Chart Beat
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Creepy Nuts’ “Bling-Bang-Bang-Born” tops the Billboard Japan Hot 100 again this week on the chart dated March 20.
Now in its eighth straight week atop the Japan song chart, the MASHLE season 2 opener has surpassed Gen Hoshino’s “Koi” and is tied with Official HIGE DANdism’s “Subtitle” for consecutive weeks at No. 1. (The current record for the longest consecutive stay atop the Japan Hot 100 is 21 weeks, held by YOASOBI’s “Idol.”)
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On the chart tallying the week ending March 17, “BBBB” returns to No. 1 for downloads with 21,307 units (though down by about 4.4%) and continues to rule streaming with 24,945,758 weekly streams (up 17%). The rap banger also rises to No. 1 for video views by a margin of more than 6.4 times over the song at No. 2 (12,089,850 views) and moves 2-1 for karaoke, dominating four metrics of the chart’s methodology this week. Creepy Nuts dropped the CD version of the song on Wednesday (March 20) and is set to kick off its nationwide tour on Friday (March 22), and it doesn’t look like the duo’s biggest hit to date will be slowing down anytime soon.
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AKB48’s “Karakon Wink” debuts at No. 2 this week. The 63rd single by the long-running girl group is off to a great start, launching with 463,564 copies to top sales. The song celebrates the “graduation” of member Yuki Kashiwagi, who will be leaving after 17 years of being one of the most beloved and well known members of the group in its 19th year.
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Number_i’s “GOAT” stays in the top 10 at No. 5 this week, selling 19,459 copies in its second week of CD release to surpass 500k copies total. The track is at No. 2 for sales, No. 11 for downloads (3,926 units), No. 36 for streaming (3,109,214 streams), No. 8 for video views (1,151,338 views) and holds at No. 1 for radio airplay.
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Fujii Kaze’s “Michi Teyu Ku (Overflowing)” debuts at No. 8 after dropping March 15. The 26-year-old singer-songwriter performed his latest single, written for the Japanese movie April Come She Will, on the premiere episode of NHK’s tiny desk concerts JAPAN series broadcast on March 16. In its first week, the track reached No. 3 for downloads (11,394 units), No. 20 for streaming (4,067,422 streams), No. 7 for video (1,208,331 views), and No. 12 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 March 11 to 17, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Djo returns to the top spot on the TikTok Billboard Top 50 chart as Beyoncé and Dasha break into the top 10. Tetris Kelly: Djo returns to the top, while one fresh face breaks into the top 10. Djo aka Joe Kerry’s “End of Beginning” bounces back to No. 1 after spending some time at […]
Djo takes “End of Beginning” back to No. 1 on the TikTok Billboard Top 50 chart, jumping 3-1 on the March 23-dated tally.
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 11-17. 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.
“End of Beginning” previously reached No. 1 on the TikTok Billboard Top 50 list dated March 2, becoming the first Billboard ruler for Djo (real name Joe Keery, also well known as an actor in Stranger Things, Fargo and more).
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Its return to No. 1 coincides with its rise to the top of Billboard’s Alternative Streaming Songs ranking. The tune racked up 16.7 million official U.S. streams March 8-14, a jump of 21%, according to Luminate. It also achieves a new peak of No. 21 on the multi-metric, all-genre Billboard Hot 100.
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Trends utilizing the “End of Beginning” sound are paced by the “If I won the lottery” theme, which helped the song rise to No. 1 on its initial ascent and continues well into March.
Unlike the March 16-dated TikTok Billboard Top 50, in which the top five remained completely static from the previous frame, the chart’s upper reaches experiences some shakeup below Djo, as Benson Boone’s “Beautiful Things” leaps 11-2.
It’s a new peak for “Beautiful Things,” which debuted at No. 6 on the Feb. 10 survey and has bounced around the top 20 since. While the song’s initial debut was largely thanks to being teased on TikTok for weeks prior to its official release (Jan. 18), its latest jump is via a proliferation of newly released lip-synching clips featuring the track, concurrent with its rise on the Hot 100, returning to its peak of No. 3 on the March 23 tally.
Ye (formerly known as Kanye West) and Ty Dolla $ign’s “Carnival,” No. 1 on the TikTok Billboard Top 50 for the previous two weeks, falls to No. 3, while Beyonce’s “Texas Hold ‘Em” returns to the top five, blasting 39-4, and Bobby Caldwell’s previous No. 1 “What You Won’t Do for Love” dips 2-5. The “Texas Hold ‘Em” dance trend is what continues to fuel No. 4, with many users donning cowboy garb as well to celebrate Beyonce’s country turn. The song had fallen off the chart briefly due to being removed from the platform but has since returned.
Dasha’s “Austin” is the only song of the week to reach the top 10 for the first time, leaping to No. 6 after debuting at No. 15 March 16. Its ascent gives the chart two country songs in the top 10 (alongside “Texas Hold ‘Em”), the first time that’s happened since the TikTok Billboard Top 50’s September 2023 inception.
Like “Texas Hold ‘Em,” “Austin” benefits from a line dance-inspired trend, with Dasha herself leading the pack via a variety of uploads.
“Austin” sports a 65% jump in official U.S. streams to 6.7 million March 8-14, allowing for Dasha’s first appearance on the Hot 100 at No. 74, as previously reported.
The top debut of the week on the TikTok Billboard Top 50 belongs to Don Toliver, whose “Bandit” premieres at No. 14. “Bandit” was initially released Feb. 1 and has sported a swift rise on TikTok following its use in multiple viral clips over the past few weeks.
Finally, as a potential precursor to future rankings, Sexyy Red’s “Get It Sexyy” and Cardi B’s “Enough (Miami)” start at Nos. 44 and 45, respectively, following their official releases March 15, meaning the tracks bow despite having just three days of tracking with the official sound (the TikTok Billboard Top 50 runs on a Monday-Sunday tracking period).
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.
What were the most notable highlights regarding the sonic characteristics of hits on Billboard’s Radio Songs chart in 2023?
AI-powered hit song analytics platform ChartCipher released its latest report March 15, spotlighting key findings from Radio Songs surveys dated Jan. 7 through Dec. 30, 2023.
In October 2023, ChartCipher launched publicly, as announced jointly by MyPart and Hit Songs Deconstructed. The platform utilizes analytics from 10 of Billboard’s most prominent charts dating to the turn of the century: the Billboard Hot 100, Hot Country Songs, Hot R&B/Hip-Hop Songs, Hot Dance/Electronic Songs, Hot Rock & Alternative Songs, Pop Airplay, Country Airplay, Streaming Songs, Radio Songs and Digital Song Sales.
Here are three takeaways from Chart Cipher’s new report, reflecting the Radio Songs chart for 2023.
Pop Topped, But Dropped
“Pop was the top genre on the Billboard Radio Songs chart in 2023 with a 37% share” of all entries, ChartCipher’s report notes. “Country followed close behind at 31% and hip-hop/rap rounded out the top three at 23%. Rock, R&B/soul, dance/club/electronic and Latin trailed distantly, each accounting for 9% of songs or less.”
Still, ChartCipher’s research reveals, “While pop has consistently maintained the largest share of the chart for the past five years, its prominence dropped from 54% in 2022 to 37% in 2023 – a low not seen since the start of the 21st century.
“Conversely, country [up from 27% to 31% year-over-year] and hip-hop/rap [up from 13% to 23%] both saw gains in 2023.”
Despite its decline, pop boasts a dual domination, as it tied hip-hop/rap as the top primary genres on the Streaming Songs chart for 2023, each with a 27% share. Country claimed a 20% share and rock, 19%, followed by R&B/soul (9%), Latin (6%) and dance/electronic (3%).
To recap, by performance on each chart, here are the top three genres on both Radio Songs and Streaming Songs throughout 2023. Pop and country each sport higher shares on Radio Songs than Streaming Songs, while hip-hop/rap fared better on Streaming Songs than Radio Songs:
Pop: 37% share, Radio Songs / 27%, Streaming Songs
Country: 31%, Radio Songs / 20%, Streaming Songs
Hip-hop/rap: 23%, Radio Songs / 27%, Streaming Songs
Just Dance (Moderately)
“Radio Songs chart hits have been becoming more danceable the last few years,” ChartCipher reports.
Not that airwaves have been inundated by thumping, hi-NRG beats: “Those possessing moderate danceability rose from half of songs in 2021 to just over two-thirds in 2023,” per ChartCipher. “Conversely, songs with low danceability have been in decline over the same time period. On the other end of the spectrum, highly danceable songs (i.e., those that are club-ready) continue to be few and far between.”
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ChartCipher cites examples of dance-driven 2023 Radio Songs hits including Dua Lipa’s “Houdini” (high danceability), Taylor Swift’s “Anti-Hero” (moderate) and Nicki Minaj and Ice Spice’s “Barbie World,” with Aqua (low).
Meanwhile, with moderately danceable songs dominating, “Nearly two-thirds of Radio Songs chart hits [in 2023 had] tempos under 100 BPM,” according to ChartCipher. “Those with tempos under 79 BPM saw a notable increase in prevalence, from 29% of songs in 2022 to 39% in 2023, their highest level in over a decade.”
No Rhyme or Reason
Dissecting lyrics, “Rhyme density was a mixed bag in 2023, with a near-equal split of songs (sung in English) possessing low, moderate and high degrees of rhymes,” among Radio Songs hits, ChartCipher analyzes. “However, there has been a recent trend towards high and very high rhyme density, together accounting for nearly half of the chart in 2023, compared to one-third a few years earlier.”
ChartCipher references “chart-topping representatives on either end of the spectrum,” from Luke Combs’ “Fast Car” (low rhyme density) to Rema and Selena Gomez’s “Calm Down” (“very high”).
Norah Jones’ Visions bows at No. 9 on Billboard’s Top Album Sales chart (dated March 23) and at No. 1 on both the overall Jazz Albums and Contemporary Jazz Albums rankings. It’s the eighth top 10 on the Album Sales tally for Jones, and her fourth leader on both Jazz Albums and Contemporary Jazz Albums.
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Visions also enters at No. 40 on the Top Rock & Alternative Albums chart, her first debut on the list since Dec. 2013, when Foreverly, her collaborative album with Billie Joe Armstrong, opened at No. 7 on its way to a No. 4 peak in Jan. 2014.
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Visions was preceded by the radio-promoted single “Running,” which has so-far peaked at No. 7 on the Adult Alternative Airplay chart – marking her eighth top 10 and highest-charting song on the list in over a decade, since “Happy Pills” hit No. 4 in 2012.
Also in the top 10 of the new Top Album Sales chart: the latest releases from Ariana Grande, Judas Priest, xikers and Bleachers arrive.
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.
In the tracking week ending March 14 (which is reflected on the March 23-dated Top Album Sales chart), Visions sold 7,000 copies in the U.S., according to Luminate. Of that sum, physical sales comprise 5,500 (3,500 on CD and 2,000 on vinyl) and digital download sales comprise 1,500. The album was available in four vinyl variants (including exclusive iterations for Barnes & Noble, indie retailers and Spotify), a standard CD, a Target-exclusive CD (with a bonus track and a poster) and a signed CD (available in Jones’ webstore).
At No. 1 on Top Album Sales, Ariana Grande’s Eternal Sunshine starts with 77,000 copies sold – earning Grande her sixth chart-topper. The set was available in a dozen physical configurations and two digital download offerings.
Veteran rock band Judas Priest starts at No. 2 with Invincible Shield (23,000 sold), scoring the group its third top 10-charting set on Top Album Sales. (The list began in 1991, well after Judas Priest began its overall Billboard chart career in 1978 on the Billboard 200 with Stained Class.) The new album’s first-week sales were bolstered by its availability across six vinyl variants, a standard CD and a Target-exclusive CD with a lenticular cover.
South Korean pop group xikers nabs its highest-charting effort on Top Album Sales, and second top 10-charting set, as House of Tricky: Trial and Error debuts at No. 3 with 12,500 copies sold (the act’s best sales week). The set’s sales were almost entirely from CDs, with a minimal number of sales from digital downloads. The album was issued in 10 collectible CD editions, all including branded paper merchandise (some randomized).
TWICE’s With YOU-th falls 1-4 in its third week on the chart, selling 10,500 copies (down 37%).
Bleachers’ new self-titled album opens at No. 5 with 9,500 copies sold. It’s the second top 10-charting effort the for the act, led by Jack Antonoff. The album was available in a standard 14-track edition on digital download, CD and cassette. It was also available on 10 vinyl editions, all boasting bonus tracks and most pressed on colored vinyl.
Rounding out the rest of the top 10 on the new Top Album Sales chart: Taylor Swift’s chart-topping 1989 (Taylor’s Version) falls 3-6 (9,000; up 2%), Swift’s former leader Lover is steady at No. 7 (8,000; up 8%), LE SSERAFIM’s Easy falls 2-8 (7,000; down 30%) and Swift’s chart-topping Folklore dips 8-10 (6,000; up 4%).
In the week ending March 14, there were 1.196 million albums sold in the U.S. (up 3.7% compared to the previous week). Of that sum, physical albums (CDs, vinyl LPs, cassettes, etc.) comprised 909,000 (up 7%) and digital albums comprised 287,000 (down 5.5%).
There were 474,000 CD albums sold in the week ending March 14 (up 7.3% week-over-week) and 430,000 vinyl albums sold (up 6.7%). Year-to-date CD album sales stand at 4.792 million (down 30.8% compared to the same time frame a year ago) and year-to-date vinyl album sales total 5.031 million (down 48%).
Overall year-to-date album sales total 13.132 million (down 36.3% compared to the same year-to-date time frame a year ago). Year-to-date physical album sales stand at 9.872 million (down 40.9%) and digital album sales total 3.260 million (down 16.5%).
Ariana Grande is having a massive week on Billboard’s charts. Along with claiming the No. 1 album on the Billboard 200, the No. 1 song on the Billboard Hot 100 and reigning as the No. 1 act on the Billboard Artist 100, she also rules the Hot 100 Songwriters and Hot 100 Producers charts for the first time.
As such, Grande becomes just the fourth artist to top all five of those surveys simultaneously, a feat achieved just 10 times since Billboard launched the songwriter and producer charts in 2019. Here’s a look at every such week.
Chart Date, Artist, Billboard 200 No. 1 album, Hot 100 No. 1 songMarch 23, 2024: Ariana Grande, Eternal Sunshine, “We Can’t Be Friends (Wait for Your Love)”Nov. 18, 2023: Taylor Swift, 1989 (Taylor’s Version), “Cruel Summer”Nov. 11, 2023: Taylor Swift, 1989 (Taylor’s Version), “Is It Over Now? (Taylor’s Version) [From the Vault]”Sept. 9, 2023: Zach Bryan, Zach Bryan, “I Remember Everything” ft. Kacey MusgravesDec. 3, 2022: Taylor Swift, Midnights, “Anti-Hero”Nov. 26, 2022: Taylor Swift, Midnights, “Anti-Hero”Nov. 12, 2022: Taylor Swift, Midnights, “Anti-Hero”Nov. 5, 2022: Taylor Swift, Midnights, “Anti-Hero”Nov. 27, 2021: Taylor Swift, Red (Taylor’s Version), “All Too Well (Taylor’s Version)”April 4, 2020: The Weeknd, After Hours, “Blinding Lights”
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Taylor Swift has led all five charts simultaneously a record seven times, and via three albums: Red (Taylor’s Version), Midnights and 1989 (Taylor’s Version). The Weeknd and Zach Bryan have both achieved the feat once, thanks to their LPs After Hours and Zach Bryan, respectively.
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Grande tops the latest Hot 100 Songwriters and Hot 100 Producers charts thanks to her credits on all 12 of her charting songs on the Hot 100, all from Eternal Sunshine. Notably, she’s the only co-songwriter and co-producer on all 12 songs. Here’s a recap.
Rank, TitleNo. 1, “We Can’t Be Friends (Wait for Your Love)”No. 10, “Yes, And?” (up from No. 31; debuted at No. 1 on Jan. 27)No. 16, “The Boy Is Mine”No. 17, “Supernatural”No. 23, “Eternal Sunshine”No. 25, “Bye”No. 28, “Don’t Wanna Break Up Again”No. 30, “True Story”No. 37, “Imperfect for You”No. 38, “Intro (End of the World)”No. 39, “I Wish I Hated You”No. 55, “Ordinary Things,” feat. Nonna
Eternal Sunshine is Grande’s first album cycle in which she’s credited as a co-producer. She logged her first career Hot 100 entry as a credited producer on “Yes, And?,” with Max Martin and ILYA. Of the 12 charting songs from the set, Martin is a co-producer on all but “Intro (End of the World)” and “I Wish I Hated You.” ILYA co-produced all except “Intro,” “Supernatural” and “Ordinary Things.” Martin and ILYA rank at Nos. 2 and 3, respectively, on Hot 100 Producers.
Martin has an unprecedented history on Billboard’s charts, having produced a record 25 No. 1 songs on the Hot 100. He tallied his record-breaking 24th leader in January with “Yes, And?” (passing late Beatles mastermind George Martin). He tallies his 25th with “We Can’t Be Friends (Wait for Your Love).”
As for ILYA, 26 of Grande’s Hot 100-charting entries have been produced or co-produced by the hitmaker, including her two most recent No. 1s, as well as her first top five hit, “Problem,” featuring Iggy Azalea, in 2014. He also co-produced Sam Smith and Kim Petras’ 2022 No. 1 “Unholy,” along with songs by Justin Bieber, Jonas Brothers, Lizzo and Normani.
Billboard’s weekly Hot 100 Songwriters and Hot 100 Producers charts are based on total points accrued by a songwriter and producer, respectively, for each attributed song that appears on the Hot 100. As with Billboard’s yearly recaps, multiple writers or producers split points for each song equally (and the dividing of points will lead to occasional ties on rankings). Billboard launched its Hot 100 Songwriters and Hot 100 Producers charts, as well as genre-specific rankings for country, rock & alternative, R&B/hip-hop, R&B, rap, Latin, Christian, gospel and dance/electronic in June 2019. Alternative and hard rock joined in 2020, along with seasonal holiday rankings in 2022.
Judas Priest lands its third No. 1 on Billboard’s Top Hard Rock Albums chart, as Invincible Shield starts atop the ranking dated March 23. Invincible Shield bows with 25,000 equivalent album units earned March 8-14 in the U.S., according to Luminate. Of that sum, 23,000 units are via album sales. It’s the first new No. […]
Ariana Grande snags the biggest streaming debut of 2024 with “We Can’t Be Friends (Wait for Your Love),” which opened at No. 1 on Billboard’s Streaming Songs chart dated March 23.
“We Can’t Be Friends” earned 32.6 million official U.S. streams in its first week (March 8-14), according to Luminate.
It exceeds the 29.2 million streams accumulated by Megan Thee Stallion’s “Hiss” in its first week (Feb. 10) to become the biggest debut week for a song in 2024. And it’s the biggest bow of any song since three songs from Drake’s 2023 album For All the Dogs started on the Oct. 21, 2023, survey: “First Person Shooter,” featuring J. Cole (42.2 million), “IDGAF,” featuring Yeat (40.8 million) and “Virginia Beach” (34.5 million).
The song also sports the second-biggest week for any non-holiday song this year, second only to “Carnival” by Ye (formerly known as Kanye West) and Ty Dolla $ign. The Rich the Kid– and Playboi Carti-featuring song racked up 33.7 million streams toward the March 16 list, its fourth week on the tally and third at No. 1.
“We Can’t Be Friends” and “Carnival” are the only non-holiday songs to boast more than 30 million streams in a given week this year.
It’s Grande’s sixth No. 1 on Streaming Songs, a chart that began in 2013. That ties her with Justin Bieber for the third-most rulers in the list’s history; Drake leads all acts with 20 reigns.
Most No. 1s, Streaming Songs20, Drake8, Taylor Swift6, Ariana Grande6, Justin Bieber5, Travis Scott4, Beyonce4, Cardi B4, Kanye West4, Lil Baby4, Megan Thee Stallion
She first crowned the ranking with “Thank U, Next,” a seven-week leader beginning in November 2018. Prior to “We Can’t Be Friends,” she had last led via “Yes, And?,” for a week this January.
Both “We Can’t Be Friends” and “Yes, And?” are songs from Eternal Sunshine, Grande’s seventh studio album, which concurrently debuts at No. 1 on the Billboard 200 with 227,000 equivalent album units earned, as previously reported. All 12 chart-eligible songs from the LP appear on Streaming Songs, including four of the top 10; the No. 1 track is followed by “The Boy Is Mine” (No. 7, 17.6 million streams), “Yes, And?” (No. 8, 17.3 million streams) and “Supernatural” (No. 9, 16.4 million streams).
As previously reported, “We Can’t Be Friends” also starts at No. 1 on the multi-metric Billboard Hot 100.
Intocable returns to No. 1 on Billboard’s Regional Mexican Airplay chart as its latest single, “Ojalá Estuvieras Aquí,” climbs 6-1 on the March 23-dated list.
“We are incredibly grateful to our fans for their support and to Billboard for recognizing our music once again,” Ricardo Muñoz, lead singer of Intocable, tells Billboard.
“Ojalá Estuvieras Aquí,” released on Good Music I, takes the Greatest Gainer award on Regional Mexican Airplay, a weekly honor for the song with the largest increase in audience impressions. The song leads thanks to a robust 67% gain in audience impressions, to 8 million, earned in the U.S. during the March 8-14 tracking week, according to Luminate.
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“Ojalá” is the first single of the Texas group’s 16-track album, Modus Operandi, released Feb. 8. The song was written by Pablo Preciado (Matisse) and marks the return of the imprint sound of Intocable.
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With the new No. 1, Intocable captures its 19th champ on Regional Mexican Airplay and ties with Banda MS de Sergio Lizarraga for the second-most rulers among all acts since the chart’s inception in 1994. The two acts trail only Calibre 50, who continues at the helm with 24 No. 1s on its chart account.
“Having our 19th song hit No. 1 is unbelievable,” Muñoz adds. “It’s a huge honor, and we feel lucky and humbled. ‘Ojalá Estuvieras Aquí’ is a song that holds a special place in our hearts, and we are thrilled to see it connect with audiences in such a meaningful way.”
As Intocable bags a new ruler, here’s a refreshed rundown of the artists with the most No. 1s on Regional Mexican Airplay:
24, Calibre 50
19, Banda MS de Sergio Lizarraga
19, Intocable
18, Banda El Recodo de Cruz Lizarraga
17, La Arrolladora Banda el Limon de Rene Camacho
16, Conjunto Primavera
16, Los Tigres del Norte
As “Ojalá” takes Intocable to No. 1, it sends El Fantasma’s “El Exitoso” to No. 3, after one week in charge, with a 20% dip in impressions, to 6.65 million.
“Ojalá” dominates Regional Mexican Airplay a year and two months after Intocable last took over the Mexican radio ranking, when “Un Poquito Tuyo” advanced from the runner-up slot to lead the Jan. 14, 2023-dated list. In between, two songs reached a double No. 3 high: “No Se Vuelve a Repetir” (September 2023) and “Obsesión” (December 2023).
Further, “Ojalá” surges 21-2 on the overall Latin Airplay chart, the biggest ascension in 2024 thus far. It concurrently bests Intocable’s lasts three top 10s there and marks the group’s highest appearance since “Te Amo (Para Siempre)” landed at the summit, for one week in charge, in 2013.
The new No. 1 achievement on Regional Mexican Airplay lands as Intocable commemorates its 30-year career anniversary.
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: Sexyy Red is once again the “Get-It” girl for the early year, while a risng Justin Timberlake tide lifts all *NSYNC and a Milwaukee rap phenom scores his first viral TikTok hit.
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Sexyy Red Continues to ‘Get It’ Into 2024
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There was little question that Sexyy Red was one of the breakout rappers of 2023, with her “Pound Town,” “SkeeYee” and “Lookin’ for the Hoes” all proving viral sensations and her Hood’s Hottest Princess album demonstrating that she could keep up that single-level excitement for a full LP. But for all her success last year, Sexyy still hasn’t reached the top half of the Hot 100 with any of her own singles; her lone appearance in that region of the chart to date has come with her appearance (along with SZA) on Drake’s “Rich Baby Daddy,” a No. 11-peaking hit that spent 22 weeks on the listing before finally falling off this week.
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That might change next week with the debut of Sexyy Red’s new single, “Get It Sexyy,” released through Open Shift/gamma. The song, another collab with “Pound Town” producer Tay Keith, had been teased extensively on TikTok before its release on Friday (March 15), and also benefitted from the rapper’s internet-conquering performance at Rolling Loud over the weekend. With its riotous beat and shout-along hook, the song immediately took off on streaming, even rising to the No. 1 spot on Apple Music’s realtime chart on Saturday. The song racked up 8.4 million official on-demand U.S. streams in its first four days of release (March 15-18), according to Luminate, while climbing in streams from Sunday to Monday, implying that it may still only be gathering steam as a hit.
The song will likely make its debut on next week’s Hot 100 (dated March 30), and seems all but certain to pass the No. 62-peaking “SkeeYee” for the rapper’s biggest hit on the chart date — suggesting that even after her impressive 2023, things are only going to get Sexyy-er in hip-hop in 2024. – ANDREW UNTERBERGER
*NSYNC’s Surprise Reunion (And New Song) Boost Boy Band’s Back Catalog
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If “Better Place,” last year’s *NSYNC single for the Trolls Band Together soundtrack, was a delightful new treat after more than two decades without any music from the best-selling boy band, fans of the quintet are downright feasting this week. Not only do *NSYNC diehards have a sprawling new album from Justin Timberlake, Everything I Thought It Was, but that 77-minute opus also includes another new *NSYNC track, the heartfelt ballad “Paradise.” Plus, Timberlake brought out JC Chasez, Lance Bass, Joey Fatone and Chris Kirkpatrick at his pre-release Los Angeles show last Wednesday night (Mar. 13), for a surprise mini-set of *NSYNC hits like “Girlfriend” and “It’s Gonna Be Me.”
Naturally, the combination of the new track on Timberlake’s album and unexpected reunion gave *NSYNC’s full discography a healthy boost on streaming services last week. In the three days following the Los Angeles performance (Mar. 14-16), *NSYNC’s catalog earned 3.9 million on-demand U.S. streams — a figure that’s nearly 25% higher than the same period during the prior three days (3.1 million streams from Mar. 11-13), according to Luminate. No word on *NSYNC’s future from here, but with Timberlake beginning a world tour next month, let’s hope the boy band makes a few more appearances together before saying “Bye Bye Bye” for a while. – JASON LIPSHUTZ
Milwaukee Rapper J.P. Puts on for the Midwest With Viral Hit “Bad Bitty”
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Milwaukee has something to say. As hip-hop continues its love fest with the danceable bounce of Jersey club and later iterations of New York drill, Milwaukee rapper J.P. is injecting some Midwest flair into the conversation. His breakout single, “Bad Bitty,” collected 1.2 million official on-demand U.S. streams during the period of March 8-14, according to Luminate. That’s a whopping 170% increase in streaming activity from the 440,000 streams the song earned three weeks earlier, during the period of Feb. 16-22. “Bad Bitty” has increased in streams every week for the past three weeks, jumping nearly 75% between Feb. 16-22 and Feb. 23-29, and increasing a further 38% between March 8-14 and March 1-7.
The Milwaukee rapper’s song has been exploding on TikTok for the past two weeks thanks to an aggressive campaign from the artist that includes intense fan engagement, simple head-bobbing choreography, and a meme involving the “noooo” ad-libs in the song’s chorus. In an interview with DJ Jerry, JP explained that he laid the foundation for “Bad Bitty” by beating the algorithm at its own game. As fellow Milwaukee emcee 414BigFrank scored his own viral hit with “Eat Her Up,” J.P. would make videos to that song while slowly trickling in videos featuring snippets of the then-unreleased “Bad Bitty.” Eventually, TikTok users flooded his comment section begging him to drop the full song, resulting in the track’s Feb. 9 street date.
To further stoke the flames of virality, J.P.’s sexuality also became a hot topic on TikTok following a resurfaced picture of what appears to be him cozied up in matching pajamas with another man. Unsurprisingly, in typical Gen Z fashion, a majority of users could not care less and J.P.’s sexuality, taking the time to make separate TikTok posts pledging their allegiance to the rapper. Furthermore, J.P. himself commented on the situation during a TikTok live, saying, “I don’t like n—as, I just tapped that n—a.” The “controversy” has proven to be nothing but good press for both J.P. and “Bad Bitty,” underscoring a changing tide in younger generation’s attitude towards male rappers exploring their sexuality — and racking up a viral hit in the process. – KYLE DENIS