Chart Beat
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Nicki Minaj wrapped the North American leg of the Pink Friday 2 World Tour earlier this week. Not only did it deliver the biggest grosses of her career, it sets a new high mark among women in hip-hop. According to figures reported to Billboard Boxscore, the Pink Friday 2 World Tour grossed $67 million and sold 439,000 tickets, making it the highest grossing and bestselling rap tour by a woman in Boxscore history.
Minaj launched the tour on March 1 in Oakland, Calif., bringing in $2.3 million from 14,000 tickets. That was the first of 34 shows in American and Canadian arenas, before closing up on May 13 in Oklahoma City.
The Pink Friday 2 routing included four double-headers, providing $3 million-plus grosses in Atlanta, Boston, Brooklyn, Chicago and Toronto. Two nights at Brooklyn’s Barclays Center on April 4 and May 1 proved the biggest, with $4.3 million and 28,100 tickets.
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In addition to her two Brooklyn plays, Minaj also performed at Manhattan’s Madison Square Garden and the Prudential Center in New Jersey. Combined, those four NYC-area shows brought in $9.3 million and sold more than 54,000 tickets, with the MSG show claiming honors as the single highest grossing show of the tour so far.
The Pink Friday 2 World Tour was tracking to become Minaj’s biggest from opening night. Throughout the 34-date North American leg, the trek averaged just under $2 million and 13,000 per night. That’s nearly triple the pace of 2012’s Pink Friday: Reoloaded Tour ($776,000) and 2015-16’s The Pinkprint Tour ($657,000).
In November, Billboard published a list of the highest grossing rap artists of all time, with Minaj as the only woman at No. 20. With updated grosses from the Pink Friday 2 World Tour, she climbs to No. 11.
Still, Minaj’s record-setting trek arrives amid a particularly fruitful time for rap tours, and especially so among women. The Pink Friday 2 World Tour re-writes a record set by Doja Cat just five months ago, when The Scarlet Tour became the top rap tour among women acts with $37.3 million in the bank. Earlier this week, Megan Thee Stallion kicked off an arena tour of her own, launching the Hot Girl Summer Tour in Minneapolis. And in July, Missy Elliott – the first woman in hip-hop to be inducted into the Rock & Roll Hall of Fame – will set out on the Out of this World: The Missy Elliott Experience Tour. It will be her first headlining tour in a pioneering career that spans almost 30 years.
The Pink Friday 2 World Tour isn’t done bringing in business yet. Minaj will kickstart the tour’s European leg next week, with a show at Ziggo Dome in Amsterdam on May 23. In addition to a bevy of festival shows, she’ll play 15 headline dates that could add another $10 million to $20 million to the tour’s record-setting total. At $93.9 million and 911,000 in reported career grosses and attendance, it’ll all but certainly put Minaj over $100 million and 1 million tickets.
Creepy Nuts’ “Bling-Bang-Bang-Born” extends its stay atop the Billboard Japan Hot 100 to 15 weeks on the chart dated May 15.
Fifteen weeks at No. 1 on the Japan Hot 100 is second only to YOASOBI’s “Idol,” which holds the all-time record at 22 weeks. “BBBB” dominates four metrics this week — downloads, streaming, video views, and karaoke — and while points for each are down from the week before, the differences are slight: 91% for downloads week-over-week, 88% for streaming, 74% for radio, 87% for video and karaoke. A video of the duo’s performance of the long-running hit was recently featured on the Recording Academy’s “GRAMMYs Global Spin” segment and the hip-hop banger continues to reach global listeners. The track also continues to rule the Global Japan Songs chart.
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Bowing at No. 2 is &TEAM’s “Samidare.” It’s the nine-member global group’s first single, though the band debuted in December 2022 from HYBE LABELS JAPAN. The track comes in at No. 2 for sales with 440,615 CDs sold in its first week, No. 7 for downloads with 5,295 units, No. 21 for radio, No. 36 for video, and No. 90 for streaming, accumulating points in a balanced way though it didn’t top any of the metrics.
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At No. 3 is Hinatazaka46’s “Kimi wa Honey Dew.” The 11th single by the J-pop girl group sold 521,676 copies in its first week to hit No. 1 sales, while coming in at No. 34 for downloads, No. 15 for karaoke, and No. 89 for video.
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Mrs. GREEN APPLE’s “Lilac” slips 2-4 this week, with points for radio dropping significantly by 20% from the week before. But points for video and karaoke have increased, and while not a metric included in the methodology of the Japan Hot 100, points for User Generated Content have also gained, a trend indicating that the track could further expand its reach. Additionally, five songs by the three-man band have climbed the Japan Hot 100 this week: “Dancehall” moves 26-22, “Ao to Natsu” 31-24, “Soranji” 33-29, “Romanticism” 91-83, and “Blue Ambience (feat. asmi)” hits No. 98.
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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 May 6 to 12, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Mexican hitmakers Luis R Conriquez and Neton Vega each score their first career Billboard Hot 100 chart hit as their collaboration “Si No Quieres No” debuts at No. 86.
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Released March 9 on Kartel Music, the song arrives on the May 18-dated chart with 7.9 million official U.S. streams (up 22%) in the May 3-9 tracking week, according to Luminate. The song also jumps from No. 10 to No. 3 on the Hot Latin Songs chart, having become both singers’ first top 10.
“Si No Quieres No” is also bounds 100-70 on the Billboard Global 200 and 111-73 on the Billboard Global Excl. U.S. ranking.
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Conriquez, from Sonora, Mexico, first appeared on Billboard’s charts in April 2021, when his single “El Buho” debuted on Hot Latin Songs, eventually peaking at No. 19. He has charted 18 total songs on the ranking, including collaborations with fellow Mexican acts Peso Pluma, Fuerza Regida, Grupo Marca Registrada and Tito Double P. He has also logged 10 songs on the Regional Mexican Airplay list, including two No. 1s: “JGL” with La Adictiva, and “Si Ya Hiciste El Mal” with Jesse Uribe, both in 2022.
In May 2022, Billboard named Conriquez a Latin Artist on the Rise. His debut full-length, Corridos Bélicos, Vol. IV, reached No. 5 on the Top Latin Albums chart and No. 36 on the Billboard 200 this January.
As for Vega, “Si No Quieres No” is his first overall chart hit.
The debut of “Si No Quieres No” continues an unprecedented hot streak for regional Mexican music on the Hot 100. The song is the 53rd regional Mexican track to reach the chart, and the 10th in 2024. The first song in the genre to chart on the Hot 100 was Gera MX and Christian Nodal’s “Botella Tras Botella” in May 2021. Three other regional Mexican hits debuted that year, followed by two in 2022 and a whopping 37 in 2023 – 18 of which were by Peso Pluma. Two regional Mexican songs have hit the Hot 100’s top 10, both in 2023: Eslabon Armado and Peso Pluma’s “Ella Baila Sola” (No. 4 peak) and Grupo Frontera and Bad Bunny’s “Un x100to” (No. 5).
After debuting at No. 2 on the TikTok Billboard Top 50 chart dated May 11, Tommy Richman’s ”Million Dollar Baby” ends up one spot better on the May 18 survey, ranking at No. 1.
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 May 6-12. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50.
“Million Dollar Baby” reigns following continued viral usage of the tune on TikTok, the app on which it was first teased on April 13, well prior to its eventual April 26 wide release.
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A recent trend utilizing “Million Dollar Baby” on TikTok involves users referring to the “Black wife/girl effect,” showing them in photos before they began dating a Black woman and then afterward. Some uploads also flip the script, representing before-and-after photos of when they started dating people of other races or ethnicities.
Concurrently, “Million Dollar Baby” remains at its No. 2 peak on the multimetric Billboard Hot 100 chart, led by its 58.3 million official U.S. streams May 3-9, up 54%, according to Luminate.
“Million Dollar Baby” takes over at No. 1 on the TikTok Billboard Top 50 from Lay Bankz’s “Tell Ur Girlfriend,” which drops to No. 2 after three weeks atop the list. Laila!’s “Like That!” reaches a new peak of No. 3, up from No. 4 May 11. As previously reported, “Like That!,” a steady gainer since April on the chart, benefits from a trend in which creators use its its “Do you want me?/ Do you wanna love me like that?” chorus to post often comedic videos trying to distract their significant others from their perceived flaws or shortcomings.
Shaboozey’s “A Bar Song (Tipsy)” drops 3-4, while Jaxomy, Agatino Romero and Raffaella Carra’s “Pedro” rounds out the top five. “Pedro” hits a new peak after a rise that began with the tune’s No. 24 debut on the April 27 tally. “Pedro” initially found TikTok success through a trend featuring dancing pets within a rotating spotlight.
Though “Pedro” has not yet been able to reach the Hot 100 (it has, however, peaked so far at No. 12 on the Hot Dance/Electronic Songs list), its success concurrently takes it to a new peak of No. 17 on the Billboard Global Excl. U.S. survey dated May 18.
Daya’s “Hide Away” hits the TikTok Billboard Top 50’s top 10 for the first time, vaulting 11-7. The 2015 track scored a peak of No. 23 on the Hot 100 during its original chart run and enjoys newfound success thanks to a TikTok trend featuring creators lip-synching the chorus, with many showing off whether they are a top- or bottom-tooth speaker. Another trend follows users responding to a “maturing is …” prompt, and a third features creators dancing along in turn to the track.
“Hide Away” reaches a new peak of No. 151 on the Billboard Global 200 dated May 18, sporting 13.1 million global streams May 3-9.
The week’s sole top 10 debut on the TikTok Billboard Top 50 is courtesy of Kendrick Lamar, whose “Not Like Us” bows at No. 9. The Drake diss track, which concurrently starts at No. 1 on the Hot 100, achieves TikTok success mostly thanks to users reacting to the song’s incendiary lyrics
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.
There’s a lot to like on Billboard’s Rhythmic Airplay chart for Future, Metro Boomin and Kendrick Lamar, whose collaboration “Like That” climbs to No. 1 on the radio ranking list dated May 18. The song rises from No. 3 after a 12% increase in plays made it the most-played song on U.S. monitored rhythmic radio stations in the tracking week of May 3-9, according to Luminate.
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Thanks to the 12% surge on already strong airplay, “Like That” wins the Greatest Gainer honor, awarded each week to the song with the largest increase in plays among the chart’s 40 titles. A pair of Texas stations, KBBT-FM in San Antonio and KBFM-FM in McAllen, lead the way with the most “Like That” plays in the latest tracking week, while Fresno, Calif.’s KBOS-FM rounds out the top three.
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“Like That” awards Future his sixth Rhythmic Airplay No. 1. Here’s a review of his half-dozen champs, all of which ruled for one week except “Way 2 Sexy,” a two-week occupant of the penthouse.
“Jumpman,” with Drake, on the chart dated Feb. 2, 2016
“Mask Off,” June 24, 2017
“Life Is Good,” featuring Drake, March 21, 2020
“Way 2 Sexy,” Drake featuring Future & Young Thug, two, Oct. 23, 2021
“Wait for U,” featuring Drake & Tems, July 2, 2022
“Like That,” with Metro Boomin & Kendrick Lamar, May 18, 2024
Producer Metro Boomin, meanwhile, picks up his second visit to Rhythmic Airplay’s top slot as a credited artist. His prior leader came with “Creepin’,” a teamup with The Weeknd and 21 Savage that led the list for three frames. As a producer, he’s been behind several more No. 1s at the radio format, including the aforementioned “Jumpman” and “Mask Off,” Migos’ “Bad and Boujee,” featuring Lil Uzi Vert and The Weeknd’s “Heartless.”
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For Kendrick Lamar, “Like That” becomes the MC’s fifth No. 1 on Rhythmic Airplay and first since 2018. The Pulitzer Prize winner’s collection of champs now looks like this:
“Humble.,” three weeks at No. 1, beginning June 3, 2017
“Loyalty.,” featuring Rihanna, one, Sept. 30, 2017
“Love.,” featuring Zacari, one, Dec. 30, 2017
“Pray for Me,” with The Weeknd, two, April 14, 2018
“Like That,” with Future & Metro Boomin, one (to date), May 18, 2024
Elsewhere, “Like That” extends its Rap Airplay reign to a third week at No. 1, with a 13% gain in audience for the latest tracking week. It repeats at its No. 3 best on Mainstream R&B/Hip-Hop Airplay, though it added 14% more plays in the week. Continued progress at the rhythmic and R&B/hip-hop formats pushes “Like That” 20-17 on the all-genre Radio Songs chart. There, it improved to 29.4 million in total audience, up 13% from the prior week.
Welcome to Billboard Pro‘s Trending Up newsletter, 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.
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This week: Post Malone and Morgan Wallen see their whole catalogs lifted by their massive new collab, Tinashe gets involved with a hilarious TikTok trend around her new hit and an ’80s Johnny Cash single gets an unlikely second life soundtracking a viral pet trend.
‘Help’ Is on the Way: Post Malone & Morgan Wallen Earn Massive Streams Ahead of Hot 100 Debut
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Considering how Morgan Wallen dominated the charts in 2023, and how Post Malone has been an in-demand collaborator for music’s biggest superstars in recent months, it should come as no surprise that their new team-up “I Had Some Help” is off to a fast start at streaming. Yet the country duet is exceeding even the loftiest expectations out of the gate — not only challenging for a No. 1 debut on next week’s Hot 100, but also for one of the biggest streaming weeks of 2024, while also lifting up Posty and Wallen’s respective back catalogs.
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In its first four days of release (May 10-13), “Help” scored 44.8 million U.S. official audio streams, while also earning 59,000 in digital sales, according to Luminate. We’ll see where the single’s first-week streaming total finishes in a few days, but the number likely won’t be too far off from Taylor Swift and Post Malone’s “Fortnight,” which currently holds the 2024 one-week streaming belt with 76.2 million streams. Meanwhile, “Help” has boosted Post Malone’s streaming catalog outside of the new single by 10% — 34.4 million streams from May 10-13, up from 31.3 million from the previous Friday-to-Monday tracking period — and Wallen’s by a little under 7% (102.6 million streams, up from 96 million streams), as fans click from “Help” to both artists’ past hits on streaming platforms.
And don’t look now, but Wallen may have another hit spinning off from his 2023 blockbuster album, One Thing at a Time: “Cowgirls,” featuring ERNEST, has been steadily climbing in streams over the past six weeks, from 5.6 million streams during the chart week ending Apr. 4 to 9.6 million streams during the week ending May 10, while entering the top 20 on Country Airplay. “Cowgirls” also climbs to a new peak of No. 6 on Hot Country Songs this week, which means that Wallen could have a pair of collaborations, one old and one new, in the top 5 of next week’s tally. – JASON LIPSHUTZ
Tinashe Courts Summer Streaming Hit with Meme-Assisted “Nasty”
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Eight years after her last Billboard Hot 100 entry, Tinashe could be gearing up for another big pop moment, should her sultry new “Nasty” single continue its streaming ascent.
According to Luminate, “Nasty” — a taste of her forthcoming BB/ANG3L Pt. 2 — Quantum Baby LP, collected over 705,000 U.S. on-demand audio streams during the period of May 10-13. That marks an impressive 48% increase from just over 475,000 streams the previous weekend (May 3-6).
Tinashe’s core fans greeted “Nasty” with fervent enthusiasm when it arrived on April 12, but a recent meme – that comes with its own built-in choreography – has helped the grow the song’s profile across a wider range of listeners. On April 27, X user @grruessome posted a re-posted a 2023 TikTok from user @nate_di_winer, replacing his clip’s original music (Hey Choppi’s “Blind”) with Tinashe’s “Nasty.” That post garnered over 10 million views on X, setting the stage for a true viral moment. While other songs, including Kendrick Lamar’s Hot 100-topping “Not Like Us,” have been laid over the clip, social media users can’t get enough of the Tinashe version.
On TikTok, Tinashe tried her hand at the dancehall-inspired choreography with her own three consecutive TikToks, featuring her donning Nate’s signature white t-shirt and black-rimmed glasses combo. “Me trying to convince everyone this is the song of the summer,” she captioned one post, with subsequent videos teasing a potential “Nasty” remix. The official “Nasty” sound boasts nearly 15,000 clips on TikTok, with most users recreating the dance moves executed by Nate and his dance partner, TikTok user @_sheekz.
Having already climbed to No. 30 on Spotify’s Viral 50 USA ranking, things are certainly looking up for “Nasty.” – KYLE DENIS
Adorable Pet Trend Revives 40-Year-Old Johnny Cash Song
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The timelessness of Johnny Cash’s music is practically a universal truth, but now we have proof that even his less-beloved works can still find ways to resonate anew. Thanks to an adorable TikTok trend, Cash’s “The Chicken in Black” — which the country icon once called “intentionally atrocious” — is experiencing a massive streaming boost.
During the period of May 3-10, “Chicken” earned over 1.4 million official on-demand U.S. streams, posting an astronomical 5,656% increase from the 24,000 streams it pulled just a month earlier (April 5-11). The exponential week-over-week growth of “Chicken” is due to a TikTok trend in which users hold up their pet (or baby) and pretend to use them as a gun while acting out the lyrics to the song’s chorus. Cash sings, “I said, ‘Stick ’em up everybody, I’m robbing this place’/ Drop all of your money in my guitar case/ Don’t nobody move and don’t nobody reach for that door.”
Cash released the amusing song as a single back in 1984 and it reached No. 45 on Hot Country Songs. The song’s streaming boost has also translated into an uptick in digital downloads, with 751 copies sold during May 3-10, a whopping 18,675% increase from just 4 copies sold during April 5-11. On TikTok, the official “Chicken in Black” sound boasts nearly 217,000 clips, with racoons, dogs, goats, cows, birds and babies all joining in on the fun.
With Songwriter, his 72nd studio album and fifth posthumous studio LP, due next month (June 28), Cash is still collecting hits and blessing the world’s ears over 20 years after his tragic passing. – KD
The Contenders is a midweek column that looks at artists aiming for the top of the Billboard charts, and the strategies behind their efforts. Next week (for the upcoming Billboard Hot 100 dated May 25), even with huge breakout hits cluttering the top of the charts, a big new collab may threaten to zoom past all of them.
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Post Malone feat. Morgan Wallen, “I Had Some Help” (Republic/Mercury/Big Loud): Undoubtedly the biggest debut of the week will come from these genre-spanning Republic labelmates. While 2010s superstar Post Malone’s commercial fortunes have largely been declining this decade – 2023’s Austin became the first LP of his career to not spawn a single top 10 Hot 100 hit – he’s been buoyed this year by collabs with arguably the three biggest names in contemporary popular music: Beyoncé (the Cowboy Carter standout “Levii’s Jeans”), Taylor Swift (the Tortured Poets Department lead single and two-week Hot 100 No. 1 “Fortnight”) and now Morgan Wallen.
Post’s latest star teamup looks like it might be on its way to following “Fortnight” to the Hot 100’s apex. “I Had Some Help” — apt title – reached the top of the daily and real-time charts on Spotify, Apple Music and iTunes shortly after its release on Friday (May 10), which is no small feat in this crowded a time for pop music. And while brand-new songs usually struggle to be competitive in the radio department, “I Had Some Help” has received such an instantly massive embrace on the airwaves that it’s actually already ahead of most of its primary competitors there: It’s drawn 17.3 million all-format airplay impressions in its first four days of wide release (May 10-13), according to Luminate, and made immediate-enough impact on country radio to debut at No. 18 on this week’s Country Airplay chart with just one day’s worth of plays (May 9).
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In another week – like, say, virtually any other week in May from 2020 to 2023 — “I Had Some Help” would be a no-brainer No. 1 debut. But of course, this has been an unusually loaded season for pop music, and “Help” will have to maintain its early momentum throughout the week to secure an entrance at pole position. If it does start atop the Hot 100, it will already mark the fifth different song to best the chart in the last six weeks, and the 13th different song total through 20 chart weeks this year – compared to both 2022 and 2023, where there were just seven total through the first 20 chart weeks.
Kendrick Lamar, “Not Like Us” (pgLang/Interscope/ICLG): It’s a little ridiculous that “Not Like Us” is really going to have to work to defend its title on the Hot 100 next week, since it debuted atop the chart with just five days of tracking this week and shouldn’t be slowing down much in its first full week of consumption. Ten days after its release and the song is still pulling over five million daily streams on Spotify in this country alone – a gargantuan number for most songs even on release day – and it remains atop both the real-time Apple Music and YouTube Trending Music charts, an absolute streaming juggernaut across the board.
Where it’s lagging behind “I Had Some Help,” though, is in sales and on radio. The song has fallen out of the top three on iTunes, as “Help” has reigned on that chart since mere hours after its release, a clear front-runner to top Digital Song Sales next week. And while the rest of the culture has already adopted “Not Like Us” as the Song of the Late Spring, radio has been a little slower to get on board: The track drew 6 million in all-format audience from May 10-13, barely a third of the reach for Post’s and Wallen’s latest, although it’s a contender to make next week’s 50-spot Radio Songs listing.
There are, of course, cards for Kendrick Lamar still to play to get the edge on “Help” — a video for the song has been rumored, and a potential remix featuring another of Drake’s old foes would undoubtedly do big business upon release. But with the headline-dominating feud largely dying down the past week, it may feel like overkill for Lamar to continue pushing his enemy-vanquishing smash – and once the first-week sales die down for “Help,” “Not Like Us” may regain the advantage after next week anyway.
Tommy Richman, “Million Dollar Baby” (ISO Supermacy/PULSE Records): “Don’t forget about me!” croons Tommy Richman in smooth, rich falsetto. As much as next week’s Hot 100 race is a showdown between longtime chart heavyweights in Kendrick Lamar and both Post Malone and Morgan Wallen, you can’t count out the No. 2 song in the country in the decision, either. “Million Dollar Baby” has actually regained the top spot on Spotify’s daily chart – also with over 5 million plays daily — while remaining in the top three on Apple Music and iTunes, already rivaling Teddy Swims’ “Lose Control” and Benson Boone’s “Beautiful Things” for the biggest breakout hit of 2023 from a previously chart-unproven artist.
However, radio has been a little slower to get the memo with Richman than with those other two artists’ breakthrough smashes. The song is growing on the airwaves, but only gradually: The song drew just 3.4 million radio impressions from May 10-13, already up from 1.9 million over the prior week (May 3-9), but still well short of its primary competitors. It seems near-impossible that top 40 can resist “Million Dollar Baby” forever, so its moment may still be coming down the line — it could debut on the Pop Airplay chart next week — but while it is at its (truly insane) streaming and sales peak, it may still be difficult for the song to find its way over the top.
IN THE MIX
Shaboozey, “A Bar Song (Tipsy)” (American Dogwood/EMPIRE/Magnolia Music): Another one of the feel-good breakout stories of 2024 is country singer-songwriter and Cowboy Carter alum Shaboozey, whose “A Bar Song (Tipsy)” has reached No. 3 on the Hot 100 and remains one of the best-streaming and best-selling songs in the country this week. Radio, again, is just joining the party: “A Bar Song” drew 5.5 million radio impressions from May 10-13, up from 5 million the prior week, and in a pop landscape this crowded (and only getting more crowded), it will likely need an extra boost to further break through.
Sabrina Carpenter, “Espresso” (Island/Republic): Want a growing hit that radio is fully embracing? Look to Sabrina Carpenter’s “Espresso,” already a No. 4 hit so far on the Hot 100, which climbs 20-13 on the Pop Airplay chart this week, and is up 21% in all-format audience May 10-13 over the equivalent four-day period the prior week. Radio should only continue to grow for that song as the weather heats up, but its streaming and sales are slipping behind the competition – and with a new major release joining the mix seemingly every week this season, “Espresso” may need to make a big move while it’s still hot.
Taylor Swift feat. Post Malone, “Fortnight” (Republic): Remember her? Taylor Swift’s blockbuster The Tortured Poets Department only got a week of cultural ubiquity before the Drake-Kendrick Lamar feud stole back the spotlight, and while “Fortnight” has reigned on the Hot 100 for two weeks already and is still streaming and selling fairly well (and also moves into the top 10 on Pop Airplay this week), it does feel a little like its moment has already passed. Whether Swift’s next move is to continue to push “Fortnight” or try to boost one of the certified fan-favorite Poets tracks up to its level — “I Can Do It With a Broken Heart” ranks second-highest on this week’s Hot 100, at No. 15 – remains to be seen, but you’d be a fool to assume you’ve seen the last of Swift in this discussion this season.
Marshmello and Kane Brown combine for a first on Billboard’s Hot Dance/Electronic Songs and Hot Country Songs charts (dated May 18) with the arrival of their new collaboration, “Miles On It.”
The single becomes the first to hit the top five of both Hot Dance/Electronic Songs – where it soars in at No. 1 – and Hot Country Songs. (The surveys have coexisted since the former launched in January 2013; the latter list became country music’s all-encompassing genre songs chart in October 1958.)
“Miles On It,” released May 3, drew 11.3 million official streams and 7.6 million in radio airplay audience and sold 4,000 in the U.S. in the week ending May 9, according to Luminate. It also debuts at No. 30 on the Country Airplay chart – where Brown boasts 11 career No. 1s, while Marshmello makes his first appearance – and No. 40 on Pop Airplay.
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Marshmello earns his fourth Hot Dance/Electronic Songs No. 1, tying Calvin Harris and Zedd for the most in the chart’s decade-plus archives. Among all acts, only The Chainsmokers have more leaders (six). Marshmello previously reigned with “Happier,” with Bastille, for a record 69 weeks in 2018-20; “Silence,” featuring Khalid (one week, 2017); and “Wolves,” with Selena Gomez (11 weeks, 2017-18).
Brown leads with his first Hot Dance/Electronic Songs entry.
“Miles On It” is Marshmello and Brown’s second chart-topping team-up, as they become the only pair with a shared No. 1 on both Hot Dance/Electronic Songs and Hot Country Songs: they crowned Hot Country Songs with “One Thing Right” (which did not appear on Hot Dance/Electronic Songs) for a week in October 2019.
Harris Extends Dance/Mix Show Airplay Record
As for another notable No. 1 collaboration, also by acts known for different core styles and who previously recorded together, Calvin Harris and Rag‘n’Bone Man’s “Lovers in a Past Life” ascends to the top of the Dance/Mix Show Airplay chart.
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Harris scores his record-padding 15th No. 1 on the tally (which began in 2003).
Most No. 1s on Billboard’s Dance/Mix Show Airplay Chart:
15, Calvin Harris
13, David Guetta
12, Rihanna
8, The Chainsmokers
7, Madonna
6, Anabel Englund
6, Ellie Goulding
Rag‘n’Bone Man rules Dance/Mix Show Airplay in his second visit to the chart, both made with Harris: their single “Giant” hit No. 17 in 2019. The former has reached multiple Billboard rock charts since breaking through with his worldwide hit “Human,” which marked his sole airplay No. 1 prior to “Lovers in a Past Life,” as it led Adult Alternative Airplay for five weeks in 2017.
Myke Towers earns his second No. 1 on Billboard’s Tropical Airplay chart as “La Capi” jumps 2-1 to lead the May 18-dated list. It’s the second ruler on the radio ranking for Towers, who first crowned the list through “Travesuras” in 2021. While the Puerto Rican picks up his second No. 1 with his second entry, he’s notched 30 titles on the Latin Rhythm Airplay ranking, including 11 No. 1s.
“La Capi,” released Nov. 23, is one of 23 songs on Towers’ LVEU: Vive La Tuya…No La Mía album, which debuted at No. 9 on Top Latin Albums (December 2023). The song launched at No. 7 on Tropical Airplay in March and completes a steady climb to the summit in its eighth week, with 9.17 million audience impressions, up 49% on U.S. reporting radio stations during the May 3-9 tracking week, according to Luminate.
The song’s eight-week trek to the penthouse bests Towers’ preceding ruler: “Travesuras,” with Nio García, Casper Mágico, Ozuna, Wisin & Yandel, Myke Towers and Flow La Movie, wrapped a 17-week journey to in March 2021.
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With “La Capi” ascending to the summit on Tropical Airplay, Towers joins six other artists outside the genre who have secured a No. 1 through a collab or as soloists in the last year.
Here’s the recap of those winners dating back to May 6, 2023:
Title, Artist, Date reached No. 1“El Merengue,” Marshmello & Manuel Turizo, Aug. 5, 2023“Bailando Bachata,” Chayanne, April 8, 2023“Así Es La Vida,” Enrique Iglesias & Maria Becerra, Dec. 9, 2023“Cosas de La Peda,” Gabito Ballesteros (with Prince Royce), Feb. 24“La Capi,” Myke Towers, May 18
“La Capi” also rallies 11-3 on the overall Latin Airplay chart, and gifts Towers his 13th top 10.
Beyond its radio popularity, “La Capi” debuts at No. 45 on Hot Latin Songs, the airplay-, digital- and streaming-combined chart, despite a 2% decline in streaming activity, which translates to 145,000 official U.S. streams logged during the same period. The song joins two other Tower tracks on the multi-metric tally, “Adivino,” with Bad Bunny, which drops 2-4, and “La Falda” dips 15-19.
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The biggest story in hip-hop is the main attraction on Billboard’s Hot Rap Songs chart, where the top six songs on the list dated May 18 all stem from the highly publicized feud between Drake and Kendrick Lamar.
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Lamar wins the battle – at least from a chart perspective – as his “Not Like Us” debuts at No. 1 on the multi-metric Hot Rap Songs chart, which combines streaming, radio airplay and sales data for its ranks. The Mustard-produced cut launches with 70.9 million official U.S. streams in the tracking week of May 3 – 9, according to Luminate, and nabs Lamar a record from his rival. The song’s streaming sum becomes the highest one-week count for a hip-hop title (defined as songs that have appeared or are eligible for Billboard’s Hot R&B/Hip-Hop Songs chart), since YouTube song user-generated content was removed from chart calculations in 2020, taking the honor from Drake’s “Way 2 Sexy,” featuring Future and Young Thug, which racked up 67.3 million streams in its debut week.
Beyond its massive streaming mark, “Not Like Us” also registered 5 million radio audience impressions and sold 15,000 downloads in the same tracking period.
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As previously detailed, Drake and Lamar’s feud origin dates back at least a decade, though the latest stage kicked off with the March release of “Like That,” Lamar’s collaboration with Future and Metro Boomin, in which the Pulitzer Prize winner responded to perceived disses from Drake and J. Cole with attacks of his own. The sparring between Drake and Lamar reached its pinnacle at the top of May, with the pair releasing six songs between them in the span of April 30 – May 5.
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Back on Hot Rap Songs, Lamar also captures the No. 2 slot with “Euphoria,” which holds at the runner-up rank for a second consecutive week, largely through 49 million official U.S. streams. “Like That,” a former six-week champ slides from the penthouse to No. 3 as Lamar’s more recent cuts ride streaming gains to the top two spots.
On Drake’s side, the superstar’s “Family Matters,” debuts at No. 4, spurred by 38 million streams, while his first entry into the battle, “Push Ups,” is pushed 4-6 in its third week on the list. Between the two, Lamar’s “Meet the Grahams” starts at No. 5.
Although the battle may have ended – neither side has issued a new track since May 5 – several of the tracks could linger for weeks to become. “Not Like Us” and “Euphoria” have each been officially promoted by his label to the mainstream R&B/hip-hop and rhythmic formats, with the former debuting at No. 35 on both the Mainstream R&B/Hip-Hop Airplay and Rhythmic Airplay charts. Given their proven streaming popularity with consumers, the hits could continue to generate significant play in the weeks ahead.