Chart Beat
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“Did She or Didn’t She? Cher She Did!”
Underneath that headline, Fred Bronson wrote in the Chart Beat column in the March 13, 1999, Billboard, “The big question this issue is whether you looked here first or at the Billboard Hot 100 to discover if Cher went to No. 1 with ‘Believe.’ I won’t keep you in suspense: Cher rewrites the record books in many ways, as her international hit seizes the summit in her own country.”
That week, “Believe,” with its trademark AutoTune-enhanced vocals, rose to No. 1 on the Hot 100 “just 10 days shy of a quarter-century since Cher was last on top,” Bronson noted. “‘Dark Lady’ spent a frame at No. 1 for the week ending March 23, 1974. That means Cher has the longest gap between No. 1 hits” in the chart’s history.
To date, Cher maintains the mark for the longest break between Hot 100 No. 1s excluding holiday fare. Overall, only Brenda Lee has waited more patiently between time on top: 63 years, one month and two weeks between the reigns of “I Want to Be Wanted” in 1960 and “Rockin’ Around the Christmas Tree” this past December.
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With “Believe,” Cher also claimed the record for the longest span of Hot 100 No. 1s: 28 years, four months and one week, dating to her first leader, “Gypsies, Tramps & Thieves,” in 1971. Similarly, she continues to boast the lengthiest span of No. 1s outside of holiday hits; Lee leads with a span of 63 years, five months and three weeks of ruling the chart.
(If including Sonny & Cher’s 1965 No. 1 classic “I Got You Babe,” Cher’s span atop the Hot 100 would stretch 33 years, seven months and three weeks.)
Meanwhile, Cher was 52 when “Believe” crowned the Hot 100. “As William Simpson of Los Angeles points out,” Bronson wrote, citing Cher’s impressive longevity, “that’s even more dramatic when one notes the ages of the three most recent artists to reach No. 1: Monica (18), Britney Spears (17) and Brandy (19 when she was No. 1).”
“It’s not that amazing, OK?,” Cher, now 77, laughed on NBC’s Today in November regarding the 25th anniversary of “Believe” leading the Hot 100. “I’d give anything to be 70 again …”
Cher is currently working on a memoir. “It’s very difficult because I’ve lived too long, and I’ve done too many things,” she said on Today. “It would have to be, like, an encyclopedia.”
Nacho and Maffio each score a career milestone on Billboard’s Latin Airplay chart as “No Es Normal,” with Venesti, reaches No. 1 on the March 16-dated ranking. With the new ruler, Nacho and Maffio achieve their first chart-topper since their maiden chart visits in 2017 and 2012, respectively. Venesti attains his second No. 1.
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“No Es Normal” rolls into the top spot, from No. 5 a week ago, thanks to a 21% gain in audience impressions, to 9.64 million, earned in the U.S. during the March 1-7 tracking week, according to Luminate.
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“Normal” was released Aug. 31, 2023, through AP Global and reaches the top slot on the overall Latin Airplay ranking in its 16th week on the chart. The song is one of 14 tracks from Venesti’s De La Nada album released Sept. 28, 2023.
With “Normal,” both Nacho and Maffio check into the penthouse for the first time. While Nacho surpassed the No. 3-peaking “Bailame” (November 2017), his best ranking thus far, Maffio bests his highest-charting entry to date, “No Tengo Dinero,” which reached No. 29 in Oct. 2013.
Venesti, meanwhile, captures his second No. 1 on Latin Airplay, and first through a collaboration. He previously ruled unaccompanied by any other act for one week with “Umaye” last October.
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Beyond its Latin Airplay command, “Normal” remains steady atop Latin Pop Airplay for a ninth week in charge. The song reached the pinnacle on the Latin pop radio ranking on the Jan. 13-dated tally when it earned the tripartite team-up their first No. 1 there.
Notably, out of the three, Nacho is the only act to have reached the top 10 on Latin Pop Airplay before “Normal.” He nearly missed the No. 1 slot when “Bailame” reached No. 2 in 2017. In between, the Venezuelan secured a second top 10 through another collab, the No. 7-peaking “Déjalo,” with Manuel Turizo in 2019.
Further, with nine weeks in charge on Latin Pop Airplay, “Normal” becomes the longest-leading song in 2024 so far.
Chris Brown banks his 19th No. 1 on Billboard’s Mainstream R&B/Hip-Hop Airplay chart as “Sensational,” featuring Davido and Lojay, rules the list dated March 16. The collaboration jumps from No. 3 following a 14% boost in weekly plays that made it the most-played song U.S. monitored mainstream R&B/hip-hop radio stations in the week ending March 7, according to Luminate.
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The Afrobeats-inspired “Sensational,” released on CBE/RCA Records, replaces Offset and Don Toliver’s “Worth It” after the latter’s one week in charge. Last week’s champ slides to No. 5 after a 7% dive in plays during the tracking week.
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With “Sensational,” Brown achieves his 19th leader on Mainstream R&B/Hip-Hop Airplay. While he remains in third place for the most among all acts since the chart launched in 1993, but inches closer to runner-up Lil Wayne, who has 20 No. 1s. Drake is far and away the titleholder, with 45 visits to the summit.
As “Sensational” joins the club, let’s review Brown’s No. 1s on the Mainstream R&B/Hip-Hop Airplay chart:
Song Title, Artist (if other than Chris Brown), Weeks at No. 1, Date Reached No. 1“Shortie Like Mine,” Bow Wow featuring Chris Brown & Johnta Austin, two, Dec. 9, 2006“Kiss Kiss,” featuring T-Pain, two, Dec. 8, 2007“With You,” one, March 22, 2008“Deuces,” featuring Tyga & Kevin McCall, 10, Sept. 4, 2010“No BS” two, Feb. 5, 2011“Look at Me Now,” featuring Lil Wayne & Busta Rhymes, seven, April 4, 2011“Strip,” featuring Kevin “K-Mac” McCall, two, March 31, 2012“Birthday Cake,” Rihanna featuring Chris Brown, three, May 19, 2012“It Won’t Stop,” Sevyn Streeter featuring Chris Brown, eight, Nov. 30, 2013“Loyal,” featuring Lil Wayne & French Montana or Too $hort or Tyga, nine, May 17, 2014“New Flame,” featuring Usher & Rick Ross, Oct. 18, 2014“Hold You Down,” DJ Khaled featuring Chris Brown, August Alsina, Future & Jeremih, three, Nov. 15, 2014“Only,” Nicki Minaj featuring Drake, Lil Wayne & Chris Brown, four, Jan. 10, 2015“Post to Be,” Omarion featuring Chris Brown & Jhene Aiko, six, May 23, 2015“All Eyes on You,” Meek Mill featuring Chris Brown & Nicki Minaj, three, Sept. 19, 2015“No Guidance,” featuring Drake, 10, Aug. 10, 2019“Go Crazy,” with Young Thug, six, July 18, 2020“Under the Influence,” eight, March 11, 2023“Sensational,” featuring Davido & Lojay, one (to date), March 16, 2024
For featured artists Davido and Lojay, “Sensational” becomes each performer’s first No. 1 on Mainstream R&B/Hip-Hop Airplay. The former previously attained a No. 14 best, with “Fall” in 2019, while the latter’s sole prior appearance came through his and Jess Glynne’s featured spots on French Montana and Swae Lee’s “Wish U Well,” which reached No. 37 last October.
Elsewhere, “Sensational” repeats at its No. 7 high on the R&B/Hip-Hop Airplay chart, which ranks songs by combined audience totals from mainstream R&B/hip-hop and adult R&B radio stations. There, despite no change in position, the song added 14% in audience to reach 14.1 million in the tracking week, spurred both by its increase on Mainstream R&B/Hip-Hop Airplay as well as a 29-25 rebound on Adult R&B Airplay (up 10% in plays). With the jump, “Sensational” returns to its best showing on the latter chart, first achieved six weeks ago.
Plus, “Sensational” climbs 8-5 on Rhythmic Airplay through a 13% surge in plays.
Eric Carmen forged a string of enduring pop/rock hits on the Billboard Hot 100 chart in the 1970s and ‘80s, first as a member of the Raspberries and then as a soloist.
As reported March 11, Carmen died at age 74. “It is with tremendous sadness that we share the heartbreaking news of the passing of Eric Carmen,” a message posted to his website, Facebook and X account reads. “It brought him great joy to know, that for decades, his music touched so many and will be his lasting legacy. ‘Love Is All That Matters…Faithful and Forever,’” concludes the post, signed by Amy Carmen, his wife of eight years.
Carmen recorded with the Raspberries in 1972-74, paced by the No. 5-peaking Hot 100 hit “Go All the Way,” from their debut album. He followed with his first solo entry – and highest-charting single – “All By Myself,” which reached No. 2 in 1976.
Carmen scored further success via movie placements in the ‘80s, first as the co-writer of Mike Reno and Ann Wilson’s “Almost Paradise.” The ballad, from the Footloose soundtrack, rose to No. 6 in 1984. He followed with his own “Hungry Eyes,” sending the song from Dirty Dancing to No. 4 in 1988.
Later in 1988, Carmen hit No. 3 with another mid-tempo pop nugget, “Make Me Lose Control” (propelled by its infectious, and apt, hook, “Turn the radio up for that sweet sound …”)
On Billboard’s Adult Contemporary chart, Carmen notched two No. 1s: “Never Gonna Fall in Love,” for a week in 1976, and “Make Me Lose Control,” for two weeks in 1988.
Meanwhile, “All By Myself” – credited as written by Carmen and Russian composer Sergei Rachmaninoff – returned to the Hot 100 thanks to Celine Dion, whose cover reached No. 4 in 1997. It also topped Adult Contemporary for three weeks.
As the group reunited for live shows in the 2000s, Carmen referred to the Raspberries as “like barbarians trying to crash the gates of the bloated progressive rock that we despised.”
He added, “Sometimes it takes a while, but now there’s a whole different kind of reverence for what we’re doing.”
Below, count down Carmen’s 10 biggest hits as a recording artist on the Hot 100.
Eric Carmen’s Biggest Billboard Hot 100 Hits ranking is based on weekly performance on the Hot 100 (through March 16, 2024). Songs are ranked based on an inverse point system, with weeks at No. 1 earning the greatest value and weeks at lower spots earning the least. Due to changes in chart methodology over the years, eras are weighted differently to account for chart turnover rates during various periods.
“Overnight Sensation (Hit Record),” Raspberries
If the chart-topping first-week debut for Vultures 1 wasn’t sign enough that Kanye West was once again back at the mainstream’s center, three weeks later we get an even surer sign: “Carnival,” the set’s lead single, has ascended to pole position on the Billboard Hot 100 in its fourth week.
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It’s Kanye’s first No. 1 on the chart since 2011 — when he was featured on Katy Perry’s fourth consecutive Teenage Dream Hot 100-topper, “E.T.” — and his first as a lead artist since “Stronger” in 2007. (It’s also his first major hit since receiving extreme backlash for his repeat antisemitic comments, for which he posted an apology in Hebrew in December.) Meanwhile, it’s the second visit to the top for co-lead Ty Dolla $ign, following his appearance on Post Malone’s “Psycho” in 2018, and the first for both of its featured artists: Playboi Carti and Rich the Kid.
Who does the No. 1 mean the most to? And does mean Kanye’s back at the vanguard of pop music like he was during his biggest years? Billboard writers discuss these questions and more below.
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1. “Carnival” is not only the first Hot 100 No. 1 for Kanye West since 2011 — since 2007, if you don’t count his not-particularly-immortal appearance on Katy Perry’s “ET” — and by most measures, his first true smash in at least a half-decade. On a scale from 1-10, how important is it for him at his point in his career to have an old-fashioned HIT-hit like this?
Kyle Denis: I think it depends on how you look at it. Did Kanye need a true smash hit in 2024 to cement his overall legacy? Absolutely not. Did Kanye need a true smash hit in 2024 to re-establish himself as a viable commercial force (particularly in terms of singles) in the mainstream? Yes. So, let’s go with a 6.5-7.
Angel Diaz: Five? Ye is going to be polarizing whether his music is good or not. The old Kanye is gone and is never coming back. While I do think it’s cool to see him go No. 1 again, I’m not sure its’s going to matter in the grand scheme of things. I do think this is his best post Pablo album, though. Someone as talented as Mr. West will always have a puncher’s chance.
Carl Lamarre: If we’re speaking on Ye’s ego, a 10. Being able to dribble past his antisemitic comments and his feud with Adidas takes hall-of-fame precision. Not only did he land his 11th consecutive No. 1 album on the Billboard 200 with Vultures last month, but now he can hoist a No. 1 song on the Hot 100, all while playing the game as an independent artist. For someone as audacious as Ye, expect his turn-up and ego to match that same energy.
Michael Saponara: 6. I don’t think Ye necessarily needed a smash as he’s always going to be an influential figure in society’s mainstream and connect with his fan base. However, becoming the first rapper to earn a No. 1 in three different decades and doing it independently at 46 has turned heads and legitimized his methods to the madness creatively. If anything, the mainstream acclaim is only going to embolden his voice when it comes to future decisions, for better or worse. Even the haters have to respect what “Carnival” has accomplished without much radio play and playlisting in a genre that’s lacked serious hitmakers in recent years.
Andrew Unterberger: An 8. Obviously Kanye was going to be a major voice in music and culture for many years to come even if he never had another big pop hit — but having one, especially at a time when even major rappers are finding a lot more trouble scoring runaway hits than they maybe used to, shows that he still knows what really moves the mainstream in 2024. He’s certainly taking it as a major win himself, as evidenced by the ill-advised victory lapping he’s been doing on IG this week.
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2. While the headlines about “Carnival” will always be Kanye-focused first and foremost, three other artists also add a No. 1 to their tallies with the single: Ty Dolla $ign’s second, and the first for both Playboi Carti and Rich the Kid. Which of those three artists do you think has the most to gain from the song’s massive success?
Kyle Denis: Probably Carti. He’s had proper hits in the past but as he’s delved deeper into his own idiosyncratic rage rap sound, traditional hits have proven a bit more elusive for him. This is a good look for him as he prepares for his next record and his long-delayed Antagonist Tour. As for Ty and Rich the Kid, a No. 1 is a towering achievement no matter how you slice it, but neither performer is the kind of artist that *needs* to top the Billboard Hot 100 to retain their fanbase and interest in their music.
Angel Diaz: Carti 100 percent. He already has the youth and almost every new rapper these days is either influenced by him or is currently biting his style while sounding like “We got Playboi Carti music at home.” He should take advantage of this moment and drop the follow-up to his cult classic Whole Lotta Red, which is already four years old. Also, because we need more “schyeah” content.
Carl Lamarre: Rich the Kid with Ty coming in second. For many mainstream listeners, Rich’s most significant moments came during the 2017-2018 era when he unleashed “New Freezer” with Kendrick Lamar and “Plug Walk.” Though he had some highlights here and there, to the public eye, he drowned in oblivion until Ye tossed him a lifeline. The talent for Rich has always been there; he just needed the right opportunity, and on “Carnival,” he made the best out of it.
Michael Saponara: Rich The Kid has been hibernating from the charts the last few years and he’s caught a lifeline with “Carnival” which RTK deserves a lot more credit for than Rap Radar co-host Elliott Wilson seemed to be giving him, in my opinion. With a No. 1 hit to his name, Rich will have more eyeballs on him than usual, which wouldn’t have been the case without his Vultures standout feature. Spending time around Ye and Ty will be a positive from a creative perspective, and it makes sense they’re capitalizing on the momentum and executive-producing his forthcoming project.
Andrew Unterberger: Can only speak for myself here, but I certainly didn’t know that Rich the Kid still had the juice like that. Considering he’s only even touched the Hot 100 once this decade prior to “Carnival” — at No. 91 for precisely one week with the Lil Wayne collab “Feelin Like Tunechi” — I’m guessing he’s putting this No. 1 pretty high up on the updated CV.
3. Considering none of Ye’s past three projects have produced a breakout hit nearly on the level of “Carnival,” what do you think it is about this song that’s allowed it to achieve liftoff the way it has? Is there one thing in particular it does that puts it in league with past Kanye hits on this level?
Kyle Denis: It’s definitely the catchiest Kanye single since the Life of Pablo era. The gospel-tinged tracks on Jesus Is King were always going to be hard sells – even though “Follow God” debuted in the top 10 – and the biggest tracks on Donda had their hit potential marred by a messy release and a comparatively less favorable period of public opinion for the rapper.
Most importantly, however, Kanye tapped into youth culture with “Carnival” and took a literal back seat. He only has one verse on the song, while Carti (who has a massive cult following) and Rich the Kid take up most of the airtime. It feels like a latter-day Kanye record without containing too much of his actual voice; you don’t even hear Kanye at all on the part of the song that’s gained the most traction (the hook). By having rappers from a younger generation anchor “Carnival,” Kanye found the perfect primer for the song to be embraced by the TikTok streets, hence the plethora of trends that have helped the song stay viral on the platform. And, for what it’s worth, the general public sentiment towards Kanye has gotten a tiny bit kinder since his last LP.
Angel Diaz: Playboi Carti is the easy answer here too. The kids love that dude. The honest answer, though? It’s an anthem. The football goon chant, the production, the unexpected Rich the Kid feature, the way Ty floats during his verse, Kanye’s mid verse about being cancelled or whatever, and Carti kinda, sorta sounding like a mystery rapper all makes for an unusual banger.
Carl Lamarre: Even though it didn’t chart as high as “Carnival,” I thought “Follow God” was a banger and underappreciated. For the former, it’s a matter of everybody playing their position to a tee and allowing the record to morph into this behemoth. The song has such bounce that it can elevate anything vibe-wise, ranging from a mosh pit to an intense workout. It can adapt and thrive in any environment. Expect this song to be a festival gem and sports arena go-to.
Michael Saponara: I think “Carnival” builds off the stadium rage Ye initiated with Yeezus, which superstar artists of today like Travis Scott and Playboi Carti have carried the torch for and engrained it in rap’s mainstream. Those two, specifically, are members of the West family tree, and were clearly influenced by the futurism and rebelliousness of Yeezus. While Ye is often ahead of the curve, “Carnival” was digestible enough for hip-hop fans to spread like wildfire.
Andrew Unterberger: Same thing that’s been true from Steam to Zombie Nation to Usher: Never underestimate the power of a good stadium chant. Especially considering most of Kanye’s new material literally makes its debut in stadium surroundings these days, it’s a natural fit that a bunch of soccer hooligans leading a partially R-rated singalong would go over with “We Will Rock You”-sized returns for him in 2024.
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4. “Carnival” has proven far and away to be the biggest breakout success from Vultures 1 so far. Do you think there’s likely to be another major hit from Vultures — and if so which track do you think is the most likely candidate?
Kyle Denis: In my head, “Do It” is the next hit from Vultures. But that all depends on how quickly the other two Vultures projects arrive.
Angel Diaz: It’s a toss up between “Paid” and “Vultures” for me. When was the last time we got a payday anthem? I feel like artists would mention getting paid on a Friday just in time for weekend club shenanigans in every other song back in the day. Johnny Kemp’s “Just Got Paid” immediately comes to mind, and I first thought that was the sample used at the end — but it’s actually from the Jodeci track “Get on Up” which is referencing Kemp’s hit record with the line “Friday night, let’s all get paid.” So it all comes full circle to me saying we need more payday music.
Carl Lamarre: “TALKING” has grown on me A LOT. If I’m Ye, I’m already trying to start the North West roll-out for her upcoming debut album. Imagine being the first father-daughter combo to have top 10 records in a calendar year. I’m also a huge fan of “BURN.” I can hear that song on a Rush Hour 4 or Bad Boys 4 soundtrack. It’s vintage Yeezy with a mid-90s, early 2000s feel.
Michael Saponara: Not on Vultures 1, but other songs he’s been teasing definitely have hit potential. The Backstreet Boys-interpolating “Everybody” has been a fan-favorite at listening parties for months with the catchy chorus trading the ’90s boy band for Uncle Charlie Wilson. We’ll see if they can sort out potential clearance issues. Aligning more with the current landscape of rap, Ye and Ty have another possible banger in the arsenal with the slimy tentatively titled “Field Trip/Venom” featuring the versatile ensemble of Playboi Carti, Don Toliver and Lil Durk as guests. Those two would be my picks if they receive a proper streaming release on Vultures sequels.
Andrew Unterberger: Could definitely see “Paid” striking a vein, and the North parts of “Talking” could certainly find their way to a TikTok trend or two. But being real, Ye and Ty are already turning their attention to Vultures 2 — as will their fans in turn, no doubt — so anything that hasn’t broken out from 1 yet will probably have to wait for a random six-years-from-now revival, if anything.
5. Now that the re-mainstreaming of Kanye seems to be complete (for better or worse) following the major backlash of the past few years, do you see him once again being at the forefront of popular music like he was for most of the past two decades? Or has he been gone too long and done too much damage in recent years?
Kyle Denis: Kanye has curated an audience that’s markedly different from the one that he pissed off with his antics over the past few years. For that reason alone, I think he’ll comfortably remain an unignorable figure in popular music. However, I don’t foresee him truly recapturing the cultural zeitgeist the way he did during his peak in the ‘00s and early ‘10s. If anything, he’ll probably continue to get more hits by way of strategic collaborations like “Carnival.” Does he get a legitimate solo smash in the coming years? I’m not sure I’d put my money on it quite yet.
Angel Diaz: I want to say that he’ll be back on top, but I’m not sure he’s into success these days. Ye seems to be consumed by his enemies and in turn that makes him susceptible to self-sabotaging. He’s already started to do so with the latest posts he put on his Instagram Stories and feed — which have since been deleted — in which he took shots at everyone from Adidas to Christians. Someone must’ve told him to chill and enjoy his first No. 1 since 2011.
Carl Lamarre: He is enjoying a great run right now, and as a one-time super fan, despite his shenanigans, it’s interesting watching him try to bob and weave his way out of cancellation. Still, the odds of him returning to prime-time Mr. West, who was once doing blockbuster numbers in the mid-2000s, are slim because of the irreparable damage done.
Michael Saponara: Kanye will always be part of the music mainstream scene no matter the circumstances. It definitely won’t be like the earlier portion of his career though. At this point, Ye has made it clear that he’s anti-industry, and he’s even teasing not putting his albums on streaming in the future, at least initially. Even with the backlash, he maintains the youth’s approval, but he’s just never going to operate like other music titans — and that’s what makes Ye, Ye.
Andrew Unterberger: He’s back, for sure, but he’s following as much as he’s leading now: “Carnival” has a little of that old Ye spark, but it also feels like he’s taking shortcuts to the prize rather than blazing his own path. That he can get there at all at age 46, more than two decades after his first No. 1, is certainly both impressive and meaningful. But will it inspire the same awe and reverence that his following was initially built on in the 2000s? Feels unlikely.
SiriusXM and Billboard are celebrating Women’s History Month with the Billboard Women of Pop Countdown. The Billboard Women of Pop Countdown premiered March 11 on SiriusXM’s channel 79, where it will run through March 17. It’s also available on-demand on the SiriusXM app. The feature, which first aired last year, spotlights the top songs by […]
Beyoncé’s “Texas Hold ‘Em” is proving tough to shift in the U.K.
Based on sales and streaming data published by the Official Charts Company, Bey’s country-influenced hit is on track for a fourth-successive week at the top.
If it holds on, as expected, “Texas Hold ‘Em” (Columbia/Parkwood Ent) will be the Houston superstar singer’s longest-reigning single in the U.K., passing the three-week run at No. 1 for 2003’s “Crazy In Love.”
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Ariana Grande appears set for a fifth U.K. No. 1 album with Eternal Sunshine (vis Republic Records), which leads the Official Albums Chart Update. Three tracks from the new LP are set to crack the U.K. top 20, led by “yes, and?” at No. 4; “we can’t be friends (wait for your love),” new at No. 6 on the chart blast; and “bye,” new at No. 13.
Those new entries should lift Grande’s career U.K. top 40 tally to 34.
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Grande’s seventh studio album, Eternal Sunshine enjoys a bump from her performance on Saturday Night Live and the release of a “Slightly Deluxe” version featuring four additional tracks, including her previously heard duet with idol Mariah Carey on “yes, and?”
Grande was also on hand at the Academy Awards on Sunday, March 10 to present Billie Eilish and Finneas O’Connell with the best original song Oscar for “What Was I Made For?” (Intercope) from the Barbie soundtrack. “What Was I Made For,” which the siblings performed at the Oscars, is set to a U.K. top 40 return. The melancholy single flies 98-26 on the Official Chart Update, as U.K. fans snap up copies of a limited 7” single.
Finally, Drake‘s rework of 4batz‘s breakout hit “act ii: date @ 8 (remix)” (4batz OVO sound) should make a top 40 splash. “Act ii” starts at No. 20 on the midweek chart, and could add to Drake’s ridiculous tally of U.K. top 40 appearances, which currently stands at 91.
All will be revealed when the Official U.K. Singles Chart is published Friday, March 15.
Ariana Grande is fast out the blocks in the U.K., where Eternal Sunshine leads the chart race.
Based on midweek sales and streaming data captured by the Official Charts Company, Grande should snag her fifth U.K. chart title with Eternal Sunshine (via Republic Records).
The U.S. pop star previously led the weekly survey with 2016’s Dangerous Woman, 2018’s Sweetener, 2019’s thank u, next and 2020’s Positions.
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Grande’s seventh studio LP, Eternal Sunshine is also set to place three songs inside the top 20 of the Official Singles Chart, including lead single “yes, and?”, “we can’t be friends (wait for your love)” and “bye” (according to U.K. chart criteria, no more than three songs from one artist album can impact the national singles chart).
Meanwhile, British heavy metal veterans Judas Priest could bag a career best with their 19th and latest studio album, Invincible Shield (Columbia). Led by Rob Halford, Judas Priest’s career best is a No. 4 peak with 1980’s British Steel.
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Completing an all-new top three on the chart blast is Bleachers’ eponymously-titled fourth studio LP (via Dirty Hit). It’s new at No. 3 on the chart blast, and likely to set a new career peak position for Jack Antonoff’s U.S. pop-rock outfit.
‘80s girl group Bananarama could snag a first top 10 appearance in 36 years with hits retrospective Glorious – The Ultimate Collection (London Music Stream). It’s new at No. 6 on the Official Chart Update. Previously, the “Cruel Summer” singers enjoyed top tier spots with 1983 debut Deep Sea Skiving (at No. 8) and 1988’s The Greatest Hits Collection (No. 3).
Another all-female British pop outfit is eyeing a top 10 return — Girls Aloud. Following the release of a 20th anniversary reissue, including three previously-unheard tracks featuring vocals from late band member Sarah Harding, Girls Aloud’s sophomore album from 2004 record What Will The Neighbours Say? (Polydor/UMR) is tracking for No. 10.
Finally, new releases from Grace Petrie (Build Something Better at No. 17 via Robots Need Home), Norah Jones (Visions at No. 35 via EMI) and former Sonic Youth star Kim Gordon (The Collective at No. 37 via Matador) are on target for top 40 berths.
All will be revealed when the Official U.K. Albums Chart is published late Friday, March 15.
Benson Boone’s “Beautiful Things” remains the biggest song in the world, as it adds a fourth week at No. 1 on both the Billboard Global 200 and Billboard Global Excl. U.S. charts.
Meanwhile, “End of Beginning” by singer-songwriter/actor Djo bounds to the top 10 of the Global 200 (15-6) and Global Excl. U.S. (20-7), while FloyyMenor and Cris Mj’s “Gata Only” jumps to the Global Excl. U.S. top 10 (19-10).
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.
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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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Boone Leads Global 200, Djo Hits Top 10
Benson Boone’s “Beautiful Things,” released on Night Street/Warner Records, logs a fourth week at No. 1 on the Billboard Global 200, with 77.6 million streams (up 9%) and 16,000 sold (down 46%) worldwide March 1-7.
Ye (the artist formerly known as Kanye West) and Ty Dolla $ign’s “Carnival,” featuring Rich the Kid and Playboi Carti, rebounds to its No. 2 Global 200 high, from No. 3; Beyoncé’s “Texas Hold ‘Em” drops 2-3, two weeks after spending a frame at No. 1; Teddy Swims’ “Lose Control” keeps at its No. 4 best; and Tate McRae’s “Greedy” rises 7-5, after two weeks on top beginning in November.
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Plus, Djo’s “End of Beginning” vaults 15-6 on the Global 200. The first global chart entry by the singer-songwriter and actor – real name Joe Keery, who has starred in Netflix’s Stranger Things and FX’s Fargo, among other roles – drew 47.3 million streams (up 43%) and sold 1,000 (up 57%) worldwide.
On Global Excl. U.S., the track soars 20-7, led by 33.6 million streams (up 54%) outside the U.S.
‘Beautiful Things’ Rules Global Excl. U.S., 2 New Top 10s
Benson Boone’s “Beautiful Things” posts a fourth week at No. 1 on the Billboard Global Excl. U.S. chart, with 54.2 million streams and 6,000 sold (up 11% in each metric) outside the U.S. March 1-7.
Beyoncé’s “Texas Hold ‘Em” holds at its No. 2 Global Excl. U.S. best; Teddy Swims’ “Lose Control” repeats at its No. 3 high; Tate McRae’s “Greedy” climbs 7-4, after five weeks at the summit beginning in December; and Taylor Swift’s “Cruel Summer” dips 4-5, after hitting No. 3.
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Additionally, FloyyMenor and Cris Mj’s “Gata Only” hits the Global Excl. U.S. top 10, surging 19-10 with 33.7 million streams (up 20%) outside the U.S. The song is the first top 10 on the chart for both Chilean artists, and leads the Chile Songs chart for a fourth week.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated March 16, 2024) will update on Billboard.com tomorrow, March 12. 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.
Tetris Kelly:With Beyoncé, Ye and Taylor in the top 10 and Teddy Swims continuing his climb, who will be No. 1? This is the Billboard Hot 100 top 10 for the week dated March 16. Staying in last week’s spot is Taylor Swift. “Agora Hills” is back in the top 10. “Snooze” is up a […]