Chart Beat
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Foo Fighters score their 14th career No. 1 – and third in a row, a first for the band – on Billboard’s Mainstream Rock Airplay chart with “The Glass,” which jumps to the top of the April 13-dated tally.
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“The Glass” follows reigns for “Rescued” beginning last May and “Under You” last September.
Foo Fighters link three straight rulers after the Dave Grohl-led act previously packaged two in a row four times, with “Rope” and “Walk” (2011); “Something From Nothing” and “Congregation” (2014-15); “Run” and “The Sky Is a Neighborhood” (2017); and “Waiting on a War” and “Making a Fire” (2021).
In all, Foo Fighters now boast 14 No. 1s, tying the group with Five Finger Death Punch for the third-most in the chart’s history, which dates to 1981.
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Most No. 1s, Mainstream Rock Airplay:19, Shinedown17, Three Days Grace14, Five Finger Death Punch14, Foo Fighters13, Metallica13, Van Halen12, Disturbed12, Godsmack
Foo Fighters first reached Mainstream Rock Airplay in 1995 with “This Is a Call,” which peaked at No. 6. They first led with “Best of You” in 2005.
Concurrently, “The Glass” shatters the top 10 barrier on Alternative Airplay, rising 11-9. It’s the band’s chart-leading 31st top 10, dating to the list’s 1988 premiere.
Most Top 10s, Alternative Airplay:31, Foo Fighters28, Red Hot Chili Peppers26, Green Day23, U221, Weezer20, Pearl Jam19, Linkin Park18, The Offspring17, Muse17, The Smashing Pumpkins
The track ranks at No. 24 on Adult Alternative Airplay (after reaching No. 11 in early March). On the all-rock-format, audience-based Rock & Alternative Airplay chart, it remains at No. 6 (after hitting No. 5) with 5.7 million audience impressions March 29-April 4, up 1%, according to Luminate.
On the most recent multimetric Hot Hard Rock Songs list (dated April 6, reflecting data March 22-28), “The Glass” placed at No. 5. In addition to its radio airplay, the song earned 166,000 official U.S. streams in that span.
“The Glass” is the third single, following “Rescued” and “Under You,” from But Here We Are, Foo Fighters’ 11th studio album. The set debuted at No. 1 on the Top Alternative Albums chart in June 2023 and has earned 168,000 equivalent album units to date.
All Billboard charts dated April 13 will update on Billboard.com Tuesday, April 9.
Each year, an uncountable number of recording artists transform their discographies into live shows, going on tour to super-serve their biggest fans around the world. But a select few have the power to bring their fans to them, staging extravagant productions in one city as the masses travel to see a once-in-a-career performance. Here, we’re […]
Beyoncé lassos the chart title in Australia as Cowboy Carter debuts at No. 1.
Cowboy Carter (via Columbia/Sony) gives Bey her fourth leader on the ARIA Chart, following Beyoncé in 2013, Lemonade in 2016 and Renaissance in 2022.
According to ARIA, it’s the first country album by a woman to land at No. 1 (excluding the new versions of Taylor Swift’s country LPs) since 2017, when homegrown artist Kasey Chambers logged one week at the summit top with Dragonfly (in January) and Shania Twain’s Now spent one week at the top (in October).
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Powered by Cowboy Carter, Beyoncé’s global hit “Texas Hold ‘Em” rebounds 7-2 on the ARIA Singles Chart, its equal peak position on 2. Album cut “II Most Wanted” with Miley Cyrus is the highest debut on the singles tally this week at No. 16, and Bey’s reinterpretation of the Dolly Parton standard “Jolene” arrives at No. 24. Parton’s original peaked at No. 99 in these parts back in 1974, ARIA reports, while Olivia Newton-John’s rendition reached No. 29 two years later, in 1976.
Beyoncé’s latest LP leads a top four on the ARIA Chart, published Friday, April 5, that’s dominated by U.S. solo female artists: Ariana Grande’s Eternal Sunshine and Taylor Swift’s 1989 (Taylor’s Version) and Lover, respectively (all through Universal).
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Further down the list, Australian duo the Pierce Brothers arrives No. 14 with their third studio album, Everything Is Bigger Than Me (Ditto Music). It’s the Melbourne act’s sixth appearance on the ARIA Chart, including top 10s with 2015’s Into The Dirt (No. 10) and 2017’s The Records Were Ours (No. 9). Everything Is Bigger Than Me is the only Australian recording in the ARIA Top 40; the next-up LP from the land Down Under is the soundtrack to Ego: The Michael Gudinski Story (at No. 46 via Bloodlines/UMA), the documentary on the life and career of the late Mushroom Group founder, which next week premieres on Australian network TV.
Meanwhile, BTS star J-Hope (real name: Jung Ho-seok) nudges the chart at No. 62 with the EP Hope On The Street Vol. 1. J-Hope hit No. 13 in 2018 with Hope World and No. 27 in 2022 with Jack In The Box.
Over on the ARIA Singles Chart, Benson Boone’s “Beautiful Things” (Warner Records) logs a fifth week at No. 1, ahead of Bey’s “Texas Hold ‘Em” and Djo’s “End Of Beginning” (AWAL), respectively.
Billboard has more than 200 different weekly charts, encompassing numerous genres and formats.
While established artists often compete for a spot on the Billboard Hot 100 songs chart and Billboard 200 albums ranking, which track the most popular songs and albums of the week, respectively, up-and-coming talents typically start off on genre-specific lists.
Here’s a look at 10 artists who appear on surveys for the first time on the April 6, 2024-dated charts.
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ILLIT
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The South Korean group makes its first showing on Billboard’s charts with its debut four-track EP Super Real Me and single “Magnetic.” The set, released March 25 on BELIFT LAB (a sublabel of HYBE Corporation), debuts at No. 10 on the World Albums chart and No. 15 on Heatseekers Albums with 4,000 equivalent album units earned in the U.S. in the week ending March 28, according to Luminate.
The EP’s breakout single “Magnetic” also arrives at No. 33 on the Billboard Global Excl. U.S. chart and No. 63 on the Billboard Global 200; it drew 21.7 million official streams worldwide. TikTok has been a contributing factor in the song’s growth, as a portion of it has soundtracked over 170,000 clips on the platform, where the group boasts 1.4 million followers. The song is expected to vault further on next week’s, April 13-dated charts.
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ILLIT was formed through the Korean JTBC reality show R U Next? and comprises members Iroha, Minju, Moka, Wonhee and Yunah.
Love Fame Tragedy
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Love Fame Tragedy nets its first entry on Billboard’s charts, as “Don’t You Want To Sleep With Someone Normal?” debuts at No. 39 on Alternative Airplay (up 24% in plays).
The act is a solo side project of Wombats frontman Matthew Murphy. The band, from Liverpool, has maintained a steady presence on Billboard’s charts since 2008, with five charting songs on Alternative Airplay and two charting albums (of its five total) on the Billboard 200: Glitterbug (No. 91 peak in 2015) and Beautiful People Will Ruin Your Life (No. 190, 2018).
“Normal?” is from Love Fame Tragedy’s second album, Life Is a Killer, released March 29 on Bright Antenna Records. The band released its first collection, Wherever I Go, I Want To Leave, in 2020.
Mark Ambor
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Mark Ambor is officially a Billboard-charting hitmaker, thanks to his breakthrough viral song “Belong Together.” Released Feb. 16, the song debuts at No. 167 on the Global Excl. U.S. chart with 8.2 million streams earned outside the U.S. The song also starts at No. 88 on the Billboard Canadian Hot 100.
Before releasing the song, Ambor had been teasing it for weeks on TikTok, where two versions have gone viral. Its original audio has soundtracked over 20,000 clips, while a sped-up mix has been used in over 120,000 videos. Ambor himself boasts nearly a million followers on the platform.
Ambor released his debut seven-track album Hello World in 2022, followed by other songs, including another viral hit, “Good To Be” (118,000 clips on TikTok). Ambor has a run of European tour stops lined up in April.
Yahir Saldivar
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The Mexican singer is now a Billboard-charting artist, thanks to his breakthrough viral hit “SC-9.” The song, released Feb. 1 on Cash On Beat/H.D.P., debuted at No. 45 on the March 23-dated Hot Latin Songs chart and holds at its No. 23 high on the latest list with 3.7 million U.S. streams (a 14% gain from the previous week). The song also stands at No. 4 on Latin Digital Song Sales after reaching No. 1 a week earlier, where it became Saldivar’s first career Billboard leader. Plus, Saldivar ranks at No. 38 on the Emerging Artists chart.
The recent gains for “SC-9” can partly be attributed to TikTok, where Saldivar boasts over 500,000 followers. The song has been used in over 50,000 videos on the platform.
Loe Shimmy
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The emerging rapper, from Pompano Beach, Fla., reaches Billboard’s charts for the first time thanks to his new album, Zombieland 2. Released March 22 on NETL/Open Shift Records, the set debuts at No. 13 on Heatseekers Albums (which ranks the most popular albums each week by new or developing acts) with 4,000 equivalent album units earned. It features collaborations with fellow Billboard-charting artists Luh Tyler and Veeze, plus rappers BLP Kosher and ffawty.
Loe Shimmy has been releasing music on streaming services since 2020. Since then, he’s dropped two additional full-lengths – Zuper PowerZ in 2021 and Z end in 2022 – along with his EPs Zombie Land and World WAR Z (both in 2020). He has also released songs with Kodak Black, Bossman Dlow and Danny Towers, among others.
Ahadadream & Priya Ragu
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Both artists land their first Billboard chart hits, thanks to their new collaboration with Skrillex, “TAKA.” Released March 22 via Major Recordings/FFRR, the track debuts at No. 37 on Hot Dance/Electronic Songs with 512,000 U.S. streams.
British-Pakistani electronic/house DJ Ahadadream (real name Ahad Elley) has been releasing music for nearly a decade, including four EPs: Movements, Shade, 3:33 and Homecoming. Outside of Skrillex, he has also collaborated with Ellie Goulding, ELIZA, and Tommy Genesis. “TAKA” initially rose to prominence last September, when he previewed the track during his debut Boiler Room set (alongside Skrillex). He has a run of North American and European tour dates lined up through August, including a set at The Do Lab stage at Coachella this month.
Priya Ragu released her debut studio album Santhosam, on Warner Records U.K., following the mixtape damnshestamil in 2021 (also via Warner U.K.) The Tamil-Swiss singer-songwriter, who has also released music with Jungle and Oddisee, has a string of European and Australian tour dates scheduled through May.
As for Skrillex, “Taka” earns the EDM star his 61st entry on Hot Dance/Electronic Songs, tying The Chainsmokers for the fourth-most in the chart’s decade-long-plus history, after David Guetta (86), Marshmello (68) and Kygo (63).
Keith Nieto
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The Mexican singer-songwriter has already appeared on Billboard’s charts as saxophonist for the group La Maquinaria Norteña, but he earns his first career entry as a soloist with “Contigo Sí.” The song, on Azteca Records/Fonovisa/UMLE, debuts at No. 35 on Regional Mexican Airplay, with a 110% gain in radio audience impressions. The song is on Nieto’s debut solo six-track EP Saxy, released Feb. 28.
La Maquinaria Norteña has charted 32 songs on Regional Mexican Airplay, including 14 top 10s and three No. 1s: “50 y Cincuenta” (in 2022), “Eres Ese Algo” and “Te Quiero Ver” (both 2023). The group has also logged 10 albums on Top Latin Albums, including three No. 1s: El Fenomeno (2014), Ya Dime Adios (2015) and Generacion Maquinaria Est. 2006 (2016). Nieto, who has written and produced many of the band’s hits, is joined in the group by his brothers Tony and Rory Nieto, as well as Iván Gutiérrez and Sergio Soto.
Rosemarie
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The R&B singer-songwriter claims her first Billboard chart hit, thanks to her collaboration with Roddy Ricch, “Is it Real?” Released in November on her 12-track project Rock Paper Scissors: Recut (via Bird Vision/Interscope Records), the song opens at No. 39 on Mainstream R&B/Hip-Hop Airplay with a 4% gain in spins at the format.
Rosemarie released her debut full-length TBD: To Be Determined in 2019 and dropped her nine-track set Sinnergy in 2021. Outside of Roddy Ricch, she has collaborated with Juvenile and Kalan.FrFr.
ÁSDÍS
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The Icelandic singer hits Billboard’s charts for the first time thanks to her featured appearance on Seven Lions and Illenium’s “Not Even Love.” Released March 22 on Casablanca/Republic, the track debuts at No. 14 on Hot Dance/Electronic Songs with 1 million U.S. streams.
ÁSDÍS, based in Berlin, has been releasing music since 2020. She has collaborated with fellow Icelandic singer Daði Freyr on “Feel the Love,” and co-wrote Sophie Simmons’ 2021 release “Love Turns Lonely” (which deadmau5 produced).
Future, Metro Boomin and Kendrick Lamar reign on Billboard’s Streaming Songs chart dated April 6 with “Like That,” which blasts in at No. 1. In the March 22-28 tracking week (the song’s first, after premiering March 22), “Like That” earned 59.6 million official U.S. streams, according to Luminate.
It’s the biggest week for any song in the U.S. in 2024 and the most streams in a single week since the second week of release for Miley Cyrus’ “Flowers” (as reflected on the Feb. 4, 2023, chart), which accrued 59.8 million listens.
As “Flowers” opened with 52.6 million streams (Jan. 28, 2023), “Like That” boasts the biggest opening week for a track since Taylor Swift’s “Anti-Hero,” which began with 59.7 million streams (Nov. 5, 2022).
Among R&B/hip-hop titles (defined as those that have hit Billboard’s Hot R&B/Hip-Hop Songs chart), “Like That” sports the most weekly streams since Drake’s “Way 2 Sexy,” featuring current leader Future and Young Thug, soared in with 67.3 million (Sept. 18, 2021).
“Like That” is Future’s third Streaming Songs No. 1, following “Way 2 Sexy” and his own “Wait for U,” featuring Drake and Tems (2022).
Metro Boomin earns his first Streaming Songs ruler (as a billed recording artist), eclipsing a pair of No. 2 peaks with “Runnin,” a co-bill with 21 Savage (2020), and “Creepin’,” a triple bill alongside The Weeknd and 21 Savage (2023).
Lamar nabs his fourth Streaming Songs No. 1, following “Humble.” (2017), Lil Wayne’s “Mona Lisa,” on which he’s featured (2018), and “N95” (2022).
“Like That” leads an onslaught of titles from Future and Metro Boomin’s new collaborative album We Don’t Trust You on Streaming Songs — 17 in total, the LP’s entire tracklist. That includes five of the chart’s top six, with “Like That” followed directly by “Type Shit,” by Future, Metro Boomin, Travis Scott and Playboi Carti, at No. 2 (34.9 million streams). The only non-Future and -Metro Boomin song in the top six: Hozier’s “Too Sweet,” which debuts at No. 3 via 28.9 million streams.
Concurrently, as previously reported, “Like That” debuts at No. 1 on the multimetric Billboard Hot 100 with 5.6 million radio audience impressions and 9,000 downloads in addition to its streams. We Don’t Trust You bounds in atop the Billboard 200 with 251,000 equivalent album units earned.
Creepy Nuts’ domination of the Billboard Japan Hot 100 continues as “Bling-Bang-Bang-Born” marks its 10th week atop the Japan Hot 100, on the chart released April 3.
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The MASHLE Season 2 opener is back at No. 1 for downloads this week, though figures dropped slightly by about 9.8% from last week to 17,122 units. The hip-hop hit also continues to rule streaming for the tenth consecutive week with 22,797,748 streams, down by about 1%, and video views and karaoke for the third straight week. The song also rises 12-6 for radio airplay this week.
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Omoinotake’s “IKUOKU KONEN” rises 4-2, the highest position yet on the Japan Hot 100 for the three-man band. The theme of the drama series Eye Love You holds at No. 2 for streaming for the fourth week in a row, second only to “Bling-Bang-Bang-Born” with 12,482,594 streams. Downloads for the love song rises 4-3 with 6,818 units, increasing by 7.6%, and video moves 9-7 with 1,359,223 views, up 28%. The track also climbs in other metrics, including radio (36-18) and karaoke (56-30), possibly influenced by the airing of the final episode of the fantasy love story the song serves as the theme.
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“EDEN” by Knight A, a group produced by SutoPuri’s Nanamori, debuts at No. 5. The song is at No. 1 for sales with 124,876 copies sold in its first week, which is about 2.8 times more than the track at No. 2 for the metric.
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ILLIT’s “Magnetic” bows at No. 8. ILLIT, pronounced “I’ll-it,” is a brand-new girl group assembled from HYBE’s audition program R U Next? The group consisting of three South Korean and two Japanese members released its debut mini-album called SUPER REAL ME on Mar. 25, and “Magnetic” is the lead single off the set. The song made a spectacular debut, coming in at No. 7 for streaming with 7,308,883 streams, No. 23 for downloads with 1,973 units, No. 12 for video with 1,085,090 views, and No. 84 for radio.
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The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from Mar. 25 to Mar. 31, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Shakira soars in at No. 1 on Billboard’s Top Latin Albums chart (dated April 6) while the set’s “Puntería,” with Cardi B, bounds in at No. 3 on Hot Latin Songs. Plus, two other tracks launch in the latter list’s top 10.
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First up is “La People II” by Peso Pluma, Tito Double P and Joel De La P, new at No. 2 on the multi-metric chart. The tripartite collab, released March 21 through Double P Records, traces its high entrance to strong streaming activity. During the March 22-28 tracking week, it generated 9.1 million official streams in the U.S., according to Luminate. The sum yields a No. 2 debut on Latin Streaming Songs, notably becoming Peso Pluma’s 18th top 10, the most for any core regional Mexican music act.
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Tito Double P and Joel De La P each score their first Hot Latin Songs top 10. Both regional Mexican newcomers notched their first entry on the tally with the No. 35-peaking “Dembow Bélico,” with Luis R Conriquez, in July 2023. Tito Double P previously came closest to the top 10 through the new single’s prequel — likewise with Peso Pluma, as “La People” reached a No. 12 high last December.
Further, “La People II” captures the highest Hot Latin Songs debut in 2024 for a regional Mexican song by artists who primarily record in the genre, and the topmost such start since Eslabon Armado and Peso Pluma’s “Ella Baila Sola” also premiered at No. 2 in April 2023. In between, last August, Karol G’s “Mi Ex Tenía Razón” became her first regional Mexican-focused No. 1, among eight total.
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At No. 4 on Hot Latin Songs, Xavi snags his third top 10 with “Corazón de Piedra.” The romantic sierreño, released March 22, also arrives at No. 3 on Latin Streaming Songs with 8.3 million official U.S. streams. Xavi totals three installments in the Hot Latin Songs top 10, as “La Diabla” holds strong for a 13th week No. 1 – the most this year and the seventh-most this decade – and “La Víctima” dips 3-7, after reaching No. 2.
All three debuts in the Hot Latin Songs top 10 also enter the all-genre Billboard Hot 100: “La People II” at No. 69, becoming the first entry on the chart for Tito Double P and Joel De La P; “Puntería,” at No. 72, as Shakira has now debuted songs on the Hot 100 in four consecutive years (eight tracks since 2021) for the first time, dating to her first appearance in 2001; and “Corazón de Piedra” at No. 73, giving Xavi his third and highest start.
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“I was going through a lot when I wrote it, and I just sat down and then scribbled down those thoughts,” Chayce Beckham told American Songwriter of crafting his breakthrough country radio hit, “23,” in 2020. “I wrote that song in about 15, 20 minutes. There’s no magic formula to that. It’s just my thoughts in the structure of a song, and people connected with it.”
“23” ascends to No. 1 on Billboard’s Country Airplay chart dated April 6 – marking the list’s first leader by an artist that solely wrote it and recorded it in over 11 years, since Taylor Swift’s “Ours” topped the March 31, 2012, tally.
Since Country Airplay began with the chart dated Jan. 20, 1990 (as Billboard’s first airplay survey based on electronically-monitored data, which is now provided to Billboard by Luminate, as measured by Mediabase), 938 songs have hit No. 1. Only 38 – or 4% – have been solely written by the soloists who recorded them. When including eight more No. 1s by duos or groups penned by one member of those acts, the share bumps to a still exclusive 5%.
Comparatively, of the five songs other than “23” to spend their first weeks at No. 1 on Country Airplay in 2024, an average of 3.8 writers have authored them.
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Only five solo acts have notched multiple such No. 1s, while one duo or group has done so via one its members. Another 12 soloists have earned one each and three other groups have led with one song apiece written by one of their members.
Breaking down the stat by decade, 24 of the 46 Country Airplay No.1s solely written by acts that performed them ruled in the 1990s; 17, in the 2000s; four, in the ‘10s; and now, one, in the ‘20s.
“That song has changed my life in so many ways,” Beckham mused further of “23” to American Songwriter. “It’s such a cool thing. I need to get back to that scribble, scribble songwriting sometimes and just put my thoughts down. Sometimes the best stuff comes when you’re not trying too hard.”
Which artists boast the most solely self-written Country Airplay No. 1s over the chart’s 34-year history? Browse the list below, spanning from the ranking’s first leader, Clint Black’s “Nobody’s Home,” through the latest.
11, Alan Jackson
Alek Olsen’s “Someday I’ll Get It” lands its second week atop the TikTok Billboard Top 50, while G-Eazy’s “Lady Killers II” vaults into the top three on the April 6-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 March 25-31. 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.
“Someday I’ll Get It” soared to No. 1 on the March 30 chart a week after debuting at No. 19. The track continues to be used in a trend remembering deceased pets, although other recent clips find creators reminiscing about relatives who have passed away, broken relationships and more.
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In the March 22-28 Billboard multimetric chart tracking week, the song jumped 62% to 4.2 million official U.S. streams, according to Luminate. It lifts 24-20 on the Hot Rock & Alternative Songs list dated April 6 as the chart’s top Streaming Gainer and bows at No. 12 on the all-genre Billboard Hot 100’s Bubbling Under chart.
Ye (formerly known as Kanye West) and Ty Dolla $ign’s “Carnival,” featuring Rich the Kid and Playboi Carti, a former two-week No. 1 on the TikTok Billboard Top 50, rebounds 7-2, while G-Eazy’s “Lady Killers II (Christoph Andersson Remix)” makes its first appearance in the top three, jumping 8-3.
The trend for “Lady Killers II,” the original version of which was released in 2012 on G-Eazy’s album Must Be Nice, while the Andersson remix arrived on streaming services March 17, remains one in which users turn the light illuminating them on and off in sync with the song’s “make her disappear just like poof/ Then she’s gone” verse, often while on a beach.
“Lady Killers II” bows at No. 47 on the Hot R&B/Hip-Hop Songs chart with 4.3 million streams in the first full week for the remix (March 22-28).
Djo’s “End of Beginning,” also a former two-week No. 1 on the TikTok Billboard Top 50, falls 2-4, while Sexyy Red’s “Get It Sexyy” is one of three songs in the top 10 for the first time, blasting 12-5 in its third week on the list. The song is largely carried by a dance and lip sync trend and is Sexyy Red’s third top 10 and highest charting since “SkeeYee” was the ranking’s inaugural No. 1 last September.
Adrianne Lenker’s “Anything” jumps to a new No. 8 high and FloyyMenor and Cris Mj’s “Gata Only” rounds out the group of new top 10s, leaping 16-9. The latter’s rise is also spurred by a dance trend, while the former benefits from a theme usually captioned “that’s so pretty I’m gonna take a picture,” with the user usually then showing a significant other, pet or a pretty scene.
The week’s top debut belongs to Above & Beyond, whose rendition of New Order’s “Blue Monday” starts at No. 14. The rise of the track, originally released in 2020, comprises two similar trends: one dance-focused with creators rocking side to side, while another, with similar motions, features users squaring off as if they’re fighters in an arcade game.
Next among debuts, Artemas’ “I Like the Way You Kiss Me” arrives at No. 19. The song was teased on TikTok for weeks prior to its March 19 release, helping spark its debut on multiple charts, including the Hot 100, where it’s Artemas’ first entry (No. 70).
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.
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: With the Cowboy Carter rodeo officially underway, artists new and old take their turn in the Beyoncé-shined spotlight, while a couple old West Coast hip-hop songs lifted for the current biggest song in the country also see big gains.
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Beyoncé’s ‘Jolene’ Boosts Dolly P’s Classic Version on Streaming
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Beyoncé’s “Jolene,” a centerpiece of her new album Cowboy Carter, not only re-creates Dolly Parton’s classic 1973 single, but actively includes Parton in that revival by having the country icon introduce Bey’s new take on the song. The new “Jolene” is off to a hot start at streaming, and could make a splashy Hot 100 debut next week — but Parton’s “Jolene” is also experiencing an uptick, as both unfamiliar fans and longtime listeners have searched it out on streaming services to make an A-to-Bey comparison.
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Last weekend (Mar. 29-31), Parton’s version of “Jolene” earned 1.24 million official on-demand U.S. streams — a 43% gain from the previous weekend (871,000 streams from Mar. 22-24), according to Luminate. Of course, “Jolene” wasn’t the only timeless track that Beyoncé hoisted back up on Cowboy Carter: “Blackbird,” the Beatles’ White Album classic that Bey covers in the second slot of the album as “Blackbiird,” also experienced a 13% weekend-to-weekend gain, up to 710,000 streams this past weekend. And “Oh Louisiana,” which lifts Chuck Berry’s song of the same name for 52 seconds, helped Berry’s 1971 original more than double its streams from to weekend to weekend, up 138% to 12,000 streams.
Meanwhile, some of the older tracks that Beyoncé either sampled or interpolated on Cowboy Carter also had fans searching for source material on streaming services. “Ya Ya” contains elements of Beach Boys’ “Good Vibrations” and Nancy Sinatra’s “These Boots Are Made For Walkin’,” which were up 13% and 14% compared to the previous weekend’s respective streaming totals. And “Maybelline,” another Berry track that gets a nod in “Smoke Hour / Willie Nelson,” also earned a nice bump, up 11% to 38,000 streams last weekend. – JASON LIPSHUTZ
‘Cowboy Carter’ Collaborators See Their Catalogs Skyrocket
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Whether you’re a legacy artist or a relatively unknown performer, popping up on a Beyoncé album track list is a good way to earn a healthy boost in streaming activity. Case in point: the mix of country pioneers and promising newcomers featured on Bey’s Cowboy Carter are already enjoying streaming bumps in the first few days following the album’s release — none bigger than that of Linda Martell, the pioneering singer-songwriter whose voice is featured in a spoken-word section of “Spaghetti.” Martell’s catalog registered a little under 5,000 streams during the weekend of Mar. 22-24, according to Luminate — but following the Cowboy Carter release, that number ballooned to 61,000 streams from Mar. 29-31, for a whopping 1,100% increase.
Meanwhile, Brittney Spencer, Reyna Roberts, Tanner Adell and Tiera Kennedy all benefited from appearing on Beyoncé’s version of “Blackbird,” with their catalogs up 41%, 59%, 58% and 56% in streams from weekend to weekend, respectively. And while Shaboozey’s catalog jumped 16% thanks to his pair of featured turns on the album, Willie Jones, the former X Factor contestant who duets with Bey on “Just for Fun,” saw even greater catalog gains, leaping 31% in streams in the weekend following the Cowboy Carter release. – JL
An “Everlasting” Love for “Like That” West Coast Sample Sources
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In case you’ve been living under a rock with very spotty internet access, Future, Metro Boomin and Kendrick Lamar set the hip-hop world ablaze two Fridays ago with the release of their incendiary “Like That,” breakout hit from Future and Metro’s Billboard 200-topping We Don’t Trust You set. While the song largely made waves for Lamar’s pot-stirring verse seemingly calling out fellow rap superstars J. Cole and Drake, it also racked up a 2024-best first-week stream total largely by being an undeniable banger — as evidenced by the fact that listeners have even been flocking to two of the older songs that provide its secondhand musical backbone.
“Everlasting Bass,” the enduring 1986 West Coast rap anthem from Rodney-O & Joe Cooley that gives “Like That” its bleating synth hook and groaning beat backdrop, was up 230% in official on-demand U.S. streams for the tracking week ending March 28, according to Luminate, soaring to 119,000 streams from 36,000 the week before. And Eazy-E’s “Eazy-Duz-It,” another Cali classic whose sing-song “He once was a thug from around the way” intro graced hits from Three 6 Mafia and Ye before also upping the musical ante for “Like That,” was up 41% over that same period, from 247,000 to 349,000. Neither Drake nor Cole have yet responded to Lamar’s missive, but if either decides to, these returns show that maybe sampling something off The Chronic or Doggystyle might be a good place to start. — ANDREW UNTERBERGER