Chart Beat
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Playboi Carti’s MUSIC returns to No. 1 on the Billboard 200 albums chart (dated April 19), rising one spot, with 64,000 equivalent album units earned in the U.S. in the week ending April 10, according to Luminate. Of that sum, 96% was driven by streaming activity.
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With MUSIC earning 64,000 units in the latest tracking week, that marks the smallest weekly sum for a No. 1 album in over a year, since the Jan. 20, 2024-dated chart, when Morgan Wallen’s One Thing at a Time was tops with 61,000 units.
Also in the top 10 of the latest Billboard 200 chart, Elton John and Brandi Carlile’s first collaborative album, Who Believes in Angels?, debuts at No. 9, while Ethel Cain’s 2022 set Preacher’s Daughter debuts at No. 10 following its vinyl release.
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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 April 19, 2025-dated chart will be posted in full on Billboard‘s website on April 15. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of the 64,000 equivalent album units earned by MUSIC in the week ending April 10, SEA units comprise 61,500 (down 27%; equaling 84.61 million on-demand official streams of the set’s songs; it’s No. 1 for a fourth week on Top Streaming Albums), album sales comprise 2,500 (down 59%; it falls 11-33 on Top Album Sales) and TEA units comprise a negligible sum (down 44%).
The next seven titles on the Billboard 200 are all former No. 1s. Ariana Grande’s Eternal Sunshine falls to No. 2 (56,500 equivalent album units; down 59%); PARTYNEXTDOOR and Drake’s $ome $exy $ongs 4 U rises 5-3 (56,000; down 3%); SZA’s SOS steps 6-4 (54,000; down 4%); Kendrick Lamar’s GNX dips 4-5 (53,000; down 9%); Sabrina Carpenter’s Short n’ Sweet rises 7-6 (49,000; down 2%); Morgan Wallen’s One Thing at a Time climbs 10-7 (44,500; down less than 1%); and Bad Bunny’s Debí Tirar Más Fotos is a non-mover at No. 8 (42,500; down 5%).
Elton John and Brandi Carlile’s first collaborative album, Who Believes in Angels?, debuts at No. 9 on the Billboard 200, marking the 22nd top 10 set for John and the fourth for Carlile. The set earned 40,000 equivalent album units in its opening week. Of that sum, album sales comprise 36,500 (it debuts at No. 2 on Top Album Sales), SEA units comprise 2,500 (equaling 3.54 million on-demand official streams of the set’s songs) and TEA units comprise 500.
John and Carlile ushered in the release of the album with a flurry of media appearances, including CBS News Sunday Morning (CBS, March 30), The Tonight Show Starring Jimmy Fallon (April 3), Saturday Night Live (NBC, April 5) and the concert special An Evening With Elton John and Brandi Carlile (CBS and Paramount+, April 6), along with interviews with Apple Music’s Zane Lowe, NPR and SiriusXM’s The Howard Stern Show, among other outlets.
John earned his first Billboard 200 top 10 a little over 54 years ago, when his self-titled album climbed 11-7 on the Jan. 30, 1971-dated chart; it peaked at No. 4 a week later (Feb. 6, 1971). Breaking down John’s 22 top 10s by decade: 13 in the 1970s, two in the 1990s, one in the 2000s, four in the 2010s and two in the 2020s. Who Believes in Angels? is John’s second album with shared artist billing to reach the top 10, following The Union, with Leon Russell, which reached No. 3 in 2010.
John continues to be among elite company of acts with at least 20 top 10-charting albums on the Billboard 200, from March 24, 1956, when the list began publishing on a regular, weekly basis, through the new, April 19, 2025-dated chart. Here’s an updated leaderboard:
Most Billboard 200 Top 10s:38, The Rolling Stones34, Barbra Streisand33, Frank Sinatra32, The Beatles27, Elvis Presley23, Bob Dylan23, Madonna22, Elton John22, Bruce Springsteen21, Paul McCartney/Wings21, George Strait20, Prince
Notably, the Kidz Bop Kids music brand has collected 24 top 10s, in 2005-16, with its series of kid-friendly covers of hit singles. The franchise’s early albums were performed mostly by anonymous studio singers, although later releases focused on branding named talent.
Rounding out the top 10 of the latest Billboard 200 is a debut at No. 10 for singer-songwriter Ethel Cain’s 2022 album Preacher’s Daughter. The set jumps onto the list with 39,000 equivalent album units earned (its best week yet), with 37,000 of that sum driven by album sales (it debuts at No. 1 on Top Album Sales). SEA units comprise 2,000 of the set’s total for the week (equaling 2.77 million on-demand official streams of the set’s songs), while TEA units comprise a negligible sum.
The album was released on vinyl for the first time on April 4, marking its first release on any physical format. It had previously only been available to purchase as a digital download, and via streaming services. Vinyl sales comprise essentially all of the set’s 37,000 copies sold in the latest tracking week – the sixth-largest sales week for a vinyl album in 2025.
Since its release in May 2022, the album’s songs have collected 229.73 million on-demand official streams in the U.S. The No. 10 debut of Preacher’s Daughter marks Cain’s second appearance on any Billboard chart, following a one-week appearance on the now-defunct TikTok Billboard Top 50 in January with the album’s “Strangers.”
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.
Elton John and Brandi Carlile’s Who Believes In Angels? has hit No. 1 in the Official Albums Chart, giving the former his 10th chart-topper in the U.K (April 11). The Andrew Watt-produced record was written and recorded by John and Carlile alongside John’s longtime songwriting partner Bernie Taupin. The collaborative record is Carlisle’s maiden No. […]
Alex Warren’s “Ordinary” has earned its fourth consecutive week at No. 1 on the U.K. Singles Chart, staving off competition from Ed Sheeran’s comeback track “Azizam” (April 11). Sheeran ends the week at No. 3, but looks set to be a fierce competitor to Warren’s crown over the next seven days. The “Bad Habits” singer has […]
Jason Aldean rings up his milestone 40th top 10 on Billboard’s Country Airplay chart as he hoists “Whiskey Drink” three spots to No. 8 on the list dated April 19. The song rose by 8% to 18.6 million audience impressions April 4-10, according to Luminate.
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The single, which Kurt Allison, Jonathan Edwards, Tully Kennedy and John Morgan co-wrote, is from Aldean’s LP Highway Desperado. In November 2023, the set arrived as his 12th top 10 on Top Country Albums.
Aldean has the eighth-most Country Airplay top 10s since the chart launched in 1990. Kenny Chesney, Tim McGraw and George Strait are tied for first with 61 each. He also scores simultaneous Country Airplay top 10s for the first time. He’s featured on Morgan’s “Friends Like That,” which pushes 5-4 for a new best (24.3 million, up 10%).
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Aldean’s run of Country Airplay top 10s began in 2005 when “Hicktown” reached No. 10 that October. “Why” followed, becoming his first of 25 No. 1s in May 2006.
Moroney Is A-‘Okay’
Megan Moroney earns her second Country Airplay top 10 as “Am I Okay?” hops 13-10 (16.5 million, up 9%). The Savannah, Ga., native wrote the song with Jessie Jo Dillon and Luke Laird, and Kristian Bush produced it. The single is from Moroney’s same-named LP, which entered Top Country Albums at its No. 3 peak last July, marking her second top 10. Her Lucky hit No. 10 in May 2023.
Moroney notched her first Country Airplay top 10 with her rookie single, “Tennessee Orange” (No. 4, June 2023). She then added two top 20 hits: “Can’t Break Up Now,” with Old Dominion (No. 19, May 2024), and “I’m Not Pretty” (No. 14, July 2024).
Making Themselves at ‘Home’
LOCASH, the duo of Preston Brust and Chris Lucas, tops Country Airplay for a career-high second week with “Hometown Home” (29.9 million, down 1%). The act previously led with “I Know Somebody” for a week in October 2016.
On Dec. 20, 1984, Harry Belafonte placed a call to nonprofit consultant/music manager Ken Kragen in hopes of staging a concert to raise funds to fight hunger in Africa — specifically Ethiopia, where famine killed nearly 1 million people in 1983-84.Kragen, who managed Lionel Richie and Kenny Rogers at the time, thought that a supergroup charity single would make more of an impact.
Kragen initially planned to recruit a dozen artists for the song, but industry response was so enthusiastic (seemingly inspired by the success of the then-current “Do They Know It’s Christmas?,” a similar charity single by British and Irish stars that would soon hit No. 13 on the Billboard Hot 100) that 50 artists ended up in the group, dubbed USA for Africa (with the “USA” officially short for United Support of Artists).
Richie and Michael Jackson wrote the song, producer Quincy Jones assembled the artists at Hollywood’s A&M Studios in early 1985, and “We Are the World” was born.
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On April 13, 1985, the superstar-spangled single, released on Columbia Records, topped the Hot 100 in just its fourth week, becoming the chart’s fastest-flying No. 1 in nine years (since Elton John’s “Island Girl” also needed just four frames). It additionally ruled Billboard‘s Hot R&B/Hip-Hop Songs, Adult Contemporary and Dance Singles Sales charts and dented Mainstream Rock Airplay and Hot Country Songs.
As impressive as its chart performances were, “World” has also helped raise more than $100 million to fight famine. Decades later, the USA for Africa foundation continues to raise funds and awareness for multiple African causes.
The week that “World” took over the Hot 100, Billboard noted that the song was touching not only consumers, but Capitol Hill, as the Recording Industry Association of America had mailed 12-inch copies of the single to each member of Congress that March 29. “Three working days later,” Billboard reported, “the [RIAA] had received 51 letters and personal notes of congratulations and appreciation from the nation’s legislators, including a number of Senate and House leaders.”
One congressman “even enclosed a personal check to help in the all-star effort.”
After more than a decade of building one of Australia’s most beloved indie catalogues, Ball Park Music has officially reached the top.
The Brisbane five-piece scores its first-ever No. 1 album on the ARIA Albums Chart with Like Love, debuting at the summit on the chart dated April 11. It’s the band’s eighth studio album — and the first to reach the top spot after a long streak of near-misses. Until now, three of the band’s releases had stalled at No. 2: Puddinghead (2014), Ball Park Music (2020), and Weirder & Weirder (2022). Seven of their albums have landed in the top 10.
Like Love also claims a key milestone as the first Australian-made album to top the ARIA Albums Chart in 2025.
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The last local release to hit No. 1 was Kylie Minogue’s Tension II, which opened at the summit in late October 2024. That was one of six Australian albums to top the chart last year — an achievement that speaks to the rarity of homegrown titles hitting No. 1 in today’s global streaming-dominated landscape.
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The band will celebrate the release of Like Love with a massive 30-date tour across Australia and New Zealand, kicking off May 2 at the Forth Pub in Tasmania. The album was released independently via the band’s own label, and continues their streak of success as a self-managed, self-releasing act — a rarity in an industry dominated by major-label machinery.
In this week’s top three, Ball Park Music holds off strong international competition from Sabrina Carpenter’s Short N’ Sweet at No. 2 and Tate McRae’s So Close to What at No. 3.
Melbourne metalcore band Thornhill enters the ARIA Albums Chart at No. 4 with BODIES, continuing their upward trajectory. The band’s debut album The Dark Road peaked at No. 20 in 2019, followed by Heroine, which hit No. 3 in 2022.
Elton John also enters the chart this week at No. 26 with Who Believes in Angels?, a collaborative collection with Brandi Carlile. It marks his 42nd top 40 album in Australia. His first ARIA top 20 entry dates back to 1971’s Elton John (No. 2), and his last studio effort to crack the top 20 was The Lockdown Sessions, which peaked at No. 2 in 2021.
Folk legend and ARIA Hall of Fame inductee John Williamson also makes a new chart appearance at No. 51 with How Many Songs. The prolific songwriter has released over 20 studio albums and first hit No. 1 in 1989 with Warragul. He was inducted into the Hall of Fame in 2010 and remains one of Australia’s most enduring voices in country and folk music.
Over on the ARIA Singles Chart, Alex Warren’s breakout hit “Ordinary” holds the No. 1 position for a third straight week, continuing its impressive reign. Rosé and Bruno Mars’ collaborative single “APT” holds steady at No. 2, while Chappell Roan’s viral anthem “Pink Pony Club” climbs to a new peak of No. 3, up one spot from last week.
The highest new entry belongs to Ed Sheeran, whose latest single “Azizam” lands at No. 30. The track — the lead single from his forthcoming album Play — becomes Sheeran’s 51st top 40 single in Australia. He’s already claimed six No. 1 hits on the ARIA Singles Chart across his career.
Despite a strong week for international artists, just one Australian song appears in the ARIA Singles Chart’s top 50: Vance Joy’s enduring 2013 hit “Riptide,” which slips from No. 36 to No. 42.
HANA‘s “ROSE” blasts in at No. 1 on the Billboard Japan Hot 100, on the chart released April 9.
HANA is the seven-member group born from the BMSG x Chanmina girl group audition No No Girls. The brand-new group’s major-label debut single launched with 12,870 downloads (No. 2 for the metric) and 8,781,853 streams (also No. 2), while topping video views and coming in at No. 17 for radio airplay. Also, HANA’s pre-debut song “Drop” jumped 68-29 as a result of this release.
Mrs. GREEN APPLE’s “Lilac” continues to hold at No. 2. The Oblivion Battery opener has charted for 52 consecutive weeks (a year), and marks its 37th week in the top 3. The three-man band’s new single “KUSUSHIKI,” the opening theme song for the anime series The Apothecary Diaries Season 2 Part 2 debuts at No. 6 on the Japan Hot 100 this week, ruling downloads and coming in at No. 14 for streaming and No. 4 for video. The hitmakers continue to make their presence felt, taking up half the top 10 this week — “Darling” at No. 5, “Que Sera Sera” at No. 8, “Soranji” at No. 10 — and charting 18 songs in the top 100.
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AKB48’s “Masaka no Confession” bows at No. 3. The 65th single by the long-running girl group celebrating its 20th anniversary sold 512,791 copies in its first week to rule physical sales and came in at No. 45 for radio.
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Sakanaction’s “Kaiju” drops a notch to No. 4. The previous record for longest consecutive run in the top 10 by the three-man, two-woman band led by frontman Ichiro Yamaguchi was seven weeks with “Shintakarajima,” and “Kaiju” has now tied this record. “Shintakarajima,” the band’s hit from 2019, has re-entered the Japan Hot 100 for the first time in about 4 years and 10 months, with streams up to 101% compared to the previous week, radio to 239%, and video to 104%.
The No. 1 song for the radio metric this week is BILLY BOO’s “Rhapsody,” featured as the ending theme song for the anime show The Dinner Table Detective, and the track debuts at No. 77 on the Japan Hot 100. Meanwhile, as songs about cherry blossoms continue to climb the charts, Aimyon’s “Sakura ga Furu Yoru wa” re-enters after a year with streams gaining by 111%, radio by 308%, karaoke by 107%, and video also showing increase from the week before.
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 Mar. 31 to April 6, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
Lil Durk clinches a milestone 10th top 10 project on Billboard’s Top R&B/Hip-Hop Albums chart as Deep Thoughts opens at No. 2 on the list dated April 12. The set, released March 28 through Alamo Records, starts with 64,000 equivalent album units earned in the U.S. for the week ending April 3, according to Luminate.
Streaming activity fuels almost all of Deep Thoughts’ first week, with 63,000 units deriving from the sector, equaling 85.9 million official on-demand U.S. audio and video streams of the album’s songs. 1,000 units are from traditional album sales, with a negligible amount of track-equivalent unit (TEA) activity. (One unit equals the following levels of consumption: one album sale, 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams for a song on the album.)
Lil Durk, who is currently incarcerated amid federal murder-for-hire charges, lands his 10th top 10 effort two months short of his 10th anniversary on the Top R&B/Hip-Hop Albums chart. He arrived on the list dated June 20, 2015, when Remember My Name began at No. 2.
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Here’s a full review of the rapper’s top 10s on the Top R&B/Hip-Hop Albums chart:
Album Name, Artist (if other than Lil Durk), Peak Position, Peak DateRemember My Name, No. 2, June 20, 2015Lil Durk 2X, No. 5, Aug. 13, 2016Signed to the Streets 3, No. 8, Nov. 24, 2018Love Songs 4 the Streets 2, No. 2, Aug. 17, 2019Just Cause Y’all Waited 2, No. 2, July 11, 2020The Voice, No. 1 (two weeks), Jan. 16, 2021The Voice of the Heroes, with Lil Baby, No. 1 (one week), June 19, 20217220, No. 1 (five weeks), March 26, 2022Almost Healed, No. 1 (two weeks), June 10, 2023Deep Thoughts, No. 2 (to date), April 12, 2025
Elsewhere, Deep Thoughts launches at No. 2 on the Top Rap Albums chart and at No. 3 on the all-genre Billboard 200.
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Alongside Deep Thoughts’ debut, 14 of its tracks flood the Hot R&B/Hip-Hop Songs chart. “Vanish Mode” leads the pack with a No. 16 start and was the album’s most-streamed track for the week, at 7.9 million clicks. Of the 14 cuts, 11 make their debut, while “Turn Up the Notch” (No. 30) and “Monitoring Me” (No. 32) return for their second weeks on the list – after each charted for one week last October – and achieve new peaks. Lastly, “Can’t Hide It,” featuring Jhene Aiko, rallies 34-24 in its second week.
Welcome to Billboard Pro’s Trending Up newsletter, where we take a closer look at the songs, artists, curiosities and trends that have caught the music industry’s attention. Some have come out of nowhere, others have taken months to catch on, and all of them could become ubiquitous in the blink of a TikTok clip.
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This week: The biggest HBO drama gets big streaming numbers following its season finale, and a pair of new artists experience their first big TikTok breakouts.
‘White Lotus’ Finale, and Composer Controversy, Spur Streaming Gains
In a convergence of fictional and real-life drama, season 3 of the smash HBO series The White Lotus concluded on Sunday night (Apr. 6), during the same week in which creator Mike White engaged in a war of words with the series’ music composer Cristóbal Tapia de Veer, who announced last week that he would not returning for season 4. One conflict involved a shootout, the other included the phrase “b—h move” — and both produced significant streaming spikes for music related to the show.
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Without spoiling the end of season 3, Billy Preston’s “Nothing From Nothing” and Cathedral Singers’ “Lo, How a Rose E’er Blooming” are both featured prominently in the finale — and while “Nothing” earned 64,000 official on-demand U.S. streams on the day after the finale premiered (Apr. 7), up 353% from the previous Monday, “Lo” scored an even greater percentage bump, up 867% to 6,600 streams following the finale, according to Luminate. Meanwhile, Tapia de Veer’s “Enlightenment (Main Title Theme),” which introduced each of the eight episodes of the Thailand-set third season, doubled in daily streams following the finale, from 27,000 streams on Mar. 31 to 55,000 streams on Apr. 7. (“Renaissance (Main Title Theme),” the season 2 theme, was also up 74% week over week.)
This will likely be the final week in which a Tapia de Veer composition introduces a new episode of The White Lotus, but who knows? Maybe White and Tapia de Veer can pull a Jacqueline and Laurie, and hug it out on a day bed. – JASON LIPSHUTZ
Lululemon Gets Hip-Hop Approval With Viral TikTok Hit “Whim Whamiee”
Atlanta-based rappers Pluto and YK Niece have completely taken over TikTok – and the rest of social media – with their infectious, viral hit “Whim Whamiee.”
Released on Feb. 3, the song features a line nodding to Lululemon, the popular athleisure fashion brand that signifies relatively high status in certain social circles. On Feb. 19, TikTok user @lifeofjordan_ shared a clip dancing to “Whim Whamiee,” specifically the lines, “He want me bad, heard he a duck, can’t get no c–chie out the queen, put some Lulu on this butt” and the “Lululemoooon” ad-lib. His clip has since earned nearly 250,000 views, helping the song take off across the app. In the weeks that followed, those lines have continued to be the song’s most popular part, but Pluto’s “I’m talkin’ ’bout in it” ad-lib during YK Niece’s verse has also gained ample traction. Just five days after he posted his TikTok (Feb. 24), the Red Mic District dropped the official live performance video for “Whim Whamiee,” further boosting the song’s profile.
During the period of Feb. 28-Mar. 6 – a little over a week following @lifeofjordan_’s post — “Whim Whamiee” earned just over 247,000 official on-demand U.S. streams, according to Luminate. Streaming activity continued to rapidly increase, with the song earning over one million official on-demand U.S. streams during the week of March 14-20, according to Luminate. By the following week (March 21-27), that figure leapt 32% to 1.38 million streams, thanks, in part, to the release of the song’s official music video. The next week (March 28-April 3), “Whim Whamiee” streams exploded 84% to over 2.5 million streams. Over the past four weeks, streaming activity for “Whim Whamiee” has risen a gobsmacking 929%.
With everyone from Latto and Alabama Barker to JT and Flo Milli co-signing the “Whim Whamiee,” the song very well could become Gen Z’s very own Lululemon theme song. Just don’t tell its founder. — KYLE DENIS
Malcolm Todd Spins “Chest Pain” Into a Certified Hit
It’s been a journey for Malcolm Todd’s latest hit — nearly half a year, to be exact.
Todd first started teasing “Chest Pain (I Love)” in his live shows last winter, with a fan account sharing one of those clips (overlayed with a seemingly studio-quality snippet of the song) in a Nov. 15 TikTok that has since been viewed over 405,000 times on the app. Four days later, Todd used that fan’s sound to share a TikTok post of him in the recording studio. This particular sound showcases the second half of the chorus — in which he repeatedly sings “I love” — gifting TikTok it’s latest viral trend.
As he did with past singles like “Comfort Me,” Todd quickly inundated his TikTok following with posts soundtracked by “Chest Pain,” specifically the part of the chorus he teased in his initial snippet. The official “Chest Pain” TikTok sound currently boasts just under 400,000 posts, while the sound attached to his initial snippet currently plays in over 1.5 million clips. Users have since used the song to pay tribute to everything that they love – from pets and home-baked cookies to relationship green flags and volleyball.
“Chest Pain” finally landed on DSPs on Dec. 4, 2024, and found a home on Todd’s eponymous debut album, which dropped April 4. Building on the success of his previous single and TikTok’s eternal penchant for heartfelt ballads, “Chest Pain” earned over 1.23 million official on-demand U.S. streams during the week of March 14-20, according to Luminate. The following week (March 21-27), streams jumped 70% to 2.1 million. The week preceding his album release (March 28-April 3), streaming activity for “Chest Pain” leapt a jaw-dropping 153% to over 5.32 million streams.
Already having peaked at No. 2 on the now-defunct TikTok Billboard Top 50, “Chest Pain” now has its sights set on even grander (and active) Billboard charts. — KD
Leon Thomas’ “Mutt” is the top dog on Billboard’s Hot R&B Songs chart (dated April 12) as it leads the list with a 3-1 jump.
On the multimetric chart, which combines streaming, radio airplay and sales data, the single improves in the former two divisions, a week after reaching new milestones thanks partly to a remix with Chris Brown.
In the tracking week of March 28-April 3, “Mutt,” released on EZMNY/Motown/ICLG, registered 13.1 million official U.S. streams, according to Luminate, a 4% gain from the prior’s week total of 12.6 million. The increase keeps the track at No. 1 on the R&B Streaming Songs chart, for a second week at the summit, while it pushes 22-16 on the all-genre Streaming Songs list. It likewise wins a second term at No. 1 on the R&B Digital Song Sales chart despite a 19% loss in digital downloads to 1,500 for the week.
Turning to the radio market, “Mutt” captured 14.7 million impressions in all-format airplay audience, up 18% from the previous week. (All radio airplay, regardless of format, contributes to a track’s rank on the Hot R&B Songs chart.) Three formats provide most of the single’s radio reach: “Mutt” steps 7-6 on Adult R&B Airplay with a 7% boost in plays for the latest tracking week compared with the week prior, climbs 15-13 on Mainstream R&B/Hip-Hop Airplay (up 16%) and rises 38-36 on Rhythmic Airplay (up 30%). Led by those improvements, the track debuts at No. 47 on the all-genre Radio Songs chart.
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While “Mutt” is Thomas’ first entry as an artist on Hot R&B Songs, the multi-talent has appeared has co-written six previous hits on the chart, including Ella Mai’s “Not Another Love Song” (No. 9 in 2020), Bryson Tiller’s “Ciao” (No. 9, 2024) and SZA’s “Snooze,” which spent 32 weeks at No. 1 in 2023-24 and won Thomas his first Grammy Award, for best R&B song.
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Now with his own material, Thomas, who wrote “Mutt” in 2022, is making inroads across several charts. In addition to conquering the Hot R&B Songs chart, his breakthrough single leaps 10-5 on Hot R&B/Hip-Hop Songs and springs 28-21 on the all-genre Billboard Hot 100. Worldwide activity is up, too, with a 47-40 hop on the Billboard Global 200 and a 191-137 jump on the Billboard Global Excl. U.S. chart.
The song’s parent album of the same name, meanwhile, earns a fourth week on the Top R&B Albums chart, sliding 10-12 with 12,000 equivalent album units for the week (down less than 1%).