Chart Beat
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Hozier claims his first No. 1 on Billboard’s Hot Rock & Alternative Songs chart in nine years, as “Too Sweet” debuts atop the April 6-dated tally.
The song bows with 28.8 million official U.S. streams, 268,000 radio audience impressions and 4,000 downloads in the U.S. March 22-28, its first week of release, according to Luminate.
It’s the Irish singer-songwriter’s second Hot Rock & Alternative Songs No. 1, after “Take Me to Church” reigned for 23 weeks, all consecutively, from the Nov. 1, 2014, through April 4, 2015, surveys.
Hozier’s nine-year break between No. 1s marks the longest in the chart’s nearly 15-year history, exceeding the six years, 11 months and two weeks between Coldplay’s “A Sky Full of Stars” in 2014 and the band’s “My Universe,” with BTS, in 2021.
In between the debut of “Take Me to Church” and his new No. 1, Hozier racked up 37 chart appearances, including four top 10s, led by the No. 6 debut and peak of “Eat Your Young” last April.
Concurrently, “Too Sweet” starts atop the multimetric Hot Rock Songs and Hot Alternative Songs charts. On the all-genre Billboard Hot 100, it debuts at No. 5, marking Hozier’s second top 10, and first time in the top 30, since “Take Me to Church” hit No. 2 in 2014.
Additionally, “Too Sweet” blasts in at No. 1 on both Rock Streaming Songs and Alternative Streaming Songs, his first leader on each list since “Take Me to Church.” The all-format Streaming Songs chart finds the song represented at No. 3, just one position below his best rank, set by “Take Me to Church” in 2015.
“Too Sweet” also slots in at No. 1 on Rock Digital Song Sales and Alternative Digital Song Sales, again Hozier’s second chart-topper on each, after “Take Me to Church.” It’s No. 5 on the all-genre Digital Song Sales chart, becoming his second top 10, after “Take Me to Church” reached No. 2.
“Too Sweet” is one of four songs on Unheard, Hozier’s EP released March 22. The set starts at No. 4 on Top Rock & Alternative Albums with 38,000 equivalent album units earned, including 34,000 in streaming units and 3,000 in album sales. The EP also debuts at No. 10 on the all-genre Billboard 200.
All four Unheard tracks make Hot Rock & Alternative Songs. After “Too Sweet” are “Wildflower and Barley,” with Allison Russell (No. 11, 6.1 million streams), “Empire Now” (No. 14, 5.5 million streams) and “Fare Well” (No. 19, 4.2 million streams). “Wildflower and Barley” (No. 88) and “Empire Now” (No. 98) also reach the Hot 100, where the former is Russell’s first entry.
Hozier doubles his total of career Hot 100 hits, with five of his six charted titles logged in the past year; in between “Take Me to Church” and the charted trio of tunes from Unheard, “Eat Your Young” reached No. 67 last April, while Noah Kahan’s “Northern Attitude,” on whose remix Hozier was added as a co-lead, hit No. 37 last November.
Unheard features music that originally recorded during the sessions for Hozier’s 2023 album Unreal Unearth but did not make its final tracklist. The LP debuted at No. 1 on the Top Rock & Alternative Albums chart dated Sept. 2, 2023, and has earned 417,000 equivalent album units to date.
Shakira makes a splash across Billboard’s charts as her latest album, Las Mujeres Ya No Lloran, her twelfth studio album over a four-decade career, debuts at No. 1 on Top Latin Albums and Latin Pop Albums (dated April 6). The set concurrently bows at No. 2 on Top Album Sales, No. 4 on Vinyl Albums and at No. 13 on the overall Billboard 200 chart.
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Las Mujeres Ya No Lloran, released March 22 through Sony Music Latin, earned 34,000 equivalent album units, earned in the U.S. during the March 22-28 tracking week, according to Luminate.
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Of Las Mujeres Ya No Lloran’s first-week sum, 19,000 units derive from streaming, equaling 26.73 million official on-demand streams of the album’s songs. Album sales contribute just under 15,000, while the remaining 500 units derive from track-equivalent album units. (On Top Latin Albums, Latin Pop Albums and Billboard 200, one unit equals to one album sale, 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams for a song on the album.)
Shakira’s new No. 1 on Top Latin Albums follows the top 20-charting live set, Shakira In Concert: El Dorado, World Tour (Soundtrack), which took the singer-songwriter to No. 18 in 2019. El Dorado, her eleventh-studio album, offered her last No. 1, claiming the top spot for five weeks starting in 2017.
Shakira Becomes First Woman With No. 1 Albums Across Four Decades: As Shakira reclaims the No. 1 spot on Top Latin Albums with Las Mujeres, she banks her seventh No. 1 among 11 career entries, and her first in the 2020s decade, after she managed at least one No. 1 every year from 1998-2017.
Notably, with the new ruler, the Colombian becomes the first woman with a No. 1 in four different decades on Top Latin Albums. Only one other artist has achieved the feat: Alejandro Fernández, who scored an equal seven No. 1 albums during the 1990s (one), 2000s (one), ’10s (four) and the ’20s (one).
Here’s a recap of Shakira’s chart-toppers on Top Latin Albums since her first, Donde Están Los Ladrones? landed at the summit in Nov. 1998:
Peak, Title, Weeks at No. 1Nov. 28, 1998, Donde Están Los Ladrones?, 11April 8, 2000, MTV Unplugged, twoNov. 23, 2002, Grandes Éxitos, oneJune 25, 2005, Fijación Oral: Vol. 1, 17Nov. 6, 2010, Sale El Sol, 12July 1, 2017, El Dorado, 5April 6, 2024, Las Mujeres Ya No Lloran
Elsewhere, Las Mujeres debuts at No. 2 on Top Album Sales (15,000 sold in its opening week). The 17-track set concurrently opens at No. 4 on the Vinyl Albums tally with –6,000 vinyl LPs sold– her first top 10 on her first try there, plus, it bests El Dorado’s No. 15 debut and peak on the overall Billboard 200, starting at No. 13.
‘Puntería’s’ Marksmanship Blasts Shakira To Different Orbit Across Songs Charts: On the songs realm, Las Mujeres parades three new cuts on the multi-metric Hot Latin Songs chart: “Puntería,” with Cardi B, leads the new recruits, launching at No. 3 –Shakira’s highest debut since “TQG,” with Karol G, debuted at No. 1 on the chart-dated March 11, 2023. The chart ranks the most popular Latin songs of the week by blending streaming, airplay, and sales data.
“Puntería” opens at No. 3 on Hot Latin Songs mainly on the strength of streaming data and strong radio support. The album’s eighth single logged 6.6 million official U.S. streams during the same tracking week, enough to shoot the collab to a No. 6 start on Latin Streaming Songs.
“Puntería” also sold 3,000 digital downloads in the same period, sparking a No. 1 start on Latin Digital Song Sales and a No. 10 start on the overall Digital Song Sales survey.
Meanwhile, “(Entre Paréntesis),” with Grupo Frontera, arrives at No. 22, while “Cohete,” her second partnership with Rauw Alejandro (after the No. 10-peaking “Te Felicito” in 2022), bows at No. 48.
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Extends Latin Airplay No. 1 Record Among Women: Further, with “Puntería,” Shakira extends her record for the most No. 1s on the overall Latin Airplay ranking among female artists, with 22, as the song debuts atop the list with 9 million audience impressions. With the new leader, the Colombian opens a larger gap from her closest competitor: Karol G, who comes in second with 17 No. 1s. Plus, she ties with Wisin for the seventh-most rulers among all acts.
Here’s a look at the mainly male-dominated list of Latin Airplay highfliers:
36, J Balvin34, Ozuna32, Enrique Iglesias28, Daddy Yankee24, Bad Bunny24, Maluma22, Shakira22, Wisin
First No. 1 Debut on Latin Pop Airplay: Shakira steps on different ground on Latin Pop Airplay, where “Puntería,” with Cardi B, debuts at No. 1. It’s the first time either act has debuted atop the list. The new achievement earns Shakira her maiden debut at the summit since 1996, when “Estoy Aquí” ruled for four weeks.
In sum, 24 of her songs have led the Latin pop ranking, the most for any woman since the chart’s inception in 1994, where Enrique Iglesias continues to rule with 25 No. 1s.
Cementing Her Regional Mexican Airplay Prescence: Beyond her Latin Airplay command, Shakira snatches her second top 10 on Regional Mexican Airplay as “(Entre Paréntesis),” with Frontera, debuts at No. 10. Her second chart appearance generated 4.33 million audience impressions across regional Mexican stations in its first tracking week.
Shakira’s latest entry on the Mexican radio ranking, follows her Fuerza Regida collab, “El Jefe,” which reached to No. 9 last November.
Lastly, as “(Entre Paréntesis)” starts in the top 10, Shakira becomes the second Latin pop act to secure a top 10 on Regional Mexican Airplay in 2024. Previously Becky G’s “Por El Contrario,” her first team-up with siblings Angela and Leonardo Aguilar, ruled for one week (chart dated March 9).
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Artemas is officially a Billboard Hot 100-charting artist.
The English-Cypriot singer-songwriter lands his first entry on the April 6-dated list, as “I Like the Way You Kiss Me” opens at No. 70. The song, released March 19, debuts almost entirely on the strength of its streaming sum: 8.3 million official U.S. streams – up 555% – in the March 22-28 tracking week, according to Luminate.
The single also opens at No. 8 on Hot Alternative Songs and No. 9 on Hot Rock & Alternative Songs, as well as No. 11 on Billboard Global Excl. U.S. and No. 19 on the Billboard Global 200, led by 34.7 million streams worldwide.
Artemas himself also vaults 42-11 on the Emerging Artists chart.
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“Kiss Me” has been boosted by exposure on TikTok, where Artemas teased the song for weeks leading up to its official release. The song has soundtracked over 300,000 clips on the platform to date.
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Artemas first appeared on Billboard’s charts in January, when his prior viral hit “If U Think I’m Pretty” debuted on Hot Alternative Songs and Hot Rock & Alternative Songs. It currently ranks at Nos. 22 and 26, after reaching Nos. 15 and 20, respectively, with 3.5 million streams (up 7%). “Pretty” has also been aided by TikTok, as the song has been used in over 200,000 clips.
Artemas (full name: Artemas Diamandis), from Oxfordshire, England, has been releasing music since 2020. He has self-released two full-length albums: I’m Sorry I’m Like This in 2022, and Pretty (which includes “If U Think I’m Pretty”) on Feb. 9.
One other song from Artemas’ catalog is also showing notable growth: “Cross My Heart,” from Pretty, has been used in 23,000 TikTok clips, helping the song rake in 400,000 streams March 22-28, up 61% from the previous week.
Tito Double P and Joel De La P both chart their first song on the Billboard Hot 100 (dated April 6), thanks to their new team-up with Peso Pluma, “La People II.”
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The song, released March 21 via Peso Pluma’s label Double P Records, debuts at No. 69 with 9.1 million U.S. streams earned in its first full tracking week (March 22-28), according to Luminate. The song also enters at No. 2 on the Hot Latin Songs chart.
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The track is a sequel to Peso Pluma and Tito Double P’s “La People,” which the pair released last June on the former’s album Génesis.
Tito Double P and Joel De La P arrived on Billboard’s charts together last June with the collaboration “Dembow Belico,” also with Luis R Conriquez. The single debuted at No. 36 on Hot Latin Songs dated June 24, 2023, and peaked at No. 35 the following frame. Until this week, that marked Joel De La P’s sole chart appearance as a billed recording artist.
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As for Tito Double P, the singer-songwriter (who is also Peso Pluma’s cousin and one of his songwriting collaborators) has logged three additional entries on Hot Latin Songs: “Gavilan II,” with Peso Pluma (No. 24 peak in July); “La People,” with Peso Pluma (No. 12, December); and “Sin Tanto Royo,” with Luis R Conriquez (No. 35, January). “La People” also reached No. 164 on the Billboard Global 200 and No. 172 on Billboard Global Excl. U.S.
Plus, Tito Double P co-wrote Peso Pluma’s Hot 100-charting collaborative singles “PRC” (with Natanael Cano) and “Chanel” (with Becky G).
Tito Double P and Joel De La P are both signed to Double P Records. Peso Pluma serves as the label’s CEO and head of A&R, with a roster that also includes Jasiel Nuñez, Los Dareyes De La Sierra and Raúl Vega.
As for Peso Pluma, the song earns the star his 27th career entry on the Hot 100, dating to his arrival in February 2023 with “AMG,” with Gabito Ballesteros and Natanael Cano. It also marks his 47th hit on Hot Latin Songs.
Canadian singer-songwriter Allison Russell has been releasing music for over two decades, but she’s now, officially, a Billboard Hot 100-charting hitmaker, thanks to her new song with Hozier, “Wildflower and Barley.”
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Released March 22 on Hozier’s new four-song EP Unheard (via Rubyworks/Columbia Records), the song debuts at No. 88 on the Hot 100 with 6 million U.S. streams earned in its first week of release, according to Luminate. The EP debuts at No. 10 on the Billboard 200 with 38,000 equivalent album units.
Russell, from Montreal, has had a longstanding career in numerous forms: as a member of the bands Birds of Chicago, Our Native Daughters, Po’ Girl, Tim Readman & Fear of Drinking, Sankofa and Sisters of the Strawberry Moon, as well as a solo recording artist.
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Birds of Chicago, of which Russell is a member with her husband, JT Nero, has charted one title on the Americana/Folk Albums chart: Real Midnight reached No. 22 in 2016. The pair has released two additional LPs: Birds of Chicago in 2016 and Love in Wartime in 2018.
Our Native Daughters comprise Russell, Rhiannon Giddens, Amythyst Kiah and Leyla McCalla. The quartet’s only studio album, Songs of Our Native Daughters (released on Smithsonian Folkways), reached No. 23 on Independent Albums in 2019.
Plus, Sisters of the Strawberry Moon’s album with Luther Dickinson, Solstice, reached No. 23 on Heatseekers Albums in 2019. The project also includes Amy Helm, Amy LaVere, Coco Mamas and Sharde Thomas.
Russell has also released two solo LPs: Outside Child in 2021 and The Returner last September, both on Fantasy Records. The sets were nominated for best Americana album at the 2022 and 2024 Grammy Awards, respectively. She has earned seven additional Grammy nominations and took home her first trophy at the latest ceremony, for best American roots performance (for “Eve Was Black”).
Following her Grammy win, Russell made headlines when Tennessee House Republican Caucus Chair Jeremy Faison blocked a resolution to honor her, despite allowing a similar resolution to pass for Paramore after the group won its first Grammy. The resolution was presented by Tennessee Democratic Rep. Justin Jones, who aired his grievances on X following the decision. “Tonight my Republican colleagues blocked a resolution honoring Black American Roots artist Allison Russell for her first Grammy win,” he wrote. “[She] has worked tirelessly to foster an inclusive Nashville through her music and continues to make Black History here in Tennessee.”
Russell has long been an outspoken activist outside of music. In March 2023, she teamed with Jason Isbell and LGBTQ non-profit organizations to organize Love Rising, an all-star benefit concert in Nashville in response to the state passing laws banning gender-affirming care for minors and banning drag shows in public spaces. The show featured performances from Brothers Osborne, Sheryl Crow, Hozier and Maren Morris, among others.
“The ideas are my favorite part of everything I do. That moment where you’re like, ‘Oh, I know what it’s called,’ or ‘I know what the hook is now.’ ”
Taylor Swift mused about her creative process upon the release of her 2020 documentary, Miss Americana.
“I remember when I used to get an idea when I was 12 years old in my room,” Swift continued. “I used to get an idea and I’d be like, ‘Yes, idea!’ And then I’d get this fear and almost sorrow that no one was ever going to hear it. ‘I’m never going to get to make this into something. It’s just mine.’
“There’s something cute about that … ‘but I want to make something.’ ”
Swift has tallied 232 hits on the Billboard Hot 100, including 138 top 40 entries and 49 top 10s (all of which she has written or co-written, and the bulk of which she has co-produced) – all the most among women in the chart’s history (through the survey dated April 6, 2024). Of those, 11 have hit No. 1.
After arriving on the Hot 100 dated Sept, 23, 2006 with her debut single, “Tim McGraw,” Swift first reached the top 10 on the chart dated Aug. 30, 2008, with “Change”; five weeks later, she returned to the region with “Love Story,” with both songs from her sophomore album, Fearless. In 2022, she became the first artist to infuse the Hot 100’s entire top 10 in a single week with 10 tracks from her most recent album of all original material, Midnights.
How has Swift’s songwriting and production evolved over the decade-and-a-half-plus since she first hit the Hot 100’s top 10? What stands out as unique in her craft? And, what techniques has she employed that have helped make her The Eras Tour groundbreaking?
Hit Songs Deconstructed, which provides compositional analytics for top 10 Hot 100 hits, recently held a masterclass, studying Swift’s top 10s from Fearless through Midnights, followed by the April 2 release of its complimentary 93-page report, “The Taylor Swift Evolution.”
Via insights from David Penn, who co-founded Hit Songs Deconstructed with Yael Penn, here is a look at 13 secrets to Swift’s historic Hot 100 success.
Differences Between Swift’s Earlier and Recent Eras
Sean “Diddy” Combs has maintained a steady presence on Billboard’s charts since the mid-1990s, when he founded Bad Boy Records and began charting with his own smash singles “Can’t Nobody Hold Me Down,” “I’ll Be Missing You” and more. These songs and others from his catalog have continued to rack up millions of streams and are radio classics, still earning hundreds of plays every week. But due to a string of sexual misconduct allegations and, most recently, two raids of his homes on March 25 by the Department of Homeland Security in connection with an ongoing sex-trafficking investigation, his familiar presence on radio and top streaming playlists may be in jeopardy.
Diddy’s music catalog* (see below) has been consistently dropping on radio since Cassie, the mogul’s former girlfriend, filed a lawsuit on Nov. 16, 2023, accusing Combs of years of abuse and one accusation of rape. The lawsuit alleged that she had “endured over a decade of his violent behavior and disturbed demands,” including repeated beatings and forcing her to “engage in sex acts with male sex workers.”
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From Nov. 3 to 16, 2023 – the two tracking weeks preceding Cassie’s filing – Diddy’s catalog generated 11,000 radio spins, which translated to 23.3 million radio airplay audience impressions, according to Luminate. In the two tracking weeks after (Nov. 17-30), his catalog raked in 8,000 spins (down 28%), equaling 17.3 million impressions (down 26%).
In almost every week since then, Diddy’s catalog has seen decreases in radio play. In the most recent two-week span (March 15-28), his catalog tallied 1,000 spins that garnered 4 million impressions. Compared with the two weeks leading up to Cassie’s filing in November, that’s an 88% drop in radio spins and an 83% plummet in radio audience.
The most drastic single-week drop in radio occurred between Nov. 24-30 and Dec. 1-7. Diddy’s music saw a 41% plunge in radio spins in that span (from 3,000 to 2,000) and a 31% fall in audience (6.9 million to 4.7 million). The drop came as Diddy was hit with another pair of lawsuits on Nov. 23: One, filed by Joi Dickerson-Neal, claimed that the superstar drugged and sexually assaulted her in 1991, while a second – from an anonymous accuser – alleged that the music mogul sexually assaulted and beat her. Also contributing to the plunge, many radio stations (though not primarily R&B/hip-hop formats) start playing holiday music after Thanksgiving. Thus, non-holiday fare could see a decline in activity to make way for holiday music.
While Diddy’s radio presence has been decreasing, his streaming totals don’t tell the same story. Excluding his latest LP The Love Album: Off the Grid (released Sept. 15; making for a fairer catalog comparison), Diddy’s catalog garnered 6.7 million on-demand U.S. streams** (see below) Nov. 3-16 – the two weeks preceding Cassie’s filing – and 4.5 million in the two most recent tracking weeks (March 15-28), down 31%.
Last week, Diddy’s day-to-day streams increased after the raids of his homes on Monday (March 25). On Saturday and Sunday (March 23-24) Diddy’s catalog earned 930,000 streams. In the two days following the home raids (March 26-27), it earned 1.28 million, a 38% increase.
On March 26, the day after the raids of Diddy’s L.A. and Miami homes, his attorney Aaron Dyer spoke out against the “gross overuse of military-level force” in the raids of the musician’s residences, and vowed to end the “witch-hunt” against his client. While the results of that have yet to be seen, Diddy’s decline on the airwaves shows that many stations have already made up their minds.
*Diddy’s music catalog encompasses all titles billed to Diddy, P. Diddy, Puff Daddy, Puff Daddy & The Family, and Diddy Dirty Money. This excludes featured credits, like The Notorious B.I.G.’s “Mo Money Mo Problems,” on which Diddy is featured.
**Diddy’s streaming sum includes user-generated content, or UGC, streams, which don’t count towards Billboard’s charts.
–Kevin Rutherford and Trevor Anderson contributed to this report
Future, Metro Boomin and Kendrick Lamar’s “Like That” leaps in at No. 1 on the Billboard Global 200 chart.
The track is one of three from Future and Metro Boomin’s album We Don’t Trust You that debut in the Global 200’s top 10, as the set opens at No. 1 on the U.S.-based Billboard 200 chart.
Plus, Hozier’s “Too Sweet” begins at No. 7 on the Global 200.
Meanwhile, Benson Boone’s “Beautiful Things” adds a sixth week at No. 1 on the Billboard Global Excl. U.S. survey.
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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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Future, Kendrick Lamar & Metro Boomin’s First Global 200 No. 1
Future, Metro Boomin and Kendrick Lamar’s “Like That,” on Boominati/Wilburn Holding Co./Republic/Epic Records, premieres at No. 1 on the Billboard Global 200, with 91 million streams and 10,000 sold worldwide in its first week of release (March 22-28).
Also debuting in the Global 200’s top 10 from Future and Metro Boomin’s LP We Don’t Trust You are “Type Shit,” with Travis Scott and Playboi Carti (No. 6; 56.1 million streams worldwide), and “Cinderella,” with Scott (No. 8; 43.2 million).
Future, Metro Boomin and Lamar all top the Global 200 for the first time. Scott now boasts 10 top 10s on the tally; Future, eight; Lamar, four; Playboi Carti, three; and Metro Boomin, one.
Benson Boone’s “Beautiful Things” drops to No. 2 after five weeks at No. 1 on the Global 200; Ariana Grande’s “We Can’t Be Friends (Wait for Your Love)” slips 2-3, two weeks after debuting at No. 1; Djo’s “End of Beginning” backtracks to No. 4 from its No. 3 high; and Teddy Swims’ “Lose Control” descends to No. 5 from its No. 4 best.
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Hozier’s “Too Sweet” debuts at No. 7 on the Global 200, with 43 million streams and 5,000 sold worldwide. The Irish singer-songwriter’s first top 10 since the chart began was first widely heard via a teaser snippet during his March 6 appearance on the How Long Gone podcast, ahead of its proper release March 22 on his four-track EP Unheard.
Boone No. 1 on Global Excl. U.S. for Sixth Week
Benson Boone’s “Beautiful Things,” on Night Street/Warner Records, notches a sixth nonconsecutive week atop the Billboard Global Excl. U.S. chart, with 64.1 million streams (essentially even week-over-week) and 8,000 sold (up 18%) outside the U.S. March 22-28.
Ariana Grande’s “We Can’t Be Friends (Wait for Your Love)” holds at No. 2 on Global Excl. U.S., two weeks after it debuted at No. 1; Djo’s “End of Beginning” rises 5-3 for a new high; Creepy Nuts’ “Bling-Bang-Bang-Born” is steady at No. 4, after hitting No. 2; and Teddy Swims’ “Lose Control” rebounds 6-5, after reaching No. 3.
Plus, Future, Metro Boomin and Kendrick Lamar’s “Like That” debuts at No. 6 on Global Excl. U.S., led by 31.9 million streams outside the U.S. The song is the second top 10 for each act.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated April 6, 2024) will update on Billboard.com tomorrow, April 2. 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.
With the shots fired by Kendrick Lamar on Future and Metro Boomin’s “Like That” helping the song debut atop the Hot 100, a rundown of all its spite-filled predecessors at the chart’s apex.
Future, Metro Boomin and Kendrick Lamar’s “Like That” soars in at No. 1 on the Billboard Hot 100 songs chart. Future and Lamar each land their third Hot 100 leader, while Metro Boomin earns his first as a billed recording artist, following two as a writer and producer. The track is one of five from […]