Chart Beat
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TOMORROW X TOGETHER lands its sixth No. 1 on Billboard’s Top Album Sales chart, as minisode 3: TOMORROW opens atop the tally (dated April 20). The set sold 103,500 copies sold in the U.S. in the week ending April 11, according to Luminate. Also, the top 10 welcomes debuts from Conan Gray, The Black Keys, Vampire Weekend, Khruangbin and J. Cole.
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.
TOMORROW X TOGETHER’s minisode 3: TOMORROW enters with 103,500 copies sold. Of that sum, physical sales comprise 101,500 (all from CD sales), while digital downloads comprise 2,000. The album’s sales were supported by its availability across 17 collectible CD editions (including exclusive editions sold by Barnes & Noble, Target and the act’s webstore), all containing randomized paper merchandise (but with the same audio tracklist). It was also issued across multiple digital download variations, including five iterations that each contained a different voice memo as a bonus track, plus an edition that boasted bonus remixes.
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Conan Gray notches his third top 10-charting effort on Top Album Sales as Found Heaven starts at No. 2 with 27,000 copies sold. It also matches his chart-high, as Kid Krow peaked at No. 2 in 2020. Vinyl sales powered more than half of the set’s first week (58%), with nearly 16,000 copies sold of the album across 10 vinyl variants (including exclusives for Amazon, Barnes & Noble, independent record stores, Target and Gray’s official webstore; the latter also offered a signed edition). The album also launches at No. 1 on the Vinyl Albums chart. Seven different iterations of the CD edition of the album were available (most with the same tracklist, just with different cover art) including one that was signed by the artist. Found Heaven was also issued as a standard digital download album, along with an alternative version, with different cover art, sold through the artist’s webstore.
Beyoncé’s Cowboy Carter falls to No. 3 after debuting at No. 1 a week earlier. The set sold 21,000 copies in its second week (down 88%). While Cowboy Carter’s CD and vinyl editions were available to purchase only via Beyoncé’s official webstore in the set’s first two weeks of release, those physical configurations became widely available to all retailers beginning on April 12. (The album has also been purchasable as a digital download, widely, since its release on March 29.)
The Black Keys’ Ohio Players debuts at No. 4 on Top Album Sales with 20,000 copies sold, marking the seventh top 10-charting effort for the band. The set was available in seven vinyl variants, a standard CD, standard cassette, standard digital download, and a deluxe boxed set containing branded merchandise (a T-shirt and sticker set) and a CD.
Vampire Weekend’s Only God Was Above Us bows at No. 5 on Top Album Sales, with 16,000 copies sold. It’s the act’s fourth top 10-charting effort and brings the group its first debut on the ranking since 2019’s Father of the Bride bowed at No. 1 (May 18, 2019 chart). The new album was available in four vinyl variants, a standard CD, standard download, and two deluxe boxed sets (each containing a branded T-shirt and a copy of the CD).
Khruangbin’s A La Sala steps in at No. 6 on Top Album Sales with 14,000 copies sold, garnering the act its fourth top 10-charting effort. 80% of the album’s first-week sales were from vinyl offerings, six in total. It was also issued as a standard CD, cassette and digital download.
J. Hope’s Hope On the Street, Vol. 1 falls 2-7 in its second week on the chart, with 9,000 sold (down 80%).
J. Cole’s Might Delete Later rounds out the six debuts in the top 10 on Top Album Sales, as the surprise release from the rapper bows at No. 8 with 9,000 sold (all from a standard digital download). It’s the seventh top 10-charting set for the artist.
Closing out the top 10 are a pair of former No. 1s from Taylor Swift, as Lover falls 3-9 (7,000; down 28%) and 1989 (Taylor’s Version) drops 4-10 (6,500; down 28%).
In the week ending April 11, there were 1.294 million albums sold in the U.S. (down 3.7% compared to the previous week). Of that sum, physical albums (CDs, vinyl LPs, cassettes, etc.) comprised 964,000 (down 3.3%) and digital albums comprised 329,000 (down 4.9%).
There were 525,000 CD albums sold in the week ending April 11 (up 1.4% week-over-week) and 433,000 vinyl albums sold (down 8.7%). Year-to-date CD album sales stand at 6.698 million (down 31.3% compared to the same time frame a year ago) and year-to-date vinyl album sales total 6.858 million (down 49.3%).
Overall year-to-date album sales total 18.177 million (down 36.8% compared to the same year-to-date time frame a year ago). Year-to-date physical album sales stand at 13.626 million (down 41.9%) and digital album sales total 4.551 million (down 14.5%).
Creepy Nuts’ “Bling-Bang-Bang-Born” extends its stay atop the Billboard Japan Hot 100 to 12 weeks on the chart dated April 17.
While downloads for the MASHLE Season 2 opener dropped to No. 5, the hip-hip track continues to hold the top spot for streaming, video views, and karaoke.
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Kenshi Yonezu‘s “Sayonara, Mata Itsuka!” (“goodbye, see you again sometime”) debuts at No. 2 this week. The latest track by the J-pop hitmaker is currently being featured as the theme song for the latest installment of the historic NHK morning drama series entitled The Tiger and Her Wings. After being digitally released April 8, the song racked up 39,275 downloads in its first week, surpassing the 34,423 downloads of its predecessor “Spinning Globe.” “Sayonara” also debuts at No. 8 for streaming and No. 5 for video, also a better start than the previous single. The 33-year-old singer-songwriter’s previous No. 1 hits “KICK BACK” and “Lemon” rise 75-72 and 98-82 respectively, possibly influenced by the release of this new track.
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Bowing at No. 3 is “Chance wa byodo” (“chances are equal”) by Nogizaka46. The J-pop girl group’s 35th single went on sale April 10 and hit No. 1 for sales with 713,872 copies sold in its first week, while also coming in at No. 15 for downloads and No. 14 for radio. The song’s first-week sales was about 20,000 copies more than the group’s previous single, “Monopoly.”
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Number_i’s “Blow Your Cover” debuts at No. 5 on the Japan Hot 100, after hitting No. 1 for radio, No. 2 for downloads, and No. 7 for video. Number_i took the stage at Coachella for the first time on Sunday (April 14), performing “FUJI” and “GOAT,” the latter including a surprise collaboration with Jackson Wang.
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Mrs. GREEN APPLE’s “Lilac” debuts at No. 11. The opener for the anime Oblivion Battery comes in at No. 4 for downloads, No. 15 for streaming, and No. 8 for video.
In other Japan chart news, Hikaru Utada’s songs off her latest best-of album Science Fiction, which topped all the album charts this week, also moved up the song chart. “Traveling” is at No. 27, “First Love” at No. 43, and “automatic” at No. 80.
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 April 8 to 14, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Banda MS achieves a regional Mexican radio takeover as “Tu Perfume” rises 2-1 to lead the Regional Mexican Airplay ranking dated April 20. With the lift, Banda MS breaks from a tie with Intocable for the second-most No. 1s on Regional Mexican Airplay overall, for the band’s 20th champ, since the list launched in 1994. […]
How did an oddball pop song versed in queer theory get on the Billboard Hot 100? Specifically, how did Chappell Roan, a rising lesbian pop star, get on the Hot 100 for the first time and break the “gay famous” ceiling (as SNL puts it) seemingly preventing likeminded acts MUNA and Girl in Red from crossing over to the main chart?
With nearly seven million streams in its first week and a stint in the Spotify Top 10, Chappell Roan’s spry new single “Good Luck, Babe!” has the makings of a runaway hit – No. 77 may not seem like a particularly impressive debut if you’re an A-lister, but for someone who’s been in and out of the major label system for almost a decade, it’s a noteworthy, well-deserved breakthrough. It helps when you have a touring slot with Olivia Rodigo, a cannily timed Tiny Desk concert, and a Coachella performance that, unlike a certain other Coachella set, went viral for the right reasons. In the midst of this, maybe any new song from her would have charted, but it matters that “Good Luck, Babe” is the one that did, and the one that may continue rising even further next week as her upward trajectory continues.
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To understand how we got here, it’s important to know Roan’s perilous journey, encompassing all big three major labels. Born in Missouri and raised in a conservative Christian household, she was signed to Warner’s Atlantic Records and positioned as the next Lorde after a video of her 2017 single “Die Young” went viral, and moved to L.A. to pursue her pop career. When “Pink Pony Club” came out in April 2020, Atlantic didn’t know what to do with an off-kilter gay club song in the middle of lockdown, and promptly dropped her.
After a brief stint back home, she moved back to L.A., releasing her next few singles through Sony’s indie distribution arm AWAL. It’s here where she further developed her long-term partnership with “Pink Pony Club” producer Dan Nigro (then blowing up from his work with Olivia Rodrigo), who produced singles like 2022’s ebullient sexual awakening anthem “Naked in Manhattan.” Nigro ultimately signed Roan to his Amusement Records imprint in 2023, with an Island Records contract shortly following. Up until last summer, she was still working at her old sleepaway camp, teaching songwriting while living a double life as a pop star influenced by drag; Roan frequently compares herself to Hannah Montana because of this duality.
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It wasn’t until her Island-released debut last year, The Rise and Fall of a Midwest Princess, that Roan emerged fully formed. She immediately gained a following among the kinds of pop superfans who champion Rina Sawayama and Caroline Polachek – neither of whom have charted on the Hot 100, but both of whom have successful careers anyway. What set Roan apart was how unapologetically fun and silly her music was; there’s not another pop musician right now on any level of fame that will open an album with a song called “Femininomenon” and include the line “get it hot like Papa John” in the chorus. Her lyrics were frank about her sexuality, particularly in a viral line from Midwest Princess song “Red Wine Supernova”: “I heard you like magic? I got a Wand and a Rabbit!” Yet there’s also a goofy down-to-earth quality – in the same song, she cheekily boasts about her twin-sized bed and her roommates, who cheerfully interject “don’t worry, we’re cool!”
Roan’s mischievous theatricality made her an apt fit to open Olivia Rodrigo’s Guts tour; the two don’t just share a producer but a bratty spirit. From there, her momentum picked up, culminating in a Tiny Desk concert and an acclaimed performance at Coachella. With Spotify streams steadily increasing, the end of her trek with Rodrigo was the best possible time to drop a new song, but an unlikely one for a relative risk like “Good Luck, Babe.”
What makes “Babe” fascinating is that it’s hard to place; online pundits have compared it to Kate Bush, Wham!, and recent alt-rock crossovers The Last Dinner Party. With its slower tempo and straightforward arrangement, it’s closer to the lo-fi alt-pop charters like Steve Lacy’s “Bad Habit” or even Clairo’s “Sofia” than Roan’s usual music. But the best comparison might be Cyndi Lauper; it’s the big voice, the big hair, and of course, the big choruses. Lauper didn’t have a more mature midtempo song until “Time After Time” was a last minute addition to her debut She’s So Unusual, and that became her first Hot 100 No. 1. While it announces a “new chapter” for Roan, (and while Lauper already had a massive hit with “Girls Just Wanna Have Fun”), “Good Luck Babe” functions similarly for Roan, showing a previously unseen depth to her sound.
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The actual content of the song finds Roan breaking up with a girl not ready to come out. Written quickly in a fit of rage, the song follows Roan warning this girl that she’ll be unhappy if she denies her own emotions: “you have to stop the world just to stop the feeling,” she sings. Her, Nigro and ultra-successful queer songwriter Justin Tranter then spent months hammering away at the song, even if it’s hard to tell from a cursory listen. It’s noticeably lighter on its feet than the maximalism of Midwest Princess; the percussion is limited to a drum machine, and there are no gang vocals or cheerleader chants. In the past, Roan might have been swallowed up by Dan Nigro and company’s production, but here she has room to breathe and gets to show off her impressive falsetto in the chorus. It’s that accessible quality that might have allowed “Babe” to better connect with listeners.
It’s not just a culmination for Roan, but a mainstream moment for a concept mostly known to queer theorists and Tumblr addicts up to this point. Compulsory heterosexuality, coined in 1980 by Adrienne Rich, is a term describing the societal imposition of heterosexuality on women. Online sapphics of a certain age might know the concept because a Google Doc circulated for those questioning their orientation; the infamous “‘lesbian’ masterdoc, which fellow queer icons Kehlani and Renee Rapp have alluded to in interviews. Those themes become vital to understanding “Good Luck Babe”, where Roan is a casualty of her ex lover’s comphet, and knows the other person isn’t happy: “You can kiss a hundred boys in bars/ Shoot another shot, try to stop the feeling.”
Rapp’s own Tranter co-write “Pretty Girls” mines similar territory for laughs (“Yeah, that bitch is gay”, Rapp quips at the end), but Roan’s is mired in a sincere grief and worry for the other person. Most of the song is closer to tough love than an outright diss, making it easy to be in both people’s shoes — the jilted lover, and the scared, closeted ex. Roan even tweeted “good luck, bitch” at an image of her past, pre-drag self, alluding to her own history with overcoming comphet. She said herself last year that though she was dating a woman, she was too scared to kiss that woman in public.
That’s not to say the song is wholly gentle: the bridge depicts her ex in a loveless, empty marriage to a man, “nothing more than his wife.” At the end of the bridge, Roan roars “I told you so,” and it’s the rawest moment in anything she’s released so far. “Babe” comes into the world in the midst of both increasing acceptance of LGBTQ people and a severe anti-LGBTQ backlash; it’s hard to blame someone for being too scared to come out, and behind the lyrics about this “sexually explicit love affair,” Roan clearly knows it. She’s not gloating at that ex, she’s angry at the ex not taking the leap with her, while understanding how it feels to hide in the closet. After a series of frothy pop songs, embracing more complex emotions might have been the push she needed all along. She wouldn’t be the first person in recent years to hit it big by getting messy — there’s a reason she’s opening for Olivia Rodrigo, after all.
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Due to UMG’s TikTok feud, there’s no official sound clip available on the app, but like songs by some UMG contemporaries, the song is going viral anyway: true to its message, “Babe” is persevering through any external forces that may impact it. With her recent success, Island is positioning Roan not as a cult fave, but as a pop star, period. Tellingly, Roan currently has multiple songs scaling Spotify’s Daily Top Songs USA chart – with “Supernova” even climbing into the top 50 – showing that this is not a fluke, but a full-on femininomenon phenomenon.
There’s a lot to learn from Roan’s success. She didn’t pander to TikTok or get lucky on Spotify algorithms (though TikTok obviously played a huge role), she just had a label that knew how to use her and a live show that sparked genuine word-of-mouth. The hardest part of the music industry at all levels is getting people to care about your music, and Roan has given audiences reasons to care – whether it’s the music, the over-the-top aesthetic, or the inspiring backstory of a woman from Missouri coming to terms with her identity.
With “Good Luck, Babe”, those fans are finally being rewarded, but it’s bigger than just one great song by one promising artist. Along with Rapp and Victoria Monet, Roan leads a new class of young queer pop stars garnering fame without compromise, and it’s not a huge stretch to imagine this being the rising tide that finally gets their gay contemporaries the success they deserve. Not even stopping the world will stop them.
Alek Olsen’s “Someday I’ll Get It” ties Flo Milli’s “Never Lose Me” for the most consecutive weeks at No. 1 on the TikTok Billboard Top 50 chart, reigning for a fourth straight frame on the April 20-dated survey.
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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 April 8-14. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50. As previously noted, titles that are part of Universal Music Group’s catalog are currently unavailable on TikTok.
The reign of “Someday I’ll Get It” continues to mostly revolve around its previously discussed loss-based trend featuring deceased pets or family members, though more recent clips – still featuring animals – might also end on a decidedly happier note, too.
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The song concurrently accrued 3.2 million official chart-eligible U.S. streams toward the April 20 Billboard rankings (April 5-11); it falls to No. 25, after hitting a new peak of No. 18 the previous week, on the multimetric Hot Rock & Alternative Songs list.
Each of the weeks the song has ruled the TikTok Billboard Top 50, it’s had a different song at No. 2. That trend continues on the latest tally, with YG Marley’s “Praise Jah in the Moonlight” leaping 14-2. That’s a new peak for the reggae song, after a previous best of No. 7 on the April 6 chart.
The dog that’s the subject behind the TikTok account vikingo606 helps spur some renewed interest in “Praise Jah in the Moonlight” on the latest chart thanks to an April 11 upload asking, “y cuantos likes se gana mi carita? (and how many likes does my face earn?),” referencing other POV-style videos uploaded to the sound that have racked up big numbers on the platform (vikingo606’s boasts 9 million favorites so far).
G-Eazy’s “Lady Killers II,” No. 2 on the April 13-dated survey, falls to No. 3, followed by Artemas’ “I Like the Way You Kiss Me” at No. 4, a new peak after reaching No. 7 a week prior. That’s concurrent with a continued increase in chart-eligible U.S. streams, jumping 12% to 18.8 million listens (enough to boost it into the top 20 of the Billboard Hot 100, leaping 23-16).
The biggest debut of the week on the TikTok Billboard Top 50 belongs to Lay Bankz’s “Tell Ur Girlfriend,” which debuts at No. 11. The song was released in February but lands on the ranking via a dance trend incorporating its chorus. The viral dance helps the song balloon in chart-eligible U.S. streams, skyrocketing 94% to 5.7 million April 5-11. As a result, it debuts at No. 45 on the Hot R&B/Hip-Hop Songs list, her first appearance there.
The April 8 solar eclipse seen across North America boosts Bonnie Tyler’s “Total Eclipse of the Heart” onto the chart, bowing at No. 13. A four-week No. 1 on the Hot 100 in 1983, Tyler’s classic was oft-used during the eclipse on social media, with TikTok videos using it to soundtrack footage of the phenomenon, memes and more.
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.
Just three months after he last commanded Billboard’s Latin Airplay chart, Bad Bunny is back in charge as his single “Perro Negro,” with Feid, jumps 2-1 to rule the April 20-dated ranking. It’s Bad Bunny’s 25th No. 1 and Feid’s sixth.
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On the overall Latin Airplay ranking, “Perro Negro” moves ahead of Eladio Carrión’s “TQMQA,” after accruing 9 million audience impressions in the U.S., a 5% gain, in the week ending April 11, according to Luminate. As “Perro Negro” trades places with “TQMQA,” the latter falls to No. 2, after one week in charge, with 8.8 million impressions, that’s an 8% dip from the previous week.
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“Perro Negro” earns the gold medal for its first week and joins 13 other songs that hit No. 1 in 2024. Notably, only three out of those rulers secured two weeks or more atop (including Maluma and Carin León’s “Según Quién” which ruled for four weeks between 2023-24) while the other 10 rulers passed on the crown after only one week in charge. Here’s the updated look at those 2024 champs:
Title, Artist, Weeks at No. 1“Según Quién,” Maluma & Carin León, four“Bubalu,” Feid & Rema, two“Monaco,” Bad Bunny, one“Harley Quinn,” Fuerza Regida & Marshmello, one“La Diabla,” Xavi, two“Borracho y Loco,” Yandel & Myke Towers, one“La Falda,” Myke Towers, one“Qlona,” Karol G & Peso Pluma, one“Por El Contrario,” Becky G with Leonardo Aguilar & Angela Aguilar, one“No Es Normal,” Venesti, Nacho & Maffio, one“Baccarat,” Ozuna, one“Puntería,” Shakira & Cardi B, one“TQMQA,” Eladio Carrión, one“Perro Negro,” Bad Bunny & Feid
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“Perro Negro” becomes the fourth song from Bad Bunny’s Nadie Sabe Lo Que Va a Pasar Mañana to hit No. 1 on Latin Airplay, following one-week rulers “Where She Goes” (August 2023), “Un Preview” (Dec. 2023) and “Monaco” (Jan. 27-dated list).
Benito’s Latin Airplay chart run began with the No. 1-peaking “Mayores,” with Becky G, on the Feb. 17, 2018-dated survey. He’s placed at least two No. 1s every year since then, for a total of 25 career rulers out of 47 entries on the ranking. Bad Bunny has the fifth-most No. 1s on Latin Airplay, with J Balvin in the lead with 36 leaders.
Notably, Bad Bunny boasts his longest-leading No. 1s on Latin Airplay through two collabs with acts outside of his core Latin rhythm genre: “Mia,” featuring rapper Drake, and “Un X100to,” with regional Mexican Grupo Frontera, both for six weeks in charge in 2018-19 and 2023, respectively.
Feid, meanwhile, boasts his sixth No. 1 on the radio ranking.
Elsewhere, “Perro Negro” rebounds 6-5 on the multi-metric Hot Latin Songs, which combines airplay, streams, and downloads, following two weeks at its No. 2 high beginning last November. The song dips 10-11 on Latin Streaming Songs despite a 1% gain in streaming, to 4.8 million during the tracking period.
“In Him There Is No Sorrow” by Donald Lawrence & Co., featuring Twinkie Clark and Yolanda Adams, rises to No. 1 on Billboard’s Gospel Airplay chart (dated April 20).
During the April 5-11 tracking week, the single advanced by 16% in plays, according to Luminate.
The song was originally recorded by Clark in 1981. The singer (known off stage as Elbernita Clark) is a member of gospel group The Clark Sisters, comprising siblings Dorinda Clark-Cole, Jacky Clark Chisholm, Karen Clark Sheard and Twinkie Clark. (The act was first a quintet; Denise Clark Bradford left in 1986.)
“In Him There Is No Sorrow” is from the album Donald Lawrence Presents Power: A Tribute to Twinkie Clark, released in September 2023. The set, which contains eight songs, is a reimagined version of Clark’s early 1981 solo album, Ye Shall Receive Power.
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Lawrence banks his sixth Gospel Airplay chart-topper and first since “Deliver Me (This Is My Exodus),” with his choir, Tri-City Singers and Le’ Andria Johnson, ruled for five weeks in 2019. His first and longest-leading, No. 1, “The Blessing of Abraham” with the Tri-City Singers, reigned for 18 frames in 2006.
Clark earns her first Gospel Airplay No. 1 as a solo artist. She previously peaked as high as No. 14 in 2005 with “He Lifted Me.” The Clark Sisters have notched three leaders among four top 10s, most recently reigning in May 2021 with “His Love,” featuring Snoop Dogg.
Plus, Adams tops Gospel Airplay for a second time, after “Be Blessed” dominated for three frames starting in August 2005. Her latest No. 1, among six top 10s, marks her first entry since 2015, when she featured on Israel & New Breed’s “How Awesome Is Our God,” which reached No. 6.
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 April 27), Future and Metro Boomin look to go two for two at No. 1 with their We Still Don’t Trust You album, following March’s chart-topping We Don’t Trust You team-up.
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Future & Metro Boomin, We Still Don’t Trust You (Freebandz/Boominati/Epic/Republic): Part of the reason that We Don’t Trust You generated the immediate excitement that it did – including a No. 1 debut on the Billboard 200 with a then-2024-best 251,000 first-week units – was because fans knew it was just part one of two for Future and Metro Boomin. The superstar hip-hop duo also promised a follow-up just a few weeks later, and as of last Friday, it is here: We Still Don’t Trust You, the big-budget sequel to their March blockbuster, featuring the same rapper-producer chemistry and the same stacked (though uncredited, at least initially) guest list as its predecessor.
Still actually runs well longer than its earlier series installment, with an 18-song official tracklist and then a seven-track bonus set – like a deluxe edition that Future and Metro didn’t even wait to drop on fans. And the supporting cast is perhaps even stronger this time around, with the 25 total tracks boasting cameos from The Weeknd, Lil Baby, Chris Brown, A$AP Rocky, Ty Dolla $ign, and of course, J. Cole – whose appearance is particularly headline-making news, given his (brief) involvement with the ever-expanding hip-hop civil war kicked off by Kendrick Lamar’s pot-stirring verse on the prior Future/Metro set’s Billboard Hot 100-topping “Like That.”
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Despite the expanded tracklist and guest list, it seems unlikely that Still will debut with the same sort of robust first-week number as the original Trust. On DSPs, the set’s songs are not streaming quite as resoundingly – in fact, on the daily charts for both Spotify and Apple Music, the top two Future and Metro songs are currently “Like That” and “Type Shit,” both from their March release. Nonetheless, songs from Still are still scattered across both listings – led by the set’s pulsing neon title track, its leadoff cut – and with the whopping 25 tracks to rack up streams, it’s still in prime position to compete for the No. 1 spot on next week’s Billboard 200. (And with three different CD versions set for release this Friday – vinyl will follow in July – it may remain in the mix for the following week as well.)
Linkin Park, Papercuts (Warner/Machine Shop): It’s been a big year already for Linkin Park, with their new-old single “Friendly Fire” topping the Rock & Alternative Airplay chart, and an upcoming biography on the band announced for October, written by Billboard’s own Jason Lipshutz. On Friday, they also released their first-ever hits compilation Papercuts, a 20-track set spanning the band’s 20-plus-year career — which still seems as relevant and vital as ever in 2024, even six years after the death of lead singer Chester Bennington.
In addition to signature smashes like “In the End,” “Numb” and “What I’ve Done,” Papercuts includes “Friendly Fire” (originally recorded for 2017’s One More Light), as well as last year’s rock radio-dominating “Lost” (originally recorded for 2003’s Meteora), and the limitedly available “QWERTY” (previously released on 2006’s fan club-only LP Underground 6.0 EP). While racking up the usual streams for these metal and alternative classics, the set is also expected to post strong sales, thanks to the availability of eight different-colored vinyl variants, including exclusives for Target, Barnes & Noble, Walmart and the band’s official store, as well as CD and cassette options.
Maggie Rogers, Don’t Forget Me (Debay Sounds/Capitol): Five years after her debut album Heard It in a Past Life turned heads with its No. 2 debut on the Billboard 200 – eventually leading to a best new artist Grammy nomination for the Maryland singer-songwriter – Maggie Rogers appears to be bigger than ever. Her recently announced Don’t Forget Me tour for the spring and summer will feature her first-ever arena shows in its second leg, including dates at New York’s Madison Square Garden and Los Angeles’ Kia Forum.
Those shows will, of course, come in support of her third album of the same name: Don’t Forget Me was released last Friday, and has been met with some of her best reviews yet. The set is not expected to stream in blockbuster numbers, but should sell well, with five different vinyl variants – including exclusives for Spotify and indie retailers, and a signed edition sold through her webstore, as well as a CD (also available in a signed webstore edition) and a cassette option.
IN THE MIX
Chris Brown, 11:11 (RCA/CBE): Brown’s late 2023 set 11:11 was already packed to the gills, with its title referencing the number of tracks on each of the album’s two streaming-divided halves, including minor Hot 100 hits like “Sensational” and “Summer Too Hot.” But the set’s new deluxe edition adds a new third stretch with 13 new cuts, taking the total from 22 to 35, including new collabs from recognizable names like Bryson Tiller, Lil Wayne and (again) Davido. (Neither the original nor deluxe edition is yet available for what would surely be an unwieldy physical release.)
Lana Del Rey, Did You Know That There’s a Tunnel Under Ocean Blvd (Polydor/Interscope): Seems like Lana Del Rey will never run out of vinyl reissues of her acclaimed 2023 set, and in this case the timing makes particular sense: She offered a new “festival orange” pressing of Ocean Blvd to go with her Friday night headlining slot at weekend one of the Coachella Valley Music and Arts Festival over the weekend. The reissue should sell nicely, and the album will also be helped by the general boost in streaming her buzzy set has given her catalog for the days since – assisted by an appearance from fellow alt-pop superstar (and longtime LDR acolyte) Billie Eilish.
Welcome to Billboard Pro’s Trending Up column, 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. This week: The first weekend of Coachella spurs gains for a lot of the biggest and most ascendant names involved, while songs that soundtracked the biggest moments of Wrestlemania XL also see big bumps, a Cowboy Carter collaborator has his first solo breakout hit and more.
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New Peaks in the Coachella Valley: Streaming Bumps for Lana Del Rey, No Doubt, Sabrina Carpenter & More Weekend One Performers
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Coachella Season was once again upon us this past weekend, as hundreds of thousands of music fans flocked to the desert in Indio, Calif. to see many of the best and brightest performers in pop, rock, dance, hip-hop and more. While this year’s festival saw a little less hype (and was reported to have slower ticket sales) than some past incarnations, many of the key artists involved still saw big bumps in streaming consumption following their buzzed-about performances.
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Friday (Apr. 12) headliner Lana Del Rey saw a 36% rise in official on-demand U.S. streams over the following Saturday to Monday compared to that period from the previous week, climbing from 19.4 million streams to 26.4 million, according to Luminate. Breakthrough hit “Video Games” was one of her biggest beneficiaries, rising 70% to nearly 1.2 million streams, thanks to Del Rey bringing out fellow alt-pop superstar Billie Eilish for her Coachella performance of it — then returning the favor by dueting with Eilish on her own breakout single, “Ocean Eyes” (up 21% to 1.5 million). Saturday headliner Tyler, the Creator also saw a Sunday-to-Monday bump from the prior week, with his catalog increasing 20% to 13.5 million streams. (Sunday headliner Doja Cat was down overall in streams, due to her having released her Scarlet 2: Claude deluxe edition the week before.)
In addition to those headliner bumps, a number of the reunited ’90s rock acts on the undercard for Saturday also saw major gains. Of those, No Doubt easily saw the biggest, with their overall catalog leaping 85% (from 1.4 million to 2.6 million) over Sunday and Monday from the previous week — with their “Bathwater,” performed with a special cameo from pop-rock superstar Olivia Rodrigo, seeing a particularly notable spike (up 450% to 113,000 streams). No Doubt’s ’90s ska-punk peers Sublime, who assembled on Saturday with late original lead singer Bradley Nowell’s son Jakob taking vocal duties for the first time, also saw a more modest bump for their catalog over that period (up 19% to 4.6 million streams), as did Britpop greats Blur (up 27% to 770,000).
It wasn’t just the established veterans seeing the catalog spikes for the weekend, though. Still-rising pop star Sabrina Carpenter had one of the best-received sets on Friday, not only helping her just-released single “Espresso” score her best numbers for a new song to date (9.9 million streams between Apr. 12-15), but also offering a major bump for the rest of her catalog — which was up 41% from the previous week to 10.4 million streams over the three days following her set, not counting the “Espresso” numbers. Meanwhile, Chappell Roan‘s breakout spring just kept rolling, with her catalog streams rising 52% to 14.6 million over Saturday to Monday from the previous week, following her Friday performance. And Reneé Rapp‘s headline-capturing Sunday set also resulted in a 33% bump from the prior week for her catalogue that Monday, climbing to 1.4 million streams. – ANDREW UNTERBERGER
WrestleMania XL Lights Up Tracks from The Weeknd and Nothing More
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As wrestling fans continue to bask in the glow of WrestleMania XL (April 6-7), so do songs featured prominently at the blockbuster event. Both The Weeknd’s “Gasoline” and Nothing More’s “If It Doesn’t Hurt” posted impressive streaming gains during WrestleMania week.
“Gasoline,” a single from the pop superstar’s 2022 Dawn FM album that peaked at No. 29 on the Billboard Hot 100, pulled over 560,000 official on-demand U.S. streams during the period of April 5-11, according to Luminate. That marks a 72% increase from just over 320,000 streams during March 29-April 4. “Gasoline” marks the fifth consecutive Weeknd song to be selected as the WrestleMania theme. Past Weeknd selections include “Less Than Zero” (2023), “Sacrifice” (2022), “Save Your Tears” (2021) and “Blinding Lights” (2020).
At the top of the year (Jan. 19), Grammy-nominated hard rockers Nothing More launched “If It Doesn’t Hurt” as a standalone single. During the week of WrestleMania (April 5-11), where “Hurt” was used in a hype package video for the much-anticipated Rhea Ripley vs. Becky Lynch match, the song collected over 580,000 official on-demand U.S. streams, posting a whopping 132% gain from around 253,000 streams the week prior.
According to Deadline, WrestleMania XL was Peacock’s most-streamed entertainment event ever, garnering jaw-dropping 1.3 billion live minutes across April 6 and 7. Clearly, some of those viewers made their way to favorite music streaming platforms after hearing those theme songs for two action-packed nights in a row. – KYLE DENIS
Shaboozey’s Boozy New Single Is Already a Breakout Hit
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Along with the multiple country legends who swung by or got shouted out on Cowboy Carter, Beyoncé’s latest blockbuster also featured a handful of rising artists as collaborators, receiving the most coveted type of co-sign by popping up on a Queen Bey track list. Shaboozey arguably received the biggest showcase of any of the guest artists by appearing on two songs from the Billboard 200-topping set, as the rising country singer-songwriter swung by “Spaghettii” and “Sweet / Honey / Buckiin’” and quickly expanded his profile one decade into his recording career.
Not wanting to sacrifice any of the Cowboy Carter momentum, Shaboozey returned last Friday (Apr. 12) with “A Bar Song (Tipsy),” a clap-along country anthem designed for bleary-eyed TouchTunes plays. The Beyoncé Bump helped the single score seven-figure streaming totals in its first four days of release, debuting with 1.63 million U.S. on-demand streams on Friday (according to Luminate), and racking up 5.66 million streams through Monday — along with nearly 6,000 in digital song sales, a tremendous number for a song by a newer artist over just for days.
Meanwhile, “Tipsy” — J-Kwon’s eternal 2004 hip-hop smash, which reached No. 2 on the Hot 100 — was revived in “A Bar Song (Tipsy)” via interpolation, and is enjoying a slight streaming bump of its own following the Shaboozey single release. “Tipsy” earned 413,000 streams from Apr. 12-15, up 8% from the same four-day period during the previous week (383,000 streams from Apr. 5-8), as listeners likely played it one time, then ran it back from the two to the three to the four times. – JASON LIPSHUTZ
GloRilla Guns for Third Concurrent Hit With Fast-Rising Big Boogie Collab “Bop”
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Between “Yeah Glo!” and the Megan Thee Stallion-assisted “Wanna Be,” GloRilla has the first half of the year on lock. Now, with her catchy Big Boogie collaboration “Bop,” she’s looking to add another 2024 hit to her arsenal.
During the period of April 12-15, “Bop” earned slightly over one million official on-demand U.S. streams, ballooning 43% from just under 730,000 streams during April 5-8. The song’s growth has been spurred by a dance trend created by TikTok user @curvejso. The infectious choreography is set to the very end of GloRilla’s guest verse and the entirety of her hook.
Although the sound that played in the video that kickstarted the trend is no longer available, several “Bop” sounds have found traction on TikTok. A fan-uploaded snippet of the sound boasts over 16,000 posts on the platform, and another user-uploaded snippet (which soundtracks a different dance trend) plays in over 4,000 posts. Should the dance trend continue to turn into streaming gains, Big Boogie could be in for his very first Hot 100 entry with “Bop.” — KD
Young Miko attains a new milestone in her Billboard chart career as her full-length debut, Att., opens at No. 9 on Top Latin Albums and at No. 4 on Latin Rhythm Albums (dated April 20).
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Released April 5 via The Wave Music, the set earned 10,000 equivalent album units in the U.S. in the tracking week of April 5-11, according to Luminate.
On Top Latin Albums and Latin Rhythm 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.
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Of Att.’s opening sum, 9,000 derive from SEA, a figure that equates to 12.5 million official U.S. audio and video streams of the album’s songs. Album sales contribute 1,000 of the remaining units, with a negligible amount of activity from track-equivalent units.
With Att. Young Miko earns her first top 10 effort on any Billboard albums chart, after scoring eight song entries across Billboard’s rankings, including the No. 2-peaking “Fina,” with Bad Bunny, on Hot Latin Songs, which combines radio airplay, streaming data, and digital downloads. The track concurrently reached No. 6 high on the all-genre Billboard Global 200 last October.
As Att. bows in the top 10 on Top Latin Albums, Young Miko becomes the third artist to debut in the top 10 with their first entry in 2024, after Oscar Maydon’s Distorción (No. 9 launch, Jan. 6) and Luis R. Conriquez’ Corridos Bélicos, Vol. IV, (No. 5, Jan. 20).
Plus, Young Miko marks the first time a woman debuts in the top 10 on Top Latin Albums on her first try since Selena Gomez’s Revelación (EP) debuted at No. 1 in March 2021.
Further, Young Miko joins seven other women who have scored a top 10 debut on Top Latin Albums this decade. Here’s the recap, which includes triple and double debuts by Karol G and Becky G, respectively:
Artist, Title, Debut Date, Debut Position
Selena Gómez, Revelación (EP), March 27, 2021, No. 1
Karol G, KG0516, April 10, 2021, No. 1
Rosalia, Motomami, April 2, 2022, No. 3
Becky G, Esquemas, May 28, 2022, No. 5
Selena, Moonchild Mixes, Sept. 10, 2022, No. 8
Karol G, Mañana Será Bonito, March 11, 2023, No. 1
Karol G, Mañana Será Bonito (Bichota Season), Aug. 26, 2023, No. 1
Becky G, Esquinas, Oct. 14, 2023, No. 7
Kali Uchis, Orquídeas, Jan. 27, 2024, No. 1
Shakira, Las Mujeres Ya No Lloran, April 6, 2024, No. 1
Young Miko, Att., April 20, 2024, No. 9
Notably, Uchis’ debut album, Sin Miedo (Del Amor y Otros Demonios) joined the top 10 on Top Latin Albums in its second week (climbing 21-8) as the set, released Nov. 18, 2020, via EMI/Interscope/ UMe, debuted at No. 21 from two days of activity. (Sin Miedo later peaked at No. 3 where it held for four weeks).
Over on the multimetric Hot Latin Songs tally, Att. spins off a new single: “Offline,” with Feid, launching at No. 45.
Beyond its top 10 debut across Latin albums charts, att. makes its maiden appearance on the all-genre Billboard 200, at No. 129. Plus, it debuts on the Independent Albums tally, at No. 23.