Chart Beat
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Benson Boone’s “Beautiful Things” remains the biggest song in the world, as it notches a seventh week at No. 1 on the Billboard Global 200. It also holds atop the Billboard Global Excl. U.S. chart for an eighth week at the summit.
The Billboard Global 200 and Billboard Global Excl. U.S. charts, which began in September 2020, rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.
Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.
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‘Beautiful Things’ Leads Global 200 for Seventh Week
Benson Boone’s “Beautiful Things,” on Night Street/Warner Records, holds for a seventh nonconsecutive week at No. 1 on the Billboard Global 200, with 83.9 million streams (down 2%) and 22,000 sold (up 31%) worldwide April 5-11.
Hozier’s “Too Sweet” jumps 6-2 for a new Global 200 high, up 30% to 70.9 million streams worldwide. The song also becomes the Irish singer-songwriter’s first top 10 since the Global Excl. U.S. chart originated (13-7; 35.8 million streams, up 50%, outside the U.S.)
Artemas’ “I Like the Way You Kiss Me” climbs 5-3 for a new Global 200 best; Future, Metro Boomin and Kendrick Lamar’s “Like That” falls 2-4, two weeks after it debuted at No. 1; and Ariana Grande’s “We Can’t Be Friends (Wait for Your Love)” slips 4-5, after it debuted at No. 1 in March.
Boone No. 1 on Global Excl. U.S. for Eighth Week
Benson Boone’s “Beautiful Things” scores an eighth nonconsecutive week atop the Billboard Global Excl. U.S. chart, with 60.1 million streams (down 3%) and 8,000 sold (essentially even week-over-week) outside the U.S. April 5-11.
Artemas’ “I Like the Way You Kiss Me” bounds 4-2 for a new highpoint on Global Excl. U.S.; ILLIT’s “Magnetic” backtracks to No. 3 from its No. 2 best; Ariana Grande’s “We Can’t Be Friends (Wait for Your Love)” descends 3-4, four weeks after it debuted at No. 1; and Djo’s “End of Beginning” keeps at No. 5, after reaching No. 3.
Plus, FloyyMenor and Cris Mj’s “Gata Only” pushes 9-6 for a new Global Excl. U.S. high. The song also becomes the first top 10 on the Global 200 for both Chilean artists (15-10; 59.5 million streams, up 21%, worldwide).
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated April 20, 2024) will update on Billboard.com tomorrow, April 16. For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard’s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
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.
Future, Metro Boomin and Kendrick Lamar’s “Like That” lands a third total and consecutive week at No. 1 on the Billboard Hot 100 songs chart, two weeks after it soared in at the summit.
Plus, J. Cole’s “7 Minute Drill” debuts at No. 6 on the Hot 100. On the track, from J. Cole’s new album Might Delete Later, he appears to respond to Lamar’s apparent disses directed at himself and Drake in “Like That.” The song bows as J. Cole’s 13th top 10.
The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data, the lattermost metric reflecting purchases of physical singles and digital tracks from full-service digital music retailers; digital singles sales from direct-to-consumer (D2C) sites are excluded from chart calculations. All charts (dated April 20, 2024) will update on Billboard.com tomorrow, April 16. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
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“Like That,” on Boominati/Freebandz/Republic/Epic Records, drew 40 million streams (down 13%) and 14 million radio airplay audience impressions (up 39%) and sold 3,000 (down 56%) April 5-11.
The single adds a third week at No. 1 on the Streaming Songs chart; drops 8-14 on Digital Song Sales; and debuts at No. 41 on Radio Songs.
Notably, “Like That” is the first song to clear 40 million in streams in its first three weeks, after it registered 46.1 million the week before and 59.6 million in its debut week, since Miley Cyrus’ “Flowers” began with 52.6 million, 59.7 million and 48 million consecutively in January-February 2023. Among hip-hop hits (defined as those that have appeared on Billboard’s Hot R&B/Hip-Hop Songs chart), “Like That” is the first to achieve the feat since Cardi B’s “WAP,” featuring Megan Thee Stallion, did so in its first six weeks in August-September 2020.
Plus, “Like That” is the first song to spend its first three weeks on the Hot 100 at No. 1 since “Flowers” logged its first six weeks in charge in January-March 2023. Among hip-hop entries, “Like That” is the first title to claim No. 1 in its first three chart weeks since Drake’s “Nice for What” dominated in its first four frames in April-May 2018.
Further, “Like That” is the first song to log any three consecutive weeks at No. 1 on the Hot 100 in over nine months, since Morgan Wallen’s “Last Night” linked 10 frames in a row on top (of 16 total) in May-July 2023. The streak of 38 weeks between songs’ commands of at least three uninterrupted weeks, between “Last Night” and “Like That,” marks the longest in the Hot 100’s 65-year history. (In that 38-week stretch, five songs each led for at least three weeks, just not consecutively, led by six weeks on top for Jack Harlow’s “Lovin on Me”; plus, 10 songs debuted at No. 1 in that span.)
“Like That” concurrently tops the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which use the same multimetric methodology as the Hot 100, for a third week each.
Two weeks earlier, “Like That” blasted in at No. 1 on the Hot 100 as Future and Lamar’s third leader each and Metro Boomin’s first as a billed recording artist (following two as a writer and producer), as parent LP We Don’t Trust You by Future and Metro Boomin bounded in atop the Billboard 200. (The set’s sequel, We Still Don’t Trust You, was released April 12 and will impact next week’s charts, dated April 27.)
Hozier’s “Too Sweet” ascends 4-2 on the Hot 100, winning top Streaming Gainer honors (36.7 million, up 15%). The singer-songwriter ties his prior best rank on the chart, as his breakthrough hit “Take Me to Church” peaked at No. 2 for three weeks in December 2014-January 2015. “Too Sweet” concurrently leads the multimetric Hot Rock & Alternative Songs and Hot Rock Songs and Hot Alternative Songs charts for a third week each.
Benson Boone’s “Beautiful Things” holds at No. 3 on the Hot 100, after reaching No. 2, as it earns the chart’s top Airplay Gainer award for a third consecutive week (57.4 million, up 14%).
Teddy Swims’ “Lose Control” rises 5-4 on the Hot 100, three weeks after becoming his first No. 1. The single likewise becomes his first leader on Radio Songs (69.7 million, up 6%).
Beyoncé’s “Texas Hold ‘Em” slides 2-5 on the Hot 100, after it reigned for two weeks in early March. It rules the multimetric Hot Country Songs chart for a ninth week, as her album Cowboy Carter tops the Billboard 200 for a second week.
J. Cole’s “7 Minute Drill” debuts at No. 6 on the Hot 100, led by 23.4 million streams. The song is his 13th top 10 and first since Drake’s “First Person Shooter,” on which he’s featured, debuted at No. 1 in October 2023, becoming his first leader.
On “7 Minute Drill,” J. Cole is widely interpreted as responding to Kendrick Lamar’s apparent disses directed at himself and Drake in Future, Metro Boomin and Lamar’s “Like That.” Days after releasing “7 Minute Drill,” J. Cole publicly apologized for the track’s arrival, explaining that it doesn’t “sit right with my spirit.” The song was removed from the streaming edition of his album Might Delete Later on April 12, one day after the end of the latest charts’ tracking week. (As of April 15, the song is still available on the set’s digital download edition.)
Rounding out the Hot 100’s top 10, Jack Harlow’s “Lovin on Me” rebounds 8-7, following, as noted above, six nonconsecutive weeks at No. 1, beginning last December; Ariana Grande’s “We Can’t Be Friends (Wait for Your Love)” climbs 9-8, after it debuted at No. 1 in March; Future, Metro Boomin, Travis Scott and Playboi Carti’s “Type Shit” lifts 10-9, after it arrived at its No. 2 best; and Noah Kahan’s first top 10, “Stick Season,” returns to the region and its highest rank (15-10).
Again, for all chart news, you can follow @billboard and @billboardcharts on Billboard’s social accounts, and all charts (dated April 20), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (April 16).
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.
Additional reporting by Keith Caulfield.
Boney James becomes the first act to amass 20 No. 1s on Billboard’s Smooth Jazz Airplay chart. The venerable saxophonist reaches the milestone as featured on “Cigar Lounge” by Big Mike Hart, who leads with his first chart entry. James — born in Lowell, Mass., and raised in New Rochelle, N.Y. — first topped the […]
The Libertines complete a successful U.K. chart race with All Quiet On The Eastern Esplanade, the celebrated British indie rock outfit’s fourth studio album.
The leader at the midweek point, All Quiet On The Eastern Esplanade (via EMI) bows at No. 1 on the Official U.K. Albums Chart, published Friday, April 12.
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It’s the Libertines’ second U.K. chart-topper, following their self-titled sophomore album from 2004, and fifth top 40 appearance overall, a tally that includes 2002’s critically-adored debut Up The Bracket (No. 35), 2007 retrospective Time For Heroes – The Best Of The Libertines (No. 23) and 2015’s Anthems For Doomed Youth (No. 3).
Beyoncé’s record-setting country-leaning release Cowboy Carter (Columbia/Parkwood Ent) is removed from the chart throne, down 1-2, while Earlestown, England outfit The K’s complete the podium with their debut LP, I Wonder If The World Knows? (LAB), new at No. 3.
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U.K. singer and songwriter Conan Gray grabs a career best with his third studio record Found Heaven (Island), new at No. 4. That’s Gray’s second top 10 effort after 2022’s Superache peaked at No. 8.
Meanwhile, U.S. rapper J. Cole collects his fourth U.K. top 10 with Might Delete Later (Interscope), his surprise-release mixtape. It’s new at No. 7, and joins his previous top tier releases 2013’s Born Sinner (No. 7), 2018’s KOD (No. 2) and 2021’s The Off-Season (No. 2).
Also new to the top 10 is Feeder with Black/Red (Big Teeth) at No. 8, for the British indie rockers’ 11th U.K. top 10 appearance.
Finally, new releases from Vampire Weekend (Only God Was Above Us at No. 11 via Columbia), the Black Keys (Ohio Players at No. 13, Benson Boone (Fireworks & Rollerblades at No. 16 via Warner Records), Khruangbin (A La Sala at No. 18 via Dead Oceans) and Bob Vylan (Humble As The Sun at No. 22 via Ghost Theatre) make their mark on the U.K. top 40.
More than a decade after his global breakthrough, Hozier finally bags a U.K. No. 1 single with “Too Sweet”.
The Irish singer and songwriter benefits from the release of an expanded deluxe edition of his third LP Unreal Unearth, which led the national albums chart last August.
“Too Sweet” (via Island) accumulates 61,000 chart units and 6.7 million streams, making it the most-streamed track of the week in the U.K., according to the Official Charts Company, as the title lifts 4-1 on the Official U.K. Singles Chart, published Friday, April 12.
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It’s Hozier’s second U.K. top 10 single, joining his signature song “Take Me To Church,” which was released back in September 2013 and peaked at No. 2 the following year.
The leader at the midweek stage, Benson Boone’s “Beautiful Things” (Warner Records) holds at No. 2, while Beyoncé’s “Texas Hold ‘Em” (Columbia/Parkway Ent) loses its crown, down 1-3.
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Meanwhile British singer, songwriter and producer Artemas snags a career high with his electronic-pop number “i like the way you kiss me” (Parlophone), up 6-5. This current chart is twice as nice for Artemas, as his followup “if u think i’m pretty” lifts 52-39, for his second U.K top 40 appearance.
As country music cracks the whip in the U.K., Dasha makes her move on the singles chart with “Austin” (Warner Records). It’s up 15-8 as Dasha books her first-ever U.K. top 10 spot.
J. Cole lifts his tally of top 40 hits to 12, thanks to the surprise release of his mixtape, Might Delete Later (Interscope). Fresh cuts “H.Y.B.” featuring Bas and Central Cee (at No. 29) and the controversial, Kendrick Lamar diss track “7 Minute Drill (at No. 38), open their accounts.
Finally, EDM David Guetta star bags his 48th top 40 hit in the U.K. with “I Don’t Wanna Wait,” a collaboration with OneRepublic, new at No. 37. It’s OneRepublic 10th top 40 appearance.
Beyoncé’s Cowboy Carter holds atop the Billboard 200 albums chart (dated April 20), after debuting at No. 1 a week ago, as the set earned 125,500 equivalent album units in the U.S. in the week ending April 11 (down 69%), according to Luminate.
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With a second week in the lead, Cowboy Carter has the most weeks at No. 1 for any Beyoncé album since her self-titled set spent three weeks at No. 1 (its first three weeks on the chart), in December 2013 and January 2014.
Of Beyoncé’s eight No. 1 albums on the Billboard 200, three have spent two or more weeks at No. 1: Cowboy Carter (two, 2024), her self-titled effort (three, in 2013-14) and 4 (two, 2011). (Since her self-titled effort, she’s topped the list three more times, with Lemonade [one week at No. 1, 2016], Renaissance [one week, 2022] and now Cowboy Carter.)
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Elsewhere on the Billboard 200, and for the first time in 2024, three albums debut in the top 10 at the same time, as the latest releases from J. Cole, TOMORROW X TOGETHER and Benson Boone start at Nos. 2, 3 and 6, respectively. The last time the top 10 housed three debuts was on the Nov. 25, 2023-dated list, when Stray Kids, Chris Stapleton and Chris Brown saw their newest albums bow in the region.
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 20, 2024-dated chart will be posted in full on Billboard‘s website on April 16. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of Cowboy Carter’s second-week unit sum of 125,500, SEA units comprise 103,000 (down 54%, equaling 132.69 million on-demand official streams of the set’s songs), traditional album sales comprise 20,500 (down 88%) and TEA units comprise 2,000 (down 70%).
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.)
At No. 2 on the Billboard 200, J. Cole’s surprise-release album Might Delete Later arrives with 115,000 equivalent album units earned. Of that sum, SEA units comprise 105,000 (equaling 137.95 million on-demand official streams of the set’s 12 songs), album sales comprise 9,000 and TEA units comprise 1,000. The album was only available to stream or to purchase as a digital download.
Might Delete Later was issued on April 5 without warning, and boasts collaborations with Gucci Mane, Cam’ron, Bas, Central Cee, Ari Lennox and Young Dro, among others.
Might Delete Later drew attention for its Kendrick Lamar diss track “7 Minute Drill,” which appears to find Cole responding to Lamar’s apparent disses directed at Cole and Drake on Future and Metro Boomin’s “Like That.” A few days after the release of “7 Minute Drill,” Cole publicly apologized for releasing the track, saying it “don’t sit right with my spirit.” Ultimately, “7 Minute Drill” was removed from the tracklist of the streaming edition of Might Delete Later on April 12, one day after the end of the latest chart’s tracking week. (As of April 14, the song was still available on the digital download edition of the set.) “7 Minute Drill” was the most-streamed song on Might Delete Later during the album’s opening week.
Might Delete Later is J. Cole’s seventh album to reach the top two rungs on the Billboard 200, after he notched six earlier No. 1s in 2011-21. He has logged one other entry on the list, with the Forest Hills Drive: Live, which hit No. 71 in 2016.
TOMORROW X TOGETHER notches its fifth top 10-charting album on the Billboard 200, as Minisode 3: TOMORROW debuts at No. 3 with 107,500 equivalent album units earned. Of that sum, album sales comprise 103,500 (making it the top-selling album of the week), SEA units comprise 4,000 (equaling 5.54 million on-demand official streams of the set’s songs) and TEA units comprise a negligible sum. 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).
With the Nos. 1-3 titles on the Billboard 200 each earning at least 100,000 equivalent album units, it’s the first time we’ve had as many albums clear 100,000 in a week since the Dec. 2, 2023-dated list. That week, Drake’s For All the Dogs jumped 4-1 with 145,000, Taylor Swift’s 1989 (Taylor’s Version) held at No. 2 with 137,000 and Dolly Parton’s Rockstar debuted at No. 3 with 128,000.
Future and Metro Boomin’s chart-topping We Don’t Trust You falls 2-4 in its third week on the list, earning 99,000 equivalent album units (down 24%). The set’s sequel album, We Still Don’t Trust You, was released on April 12 and will impact next week’s chart dated April 27.
Morgan Wallen’s former leader One Thing at a Time is pushed down 3-5, despite a 4% gain, with 72,000 equivalent album units earned.
Benson Boone’s debut full-length studio album, Fireworks & Rollerblades, skates in at No. 6 with 58,000 equivalent album units earned. It’s the first chart entry for the singer-songwriter. Of the set’s starting sum, SEA units comprise 52,000 (equaling 70.21 million on-demand official streams of the set’s songs), album sales comprise 4,000 (largely from its digital download, as the set’s only physical availability was through a limited release on CD) and TEA units comprise 2,000. The album was led by the hit single “Beautiful Things” (the most-streamed song on the set), which has spent the last nine weeks inside the top five on the Billboard Hot 100 songs chart (through the list dated April 13), peaking at No. 2.
Ariana Grande’s chart-topping Eternal Sunshine falls 4-7 on the Billboard 200 with 48,000 equivalent album units earned (down 17%), Noah Kahan’s Stick Season slips 7-8 (though up 2%) with 45,000 units, Olivia Rodrigo’s former No. 1 Guts dips 6-9 with 43,000 (down 13%) and SZA’s chart-topping SOS drops 9-10, though with a 1% gain, to 40,000 units.
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.
Benson Boone’s “Beautiful Things” ascends to No. 1 on Billboard’s Adult Pop Airplay chart (dated April 20).
The song marks multiple firsts, including Boone’s initial leader on any Billboard airplay survey.
Plus, with the track on Night Street/Warner Records, Warner has promoted two consecutive Adult Pop Airplay No. 1s for the first time, as “Beautiful Things” supplants Teddy Swims’ “Lose Control,” on SWIMS Int./Warner, after four weeks at the summit.
Additionally, with “Beautiful Things” at No. 1 and “Lose Control” at No. 2, Warner boasts the to two titles on Adult Pop Airplay simultaneously for the time.
(The Adult Pop Airplay chart, which began in Billboard’s pages in March 1996, ranks songs by weekly plays on 80 adult top 40 radio stations monitored by Mediabase, with data provided to Billboard by Luminate.)
The Adult Pop Airplay coronation for “Beautiful Things” is the song’s latest chart feat. It has ruled the Billboard Global Excl. U.S. chart for seven weeks and the Billboard Global 200 for six frames (through charts dated April 13). On the Billboard Hot 100, it has reached a No. 2 high. It concurrently climbs to No. 3 on Pop Airplay.
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Boone previously charted two songs on Adult Pop Airplay: “Ghost Town” moseyed to No. 12 in February 2022 and “In the Stars” reached No. 24 in September 2023.
“Beautiful Things,” which Boone co-wrote, is on his debut LP, Fireworks & Rollerblades, released April 5.
“My two other songs that have done well, I wasn’t prepared for them,” the Washington native, who claims 6.8 million TikTok followers, recently told Billboard. “I teased them without even having the song[s] fully ready. So much happened so fast, and looking back, I could’ve done a lot better at keeping that moment [going]. But this one, I’m ready. I’ve been ready for this one.”
All Billboard charts dated April 20 will update Tuesday, April 16, on Billboard.com.
Mumford & Sons are back at No. 1 on Billboard’s Adult Alternative Airplay chart – and Pharrell Williams leads the list for the first time – thanks to their collaboration “Good People,” which rises to the top of the survey dated April 20. The song becomes Mumford & Sons’ fifth Adult Alternative Airplay leader and […]
Linkin Park earns its 10th No. 1 on Billboard’s Mainstream Rock Airplay chart, as “Friendly Fire” lifts 3-1 on the April 20-dated survey. The song is the band’s second No. 1 in a row, following “Lost,” which reigned for eight weeks starting in March 2023. The group’s list of 10 No. 1s dates to 2003, […]
Morgan Wallen’s “Man Made a Bar,” featuring Eric Church, ascends to No. 1 on Billboard’s Country Airplay chart (dated April 20). The single gained by 14% to 31.1 million in audience April 5-11, according to Luminate.
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Wallen earns his 12th Country Airplay leader and Church scores his 11th. The track, which Rocky Block, Jordan Dozzi, Larry Fleet and Brett Tyler co-wrote and Joey Moi produced, is from Wallen’s 36-song album One Thing at a Time, which has dominated Top Country Albums for 45 frames and the all-genre Billboard 200 for 19 weeks – the most ever for a country title – since its release in March 2023.
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The 30-year-old Wallen, from Sneedville, Tenn., tallies his fifth Country Airplay No. 1 from One Thing at a Time, following “Thinkin’ Bout Me,” which ruled for five frames beginning in October 2023, “Last Night” (eight, starting in May 2023) and two singles released before the album, “Thought You Should Know” (three, beginning in February 2023) and “You Proof” (a record 10, starting in October 2022). The set has also spun off top 10s in the title track (No. 8, May 2023) and “Everything I Love” (No. 3, December).
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Wallen last led Country Airplay as featured on Thomas Rhett’s “Mamaw’s House” for a week in March. Church, meanwhile, tops Country Airplay for the first time since May 2021, when “Hell of a View” led for one week.
‘Where It Ends’ Begins Top 10 Stay
Bailey Zimmerman’s “Where It Ends” lifts 13-9 on Country Airplay (19.5 million, up 13%). The song, which he co-wrote, is his fourth career-opening top 10, following three No. 1s: “Fall in Love,” for one week in December 2022, “Rock and a Hard Place” (six weeks, starting in April 2023) and “Religiously” (one, September 2023).
‘Wildflowers’ Power
Lainey Wilson banks her seventh consecutive career-opening Country Airplay top 10 (not including holiday fare), as “Wildflowers and Wild Horses” rides 11-10 (18.3 million, down 1%). The song, which she co-authored, follows her collaboration with Jelly Roll, “Save Me,” which ruled for two weeks in December, becoming her fourth leader, and Jelly Roll’s third.