard Japan Artist 100 Mid-Year Chart 2024
1. Mrs. GREEN APPLE2. YOASOBI3. back number4. Ado5. Vaundy6. Official HIGE DANdism7. King Gnu8. Creepy Nuts9. Yuuri10. Aimyon
Zach Bryan’s “Pink Skies” debuts at No. 1 on Billboard’s Hot Rock & Alternative Songs and Hot Rock Songs charts dated June 8, becoming his third leader on each list. The harmonica-infused single bows with 31.6 million official streams, 166,000 radio airplay audience impressions and 10,000 downloads sold in the United States from its May […]
Alfredo Olivas scores his first No. 1 on Billboard’s Latin Airplay chart thanks to the Alejandro Fernández collab, “Cobijas Ajenas,” as the song climbs from No. 8 to lead the list dated June 8.
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“Cobijas Ajenas” rolls to No. 1 on the overall Latin radio tally thanks to a 49% gain in audience impressions, to 8.73 million, earned in the U.S. during the May 24-30 tracking week, according to Luminate. The hit is from Fernández’ full-length album Te Llevo En La Sangre, released May 24 via Universal Music Latino/UMLE.
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The song ejects Blessd and Feid’s “Si Sabe Ferxxo” from the lead, after the latter’s one week in charge, with a hefty 19% dip in impressions, to 6.9 million.
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“Cobijas” is a cause of celebration for singer-songwriter Olivas, as the radio ramp-up brings him to his first champ on Latin Airplay. Before the new leader, “Yo Todo Soy” gave him his best showing, with a No. 5 high in 2021. The Mexican artist later picked up the No. 7-peaking “No” in April 2022.
Fernández, meanwhile, returns to No. 1 following the one-week ruling of “No Es Que Me Quiera Ir” in August 2023. In total, he adds 11 rulers to his Latin Airplay career account, only two through collabs. As Fernández’s collection of rulers grows, here’s the updated list of his Latin Airplay chart-toppers:
Peak Date, Title, Artist, Weeks at No. 1
Oct. 18, 1997, “Si Tú Supieras,” six
Dec. 27, 1997, “En El Jardín,” featuring Gloria Estefan, six
March 14, 1998, “No Se Olvidar,” eight
July 18, 1998, “Yo Nací Para Amarte,” five
Aug. 21, 1999, “Loco,” one
Dec. 1, 2001, “Tantita Pena,” six
Oct. 23, 2004, “Me Dediqué a Perderte,” two
Feb. 6, 2010, “Se Me Va La Voz,” one
Jan. 4, 2020, “Caballero,” two
Aug. 5, 2023, “No Es Que Me Quiera Ir,” one
June 8, “Cobijas Ajenas,” with Alfredo Olivas
In addition to their Latin Airplay coronation, Fernández and Olivas, each add a new No. 1 to their Regional Mexican Airplay ledger as “Cobijas” lifts 2-1: nine for the former, and a fourth champ for the latter.
Lastly, thanks to its radio haul, “Cobijas Ajenas” concurrently debuts on the multimetric Hot Latin Songs chart, which combines airplay, streaming data and digital downloads, at No. 49.
Sublime is back on Billboard’s Alternative Airplay chart with “Feel Like That,” a collaboration with Stick Figure. The song debuts at No. 35 on the June 8-dated ranking.
“Feel Like That,” which also features credited vocals from late Sublime frontman Bradley Nowell, is the first Alternative Airplay hit credited to Sublime – and not its separate, subsequent iteration Sublime With Rome – since “Doin’ Time,” which hit No. 28 in November 1997.
In between “Doin’ Time” and “Feel Like That,” Sublime With Rome – featuring new vocalist Rome Ramirez – reached the ranking four times in 2011-19, led by the No. 4-peaking “Panic” in 2011.
Sublime With Rome, in addition to Ramirez, initially included previous Sublime members Eric Wilson and Bud Gaugh; Gaugh departed in 2011 and Wilson followed earlier this year. Gaugh and Wilson then reformed Sublime with Nowell’s son Jakob on vocals and guitar. “Feel Like That” features both Jakob and Bradley on vocals, the latter via a recording from early 1996. Bradley Nowell died of an overdose that May.
Sublime reunited late last year and has since performed at Coachella.
The original incarnation of Sublime didn’t reach Alternative Airplay until after Nowell’s death. “What I Got” reigned for three weeks beginning in October 1996, while “Santeria” and “Wrong Way” each hit No. 3 in 1997, ahead of the aforementioned “Doin’ Time.”
As for Stick Figure, “Feel Like That” is the band’s first Alternative Airplay chart entry, as well as the six-piece’s premiere rank on any Billboard airplay survey. The band first graced a Billboard chart in 2009 when Smoke Stack peaked at No. 8 on Reggae Albums, on which Stick Figure now boasts four No. 1s.
Currently a standalone single, “Feel Like That” also bows at No. 43 on the all-rock-format, audience-based Rock & Alternative Airplay chart with 801,000 audience impressions in the week ending May 30, according to Luminate. Its first-week download count of 2,000 sparks a No. 8 debut on Rock Digital Song Sales.
Tommy Richman’s “Million Dollar Baby” spends its fourth week at No. 1 on the TikTok Billboard Top 50 chart dated June 8, becoming one of just four songs to rule the ranking for at least four frames.
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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 May 27-June 2. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50.
“Million Dollar Baby” joins Alek Olsen’s “Someday I’ll Get It” and Flo Milli’s “Never Lose Me” as songs with four weeks at No. 1 on the TikTok Billboard Top 50. Mitski’s “My Love Mine All Mine,” meanwhile, leads all songs with six frames atop the list.
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Concurrently, “Million Dollar Baby” remains at No. 3 on the multimetric Billboard Hot 100 thanks to 49 million official U.S. streams, 23.9 million radio audience impressions and 8,000 downloads in the week ending May 30.
Lay Bankz’s “Tell Ur Girlfriend,” a three-week No. 1 on the TikTok Billboard Top 50 prior to Richman’s reign, ranks at No. 2, followed by a debut in Sexyy Red and Drake’s “U My Everything” at No. 3.
The premiere gives Sexyy Red her first top three on the chart since “SkeeYee” paced the inaugural survey (Sept. 16, 2023), and it’s Drake’s second-highest charter, following the No. 2 peak of “IDGAF,” featuring Yeat, last October.
“U My Everything,” which was released May 24, mostly benefits from lip-synch and dance content to Sexyy Red’s intro on the song (“I say hoo, baby/ Bae, I love you, you my everything/ I wrote this for you, baby”), with another trend featuring creators asking their former significant others how many likes they’d need on TikTok to get back together.
“U My Everything” debuts at No. 44 on the Hot 100 on the strength of 10.3 million streams, 952,000 radio audience impressions and 2,000 downloads May 24-30.
It’s one of two debuts in the TikTok Billboard Top 50’s top 10, followed by Central Cee and Lil Baby’s “BAND4BAND,” which starts at No. 8. Released May 23, “BAND4BAND” sports an early trend of creators pointing to the differing accents of the British Central Cee and American Lil Baby, often dressing up in different costumes as they lip synch the pair’s “We can go band for band/ F–k that, we can go M for M” exchange on the song.
“BAND4BAND” became Central Cee’s top performance on the Hot 100 yet, debuting at No. 22 on the June 8-dated survey thanks to 15.9 million streams and 1,000 downloads.
One other song hits the TikTok Billboard Top 50’s top 10 for the first time: Stephen Kramer Glickman’s cover of Gnarls Barkley’s “Crazy,” which vaults 41-6. The trend featuring Glickman’s rendition highlights the song’s opening lyrics (“I remember when/ I remember, I remember when I lost my mind”) and shows users stitching in things they did that they now find cringy.
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.
Glee was in the spotlight, and on the cover, of the May 8, 2010-dated Billboard, nearly a year after the Fox series’ cast made its chart debut. Wrote Ann Donahue that issue, “Still in its first season, the program has sucked in young fans with its inventive mix of musical-theater brio, pop-chart savvy and outsider empathy.”
On the Billboard Hot 100 dated June 6, 2009, the troupe’s covers of Journey’s “Don’t Stop Believin’ ” and Amy Winehouse’s “Rehab” entered at Nos. 4 and 98, respectively, the former with a hefty 177,000 downloads sold in the U.S. in the tracking week, according to Luminate. The songs appeared in the first Glee episode, which aired on May 19, 2009.
The Glee cast rocketed to a record 207 Hot 100 entries (through its last, a cover of the Bob Dylan-penned “To Make You Feel My Love” in October 2013), as Fox and Columbia Records unveiled a strategy of releasing multiple songs, with a focus on pop and Broadway favorites, digitally after each new Glee episode. (Notably, with the songs essentially serving as souvenirs, and almost all devoid of radio airplay, 173 of the 207 titles spent a single week on the Hot 100.) Between May 2010 and March 2012, the act logged 15 weeks each with five debuts; four weeks each with six arrivals; and two weeks each with seven.
On the Hot 100 dated Feb. 26, 2011, not even two years into the show’s run, the Glee cast passed Elvis Presley’s longstanding record for the most appearances to that point. Through June 8, 2024-dated list, only Drake (332) and Taylor Swift (263) have made more visits.
Glee
Joe Viles / TM and Copyright © 20th Century Fox Film Corp. All rights reserved, Courtesy: Everett Collection
“I remember I talked to [executive producer] Dante Di Loreto and [co-creator] Ryan Murphy and said, ‘If all works well, we should see records in the top 10 and we should sell albums,’” Geoff Bywater, then-head of the music department at 20th Century Fox Television, said in the 2010 Glee cover story. “‘And, if all that works, we should do a tour.’”
Any such doubts were extinguished over the show’s nearly-six-year run (through March 20, 2015). In addition to its Hot 100 haul (a sum that includes three top 10s, with “Believin’ ” its highest charting hit – it even outperformed the No. 9 peak in 1981 of Journey’s classic original), the Glee ensemble scored 31 Billboard 200 album chart entries, 14 of which hit the top 10, including three No. 1s. Its to-date U.S. album sales stand at 8 million.
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Along with its trademark mix of heart (often in touching scenes between Jane Lynch and Lauren Potter) and humor (almost any line by Lynch), the series was a magnet for revered pop hits, as the Glee cast charted on the Hot 100 with versions of 58 No. 1s, from its update of Rihanna’s “Take a Bow” in September 2009 through Whitney Houston’s “How Will I Know” in May 2012. Also among leaders that the collective returned to the chart were songs by Adele, The Beatles, Fleetwood Mac, Michael Jackson, Lady Gaga, Madonna, Prince, Queen, Britney Spears and Usher.
As Glee’s reach surged, the show welcomed high-profile guests and the cast charted Hot 100 hits with Kristin Chenoweth, Neil Patrick Harris, Ricky Martin, Idina Menzel, Olivia Newton-John and Gwyneth Paltrow.
Matthew Morrison and Gwyneth Paltrow on Glee.
Adam Rose / © Fox / courtesy Everett Collection
To date, the Glee cast’s songs have sold 48.3 million downloads in the U.S. – and drawn 3.8 billion official U.S. streams.
Meanwhile, the Glee cast grossed $45.9 million, according to Billboard Boxscore, over 53 tour dates, all in 2010-11, highlighted by a seven-show run at London’s O2 Arena in which all 103,513 tickets sold out.
The series also received 22 Primetime Emmy Award nominations, winning four. Among series regulars, Lynch was honored for outstanding supporting actress in a comedy series and Murphy won for outstanding directing for a comedy series, while stars Chris Colfer, Dot-Marie Jones, Lea Michele, Matthew Morrison and Mike O’Malley earned nominations.
Apart from Glee billings, Michele hit No. 4 on the Billboard 200 in March 2014 with her LP Louder, a high among cast members on their own, after Morrison had reached No. 24 in May 2011 with his self-titled set.
Fifteen years after its premiere, the show’s fandom endures, in part on platforms that didn’t exist when it originally aired. After reaching No. 93 on the Hot 100 in May 2010, the cast’s “Rose’s Turn,” sung by Colfer, bounded to No. 3 on the TikTok Billboard Top 50 this March.
Fan fervor among “Gleeks” was evident from the start, Bywater recalled in 2010. “We saw it in the in-stores we did in the beginning of the project. We did a Hot Topic tour right after the pilot, and there were 3-, 4-, 500 people. Within a couple of months, we were talking 1,500 people outside the Borders in New York.
“It happened really fast.”
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 June 15), a return to form a Rock and Roll Hall of Fame rapper looks to interfere with some of the more explicitly 2024 hits vying for the top of the Hot 100.
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Eminem, “Houdini” (Shady/Aftermath/Interscope): In April, Eminem began teasing the upcoming release of his 12th studio album, The Death of Slim Shady. Whether the album title foreshadows Em’s official retirement from music – a full 25 years after first announcing his name to the world in 1999 – or just a new phase in the rapper’s Rock and Roll Hall of Fame career, the album is sure to be one of the summer’s most anticipated. And now, it has an already-minted hit as the official lead single: “Houdini,” released on Friday (May 31).
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The new single, co-produced by Eminem with longtime Detroit-based collaborator Luis Resto, calls back to the MC’s 2002 megahit “Without Me” — with its “guess who’s back, back again” intro and its superhero-themed music video – and heavily interpolates both the instrumental backing and chorus hook from Steve Miller Band’s 1982 Hot 100-topping smash “Abracadabra.” The song also has gained a great deal of attention for its inflammatory lyrics, which see Em back to several of his old tricks – trying to bait critics with bars that at least verge on the homophobic, transphobic and misogynistic, as well as with one couplet making a bad pun about Megan Thee Stallion’s recent shooting at the hands of Tory Lanez.
Despite the controversy – or more likely, partly because of it — “Houdini” has gotten off to an excellent start in consumption. It debuted in the top five on both the daily charts on Spotify and Apple Music and is still hanging around there at mid-week with barely any drop-off, while remaining YouTube’s top-trending music video. Perhaps even more importantly for its chart fortunes, it has held all week at No. 1 on the iTunes sales chart, with Eminem having the advantage of having ruled in the era when digital song sales were still a more central part of the musical economy. He will need some pretty mighty numbers there to have a chance of scoring a No. 1 debut on the Hot 100 — which would make his first chart-topper since “The Monster” in 2013, and sixth overall — but when it comes one of the best-selling artists of the past quarter-century, you never want to proclaim their demise prematurely.
Post Malone feat. Morgan Wallen, “I Had Some Help” (Mercury/Republic/Big Loud): Three weeks after debuting at No. 1 on the Hot 100, the star team-up between Posty and Wallen shows no real signs of slowing down: It’s still holding in the top three on both the regular Spotify and Apple Music charts, and is just a couple spots below “Houdini” on the iTunes chart as well. But radio is where the song is really starting to create some distance from the competition: It has already moved into the top five on Billboard’s Radio Songs chart over four weeks – tying for the fastest rise to the region since Miley Cyrus’ four-quadrant smash “Flowers” last year — while surging on the country, mainstream pop and adult pop radio formats.
Radio is likely to make the difference for “Help” in the race for No. 1 next week, unless Eminem’s latest — which has earned 2 million in all-format radio airplay audience as of June 3, according to Luminate — grows there at a spectacular rate, while selling digital downloads like it’s 2010 all over again. (If “Help” holds at No. 1 for a fourth frame, it’ll be the first song to reign for that many weeks consecutively since Wallen’s own “Last Night” a year ago.)
IN THE MIX
Shaboozey, “A Bar Song (Tipsy)” (American Dogwood/EMPIRE/Magnolia Music): Shaboozey’s solo breakthrough smash has been hanging around the Hot 100’s top five for about a month now – and it might be due for something of a boost next week, with the release of the country singer-songwriter’s full Where I’ve Been, Isn’t Where I’m Going album. The song has also been finding its footing on radio, catapulting from 37 to 22 on Radio Songs in just its second week on the chart (dated June 8), and even finally catching on in Nashville, jumping 31-24 on Country Airplay as well.
Billie Eilish, “Birds of a Feather” (Darkroom/Interscope/ICLG): “Lunch” was tabbed as the focus track from Billie Eilish’s Hit Me Hard and Soft – along with a music video and an early radio push – and it also earned the album’s biggest Hot 100 debut, bowing at No. 5 and holding in the top 10 for a second week this week. But this love song may end up being the album’s biggest breakout hit, as the TikTok-approved “Birds” has passed “Lunch” on both the updating Spotify and Apple Music charts, and even on iTunes as well. “Lunch” will likely continue to have the radio advantage, but “Birds” (up 13-12 this week) may fly past it and into the top 10 on the Hot 100 in the next week or two.
Central Cee & Lil Baby, “BAND4BAND” (CC4L/Columbia): This Atlantic-crossing collab from London’s Central Cee and Atlanta’s Lil Baby debuted just outside the top 20 on the Hot 100 this week, and looks to only be gaining in its second week on streaming. Cee, one of the U.K.’s biggest breakout artists of the decade, has long been bubbling just under the mainstream in the U.S. — and now that he’s got a full-on crossover hit (with a proven American hitmaker as a co-star), there may be no ceiling for his stateside breakthrough.
JO1’s “Love seeker” soars to No. 1 on the Billboard Japan Hot 100, rising from No. 59 on the chart released June 5.
“Love seeker” is the lead track from the 11-member boy band’s eighth single “HITCHHIKER.” The song dropped digitally May 12 and debuted on the Japan Hot 100 at No. 48 (May 22), then dropped to No. 59 the following week before hitting the top spot this week powered by sales. The group marked its biggest first-week CD sales with 738,776 copies to rule the metric, while coming in at No. 3 for downloads (15,613 units, up approximately 2,800% from last week), No. 25 for streaming (up 157%), No. 31 for video views (up 117%), and No. 5 for radio airplay (up 688%).
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Debuting at No. 2 is Number_i’s “BON,” a track off the trio’s mini-album No.O -ring-, released May 27. The song debuts at No. 1 for downloads with 49,896 units and also rules radio and video, while coming in at No. 13 for streaming to hit No. 2 by a narrow margin on the Japan Hot 100 with no points for physical sales. The group’s former No. 1 song “GOAT” moved 64-54 due to the new release, and six of the mini-album’s tracks, including “BON,” entered the Japan Hot 100.
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Incidentally, King & Prince’s former No. 1 hits ”Tsukiyomi” and “Cinderella Girl” — made available for streaming at the end of last month — also return to the Japan Hot 100. Both songs are from the group’s five-member era — Number_i consists of three former members of King & Prince — and saw an increase in weekly streaming and video views. “Tsukiyomi” returns for the first time in about a year and three months, while “Cinderella Girl” returns for the first time in about a year.
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comdot’s “Haikei Oretachihe” bows at No. 3 on the Japan Hot 100. The first single by the five-member YouTubers sold 136,964 copies to hit No. 2 for sales, while coming in at No. 27 for downloads, No. 16 for streaming, No. 6 for radio, and No. 23 for video.
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Kenshi Yonezu’s “Mainichi” (Every Day) launches at No. 6 this week. The release of this new commercial song for Coca-Cola Japan’s “Georgia” brand has powered the hitmaker’s other songs up the charts, with “Sayonara, Mata Itsuka!” seeing an increase in downloads and “Lemon” in both streaming and downloads.
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BEYOOOOONDS’ first single in about a year and a month called “Hai to Diamond” bows at No. 7, selling 99,222 copies to hit No. 3 for sales, while coming in at No. 10 for downloads and No. 16 for radio.
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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 27 to June 2, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.