Chart Beat
Page: 143
A second week at No. 1 on the Billboard Hot 100 is in the cards for Beyoncé’s “Texas Hold ‘Em.” A week earlier, the song ascended to the summit, becoming her ninth leader on the chart.
Plus, SZA’s “Saturn” rockets onto the Hot 100 at No. 6. The song starts as her 10th career top 10.
The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data, the lattermost metric reflecting purchases of physical singles and digital tracks from full-service digital music retailers; digital singles sales from direct-to-consumer (D2C) sites are excluded from chart calculations. All charts (dated March 9, 2024) will update on Billboard.com tomorrow, March 5. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
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“Texas Hold ‘Em,” on Parkwood/Columbia Records/Columbia Nashville, drew 27.6 million radio airplay audience impressions (up 72%) and 25.5 million streams (down 12%) and sold 22,000 downloads (down 24%) in the Feb. 23-29 tracking week, according to Luminate.
The single dips to No. 2 on the Digital Song Sales chart, after two weeks at No. 1, and to No. 3 after a week atop Streaming Songs, while bounding 43-23 on Radio Songs, as the song claims top Airplay Gainer honors on the Hot 100 for a second week.
Being promoted to multiple radio formats, “Texas Hold ‘Em” leaps 28-16 on Adult Pop Airplay, 25-17 on Pop Airplay, 36-23 on Rhythmic Airplay – as the Greatest Gainer on each chart – 28-24 on Adult R&B Airplay, 36-32 on R&B/Hip-Hop Airplay and 40-32 on Mainstream R&B/Hip-Hop Airplay. It also debuts on Adult Alternative Airplay at No. 36, while slipping 34-38 on Country Airplay; thanks to its placement on the two tallies, where Beyoncé had not previously logged any entries, she has tied Pharrell Williams for the most airplay charts – 18 – on which any artist has appeared.
“Texas Hold ‘Em” is one of two songs that Beyoncé released Feb. 11 (with instrumental and clean and explicit a cappella versions of the song released Feb. 14), along with “16 Carriages.” Their arrival was announced via a Verizon commercial that aired during CBS’ broadcast of Super Bowl LVIII Feb. 11, ahead of the March 29 release of her new album, which follows her 2022 Renaissance LP.
“Texas Hold ‘Em” concurrently adds a third week at No. 1 on the Hot Country Songs chart, which uses the same multimetric methodology as the Hot 100. The banjo-inflected single became her historic first No. 1 on the ranking; prior to its coronation, no Black woman, or female known to be biracial, had previously led the list.
Ye (formerly known as Kanye West) and Ty Dolla $ign’s “Carnival,” featuring Rich the Kid and Playboi Carti, rebounds to a new No. 2 Hot 100 high, from No. 4. It also rises 2-1 for a second week atop Streaming Songs (32.2 million, up 31%), as it wins the Hot 100’s top Streaming Gainer nod. The track also scores its first week atop both the multimetric Hot R&B/Hip-Hop Songs and Hot Rap Songs charts. On the former, Ye notches his ninth No. 1; Ty Dolla $ign, his second; and Rich the Kid and Playboi Carti, their first each. On the latter, the acts’ career No. 1 counts now stand at 11, three, one and one, respectively.
Jack Harlow’s “Lovin on Me” descends 2-3 on the Hot 100, following six nonconsecutive weeks at No. 1, as it posts a seventh week atop Radio Songs (79.4 million, essentially even week-over-week).
Benson Boone’s “Beautiful Things” bumps 5-4 on the Hot 100, after hitting No. 3, as the chart’s top Sales Gainer, as it becomes his first leader on Digital Song Sales (3-1; 25,000, up 249%, aided by the Feb. 23 release of new a cappella, acoustic, instrumental, piano instrumental, slowed down and sped-up mixes).
Teddy Swims’ “Lose Control” retreats 3-5 on the Hot 100, after reaching No. 2.
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SZA’s “Saturn” starts at No. 6 on the Hot 100, with 25 million streams, 960,000 in airplay audience and 2,000 sold in its first week, following its Feb. 23 release (after SZA teased the track in a Mastercard commercial that aired during CBS’ broadcast of the Grammy Awards Feb. 4).
“Saturn” launches as SZA’s 10th Hot 100 top 10, and joins her No. 2-peaking “Snooze” (6-9) in the region. “Saturn” simultaneously dethrones “Snooze” atop the multimetric Hot R&B Songs chart, debuting as her sixth No. 1. (“Snooze” topped Hot R&B Songs for 30 weeks, tying SZA’s own “Kill Bill” for the longest command by a woman dating to the chart’s 2012 inception.)
Meanwhile, “Saturn” joins a small system of Hot 100 top 10s with names of planets in their titles. The identified such objects that have flown to the top 10:
“Venus,” Frankie Avalon (No. 1 for five weeks, 1959)
“Venus,” The Shocking Blue (No. 1, one week, 1970)
“It’s Too Late”/“I Feel the Earth Move,” Carole King (No. 1, five weeks, 1971)
“Give Me Love – (Give Me Peace on Earth),” George Harrison (No. 1, one week, 1973)
“Venus,” Bananarama (No. 1, one week, 1986; a remake of The Shocking Blue’s leader, above)
“Heaven Is a Place on Earth,” Belinda Carlisle (No. 1, one week, 1987)
“Drops of Jupiter (Tell Me),” Train (No. 5, 2001)
“Saturn,” SZA (No. 6 peak, to date, 2024)
“Venus in Blue Jeans,” Jimmy Clanton (No. 7, 1962)
Notably, Saturn becomes the fourth planet in the title of a Hot 100 top 10 (with six of the nine songs above having hit No. 1). Honorable mentions to: Bruno Mars (18 career top 10s), Earth, Wind & Fire (seven), Rare Earth (three) and Manfred Mann’s Earth Band (one); The Neptunes, who have produced 16 top 10s; “Baby Pluto” by Lil Uzi Vert (No. 6, 2020; Pluto was downgraded to “dwarf planet” status in 2006); and all top 10s released on Mercury Records, from the Big Bopper’s “Chantilly Lace” in 1959 through Noah Kahan’s “Stick Season” (on Mercury/Republic Records) last month.
(Puts telescope away …)
Zach Bryan’s “I Remember Everything,” featuring Kacey Musgraves, climbs 9-7 on the Hot 100, after it led for a week upon its debut last September. It tops the multimetric Hot Rock & Alternative Songs and Hot Rock Songs charts for a 27th week each.
Rounding out the Hot 100’s top 10, Tate McRae’s “Greedy” pushes 9-8, after reaching No. 3, and, below SZA’s “Snooze,” Taylor Swift’s “Cruel Summer” falls 7-10, following four nonconsecutive weeks at No. 1 beginning in October.
Again, for all chart news, you can follow @billboard and @billboardcharts on Billboard’s social accounts, and all charts (dated March 9), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (March 5).
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.
Nowadays, numerous songs become hits after artists have built buzz teasing them on TikTok and other social platforms. By the time a song is released in its entirety, it’s common for fans to already be familiar with it.
In the late ‘80s, artists had fewer avenues to preview new music, but still one key one: playing unreleased songs on tour. Debbie Gibson took advantage of that opportunity during shows supporting her smash debut album, Out of the Blue, which yielded four Billboard Hot 100 top 10s in 1987-88, including her historic first No. 1, “Foolish Beat.”
In addition to spotlighting her breakthrough hits on the road, Gibson took to the piano to unveil the love song “Lost in Your Eyes.”
“I was so excited about this song that I couldn’t wait to perform, so I did a sneak preview live on tour way before it was ever released,” Gibson recalls to Billboard.
The song became the first single from the then-18-year-old’s sophomore 1989 album, Electric Youth. The ballad, which Gibson wrote and produced solo (as with “Foolish Beat”), soared to No. 1 for three weeks on the Hot 100 beginning with the chart dated that March 4. A week later, Electric Youth, released on Atlantic Records, began a five-week reign on the Billboard 200 albums chart.
Wrote Paul Grein in the Chart Beat column in the March 11, 1989, Billboard issue, “Gibson this week becomes the first teen star to have the No. 1 pop album and single simultaneously since Little Stevie Wonder more than 25 years ago. Gibson [is] the first female teen star ever to achieve this double play.” Plus, “Gibson has equaled the achievement of several of her role models: Olivia Newton, in 1974; Elton John hit the jackpot twice in 1975; Billy Joel triumphed in 1980; and George Michael scored twice last year.”
Electric Youth produced four Hot 100 hits, with “Lost in Your Eyes” followed by two more top 20 singles, the anthemic title cut and contemplative ballad “No More Rhyme,” plus longtime fan-favorite sing-along “We Could Be Together.”
Gibson has continued to expand her Billboard chart history, as she sent her first seasonal collection, Winterlicious, into the top 20 of Top Holiday Albums in 2022. It followed her first proper LP of all-new music in two decades, The Body Remembers, which hit the Top Current Albums and Top Album Sales charts in 2021. A veteran of Broadway, film and TV, Gibson most recently appeared on Fox’s The Masked Singer, Celebrity Name That Tune (in a friendly face-off against Belinda Carlisle) and We Are Family. Currently, she’s working on her upcoming memoir.
Upon the 35th anniversary of “Lost in Your Eyes” topping the Hot 100, Gibson gives Billboard an exclusive countdown, below, of the chart that week in 1989, musing about each hit in the top 20. The song led over fellow enduring hits from acts including The Bangles, Rick Astley and Guns N’ Roses; a duet (co-written by Richard Marx) between Heart’s Ann Wilson and Cheap Trick’s Robin Zander; and classics from Tone-Loc, New Kids on the Block, Sheena Easton and more. –Gary Trust
“Dreamin’,” Vanessa Williams
Image Credit: Joseph Del Valle/NBCU Photo Bank/NBCUniversal via Getty Images
Swing Fever whips through the U.K. as Rod Stewart and Jools Holland claim their first collaborative album title.
The leader at the midweek point, Swing Fever (via EastWest/Rhino) outpaces its closest rival by almost two-to-one, the Official Charts Company reports, to debut at No. 1 on the national tally, published Friday, March 1.
Swing Fever is the first solo leader for Holland, the TV host, bandleader and Squeeze keyboardist, and Stewart’s 11th – a feat that sees the British icon draw draw level with David Bowie, Taylor Swift and U2 on the all-time list of acts with the most No. 1 albums in the U.K.
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Slotting in at No. 2 on the Official Chart is the Snuts’ Millennials (Happy Artist), the Scottish band’s third studio LP. It’s the band’s third successive appearance in the top 3, following 2021 leader W.L. and 2022’s No. 3-peaking Burn The Empire (the Snuts’ debut EP Mixtape maxed-out at No. 14 in 2020).
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Noah Kahan’s former leader Stick Season (Republic Records) holds at No. 3, to complete the podium.
Also landing a top 10 berth this week is British rapper and songwriter Potter Payper, with Thanks For Hating (36TL), new at No. 5. That’s a fourth top 10 appearance on the albums tally for Potter (real name: Jamel Bousbaa) following 2020’s Training Day 3 (No. 3), 2021’s Thanks For Waiting (No. 8) and 2023’s Real Back In Style (No. 2).
Liverpool six-piece Red Rum Club bag a first-ever top 10 with their third studio album Western Approaches (Modern Sky), new at No. 8. That’s strides ahead of the group’s previous best, a No. 34 peak for 2021’s How To Steal The World.
Also enjoying top 40 debuts on the latest Official U.K. Albums Chart are titles from Nadine Shah (Filthy Underneath at No. 25 via EMI North) and Ghetts (On Purpose, With Purpose at No. 29 via Warner Records).
Stranger things are happening on the U.K. singles chart as Djo cracks the top five for the first time with “End of Beginning,” while Beyoncé lassos a second week at No. 1 with “Texas Hold ‘Em”.
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Djo is the musical project of Joe Keery, the U.S. actor who portrays Steve Harrington in the popular Netflix sci-fi series Stranger Things.
“End of Beginning” is housed on Djo’s 2022 studio album Decide (AWAL/Djo), but was never released as a single proper. Now, thanks to a viral trend on TikTok, “End of Beginning” rockets up the chart, flying 100-11-5 in the past three weeks. For the latest cycle, the dreamy indie pop single enjoyed a 50.7% week-on-week gain, according to the Official Charts Company.
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This isn’t the first time a Stranger Things-adjacent tune has enjoyed an unexpected viral turn. In 2022, powered by season four syncs, Kate Bush’s 1985 release “Running Up That Hill (A Deal With God)” climbed to No. 1 for the first time, setting records along the way, while Metallica’s “Master of Puppets” cracked the top 40 following Eddie Munson’s guitar solo scene – becoming a hit for the first time some 37 years after its release.
Meanwhile, Beyoncé extends her reign over the Official U.K. Singles Chart, published Friday, March 1, as her country-tinged hit holds at No. 1 for a second week. “Texas Hold ‘Em” (via Columbia/Parkwood Ent) became Bey’s sixth U.K. leader, and her first in 14 years.
Teddy Swims’ “Lose Control” (Atlantic) lifts 3-2 for a new peak position, while Benson Boone’s “Beautiful Things” (Warner Records) dips 2-3.
Further down the tally, Kanye West and Ty Dolla $ign crash the top 10 with “Carnival” (YZY), up 13-9, a new peak position. That’s Ye’s 22nd U.K. top 10 appearance and Ty’s fourth.
Finally, SZA snags a top 20 debut with “Saturn” (RCA/Top Dawg), new at No. 15 for the U.S. R&B star’s 13th U.K. top 40 appearance, while British rapper Central Cee scores his 24th top 40 with “I Will” (Columbia). It’s new at No. 18.
TWICE achieves its first No. 1 album on the Billboard 200 chart as With YOU-th debuts atop the tally (dated March 9) with 95,000 equivalent album units earned in the U.S. in the week ending Feb. 29, according to Luminate, largely from traditional album sales. It’s the fifth top 10 for the Korean pop ensemble in total, all earned consecutively.
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With YOU-th is the first No. 1 on the Billboard 200 by an all-female group since BLACKPINK’s Born Pink opened at No. 1 in 2022, and only the third since 2008, when Danity Kane’s Welcome to the Dollhouse debuted atop the list.
Also in the top 10 of the new Billboard 200, fellow all-female Korean pop group LE SSERAFIM debuts at No. 8 with Easy, marking the act’s second top 10-charting effort.
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The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new March 9-dated chart will be posted in full on Billboard‘s website on March 5. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of With YOU-th’s 95,000 units earned in the tracking week ending Feb. 29, album sales comprise 90,000 (it’s the top-selling album of the week, as it debuts at No. 1 on Top Album Sales; it’s also the largest sales week for an album in 2024), SEA units comprise 4,500 (equaling 6.33 million official on-demand streams of the set’s six songs) and TEA units comprise 500. Sales of With YOU-th were bolstered by its availability across 14 CD variants (including exclusives for Barnes & Noble, Target, Walmart and the act’s webstore, all with branded paper merchandise inside the packages as well as some randomized elements) and three vinyl variants (all picture discs, including one Target-exclusive version).
As With YOU-th is mostly in the Korean language, it is the 24th mostly non-English language album to hit No. 1, and the first of 2024.
Morgan Wallen’s chart-topping One Thing at a Time climbs 3-2 with 67,000 equivalent album units earned (up 5%), while Ye (formerly known as Kanye West) and Ty Dolla $ign’s Vultures 1 falls 1-3 in its third week with 64,000 (down 14%). Noah Kahan’s Stick Season is a non-mover at No. 4 with 57,000 units (down 4%), SZA’s former leader SOS is also stationary, at No. 5, with 47,000 (up 1%), Drake’s chart-topping For All the Dogs rises 8-6 with 43,000 (up 1%), and Taylor Swift’s former No. 1 1989 (Taylor’s Version) dips 6-7 with 41,000 (down 7%).
LE SSERAFIM’s Easy starts at No. 8 with 41,000 equivalent album units earned, marking the second top 10-charting effort for the pop group. The act previously hit the top 10 with last year’s Unforgiven, debuting and peaking at No. 6. Of Easy’s 41,000 first-week units, album sales comprise 34,000, SEA units comprise 7,000 (equaling 9.86 million official on-demand streams of the set’s five songs) and TEA units equal a negligible sum. Sales of Easy were aided by its availability across 14 CD variants (including exclusives for Barnes & Noble, Target and Walmart, all with branded paper merch inside their packages, including some randomized).
Rounding out the top 10 of the new Billboard 200 are a pair of chart-topping sets: Taylor Swift’s Lover falls 7-9 with 40,000 equivalent album units (down 8%) and 21 Savage‘s American Dream is steady at No. 10 with 38,000 units (up 1%).
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.
Cody Johnson earns his second leader on Billboard’s Country Airplay chart as “The Painter” ascends 3-1 on the March 9-dated ranking. During the Feb. 23-29 tracking week, the single increased by 12% to 31.2 million impressions, according to Luminate.
Johnson, from Sebastopol, Texas, previously hit No. 8 on Country Airplay with “Human” in June 2023, and his first No. 1, “‘Til You Can’t,” which ruled for two frames starting in March 2022. Prior to his three top 10s, his first entry, “With You I Am,” reached No. 40 in May 2017. He broke through further with “On My Way to You” (No. 11, June 2019).
Benjy Davis, Kat Higgins and Ryan Larkins co-wrote “The Painter,” which Trent Willmon produced. It’s the lead single from Johnson’s LP Leather, which arrived on Top Country Albums at its No. 5 best last November, becoming his fifth top 10.
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Johnson’s additional song, and next proper single, on Country Airplay, “Dirt Cheap,” places at No. 58 (736,000).
‘23’ Is Top 10
Chayce Beckham’s “23” climbs 11-10 on Country Airplay (18.4 million, up 5%), becoming his first top 10. The Apple Valley, Calif., native was crowned the winner of ABC’s American Idol in 2021 and performed “23” live on-air during that season. He had written the song a year before, and became the first champ to win the competition performing an original song.
Beckham is the fourth winner in the Idol franchise to hit the Country Airplay top 10. He joins Carrie Underwood (30 top 10s, including 16 No. 1s, after winning in 2005), Scotty McCreery (eight top 10s, five No. 1s; 2011) and Kelly Clarkson (two top 10s, one No. 1; 2002, Idol’s inaugural season).
Meanwhile, “23” (not the same composition as Sam Hunt’s song of the same name that topped Country Airplay for a week in April 2022) is the chart’s first top 10 written by a single person since Luke Combs’ cover of Tracy Chapman’s “Fast Car,” which led for five weeks beginning last July.
After reaching Billboard’s country charts for the first time with “Texas Hold ‘Em,” Beyoncé makes her first appearance on a rock radio airplay tally with the buzzy, banjo-inflected single.
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The song debuts at No. 36 on Billboard’s Adult Alternative Airplay chart dated March 9. It’s Beyoncé’s maiden placement on any of Billboard’s rock-based airplay lists (Adult Alternative Airplay, Alternative Airplay, Mainstream Rock Airplay and Rock & Alternative Airplay). Adult Alternative Airplay reflects songs’ weekly plays on a panel of 50 adult alternative-formatted stations, with data, as monitored by Mediabase, provided to Billboard by Luminate. The format encompasses music under the umbrella of Americana, including material considered more specifically folk, country, blues, soul and other related styles.
The leader in spins for “Texas Hold ‘Em” on the Adult Alternative Airplay panel Feb. 23-29 was KVYN in Napa Valley, Calif. The station played the song 45 times in that span.
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“KVYN decided to get on this Beyoncé track right away, mostly to support her musical evolution and dabbling in American roots music,” KVYN program director Nate Campbell tells Billboard. “So far, it’s working in our rotation and we’re happy to have ‘Country Beyoncé’ in our mix.”
Adult Alternative Airplay is the latest airplay chart on which “Texas Hold ‘Em” has debuted. The song bounded 54-34 in its second week on Country Airplay (March 2) and dips to No. 38 on the March 9 survey. Concurrently, it bounds 28-16 on Adult Pop Airplay, 25-17 on Pop Airplay and 36-23 on Rhythmic Airplay – as the Greatest Gainer on each chart – as well as 28-24 on Adult R&B Airplay, 36-32 on R&B/Hip-Hop Airplay and 40-32 on Mainstream R&B/Hip-Hop Airplay.
Thanks to Country Airplay and Adult Alternative Airplay now on her résumé, Beyoncé ties Pharrell Williams for the most airplay charts – 18 – on which any artist has appeared. (Among women, she surpasses Mariah Carey, with 17.) The 18 airplay charts, among 25 in Billboard’s menu, that Beyoncé has graced: Adult Alternative Airplay, Adult Contemporary, Adult Pop Airplay, Adult R&B Airplay, Country Airplay, Dance/Mix Show Airplay, Gospel Airplay, Latin Airplay, Latin Pop Airplay, Latin Rhythm Airplay, Mainstream R&B/Hip-Hop Airplay, Pop Airplay, R&B/Hip-Hop Airplay, the all-format Radio Songs chart, Rap Airplay, Rhythmic Airplay, Smooth Jazz Airplay and Tropical Airplay.
“Texas Hold ‘Em” and counterpart “16 Carriages” are expected to be on Beyoncé’s eighth studio album, the follow-up to the Houston native’s 2022 LP Renaissance, due March 29. Both tracks were released Feb. 11 – with the latter having launched atop the multi-metric Hot Country Songs chart dated Feb. 24. It added a second week at No. 1 on the most recently published, March 2-dated chart, when it also ascended to the top of the all-genre Billboard Hot 100. In addition to 16.1 million in all-format radio airplay audience, the song drew 29 million official U.S. streams and sold 29,000 Feb. 16-22, according to Luminate.
All Billboard charts dated March 9 will update on Billboard.com Tuesday, March 5.
The fifth No. 1 debut in the history of Billboard’s Rock & Alternative Airplay chart belongs to Linkin Park, whose “Friendly Fire” premieres atop the March 9-dated tally.
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“Friendly Fire” bows with 7.9 million radio audience impressions earned Feb. 23-29, according to Luminate.
The last song to debut at No. 1? Linkin Park’s “Lost,” which started atop the Feb. 25, 2023-dated survey.
In fact, Linkin Park owns three of the five No. 1 debuts since the ranking began in 2009. The group notched the first when “The Catalyst” debuted atop the Aug. 21, 2010, list.
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The other No. 1 starts belong to Foo Fighters’ “Rope” (March 12, 2011) and Green Day’s “Oh Love” (Aug. 4, 2012).
Linkin Park now boasts five No. 1s on Rock & Alternative Airplay, tying The Black Keys and Imagine Dragons for the fifth-most in the chart’s history. Foo Fighters lead all acts with 11.
Most No. 1s, Rock & Alternative Airplay
11, Foo Fighters
7, Green Day
6, Cage the Elephant
6, twenty one pilots
5, The Black Keys
5, Imagine Dragons
5, Linkin Park
4, Red Hot Chili Peppers
3, Weezer
Linkin Park’s other Rock & Alternative Airplay No. 1s are “New Divide” in 2009 and “Burn It Down” in 2012, both of which debuted at No. 2.
Concurrently, “Friendly Fire” launches at No. 8 on Mainstream Rock Airplay and at No. 9 on Alternative Airplay. It’s the band’s 19th top 10 on each tally. On the latter, Linkin Park pulls into sole possession of the sixth-most top 10s in the chart’s 35-year history. Foo Fighters lead with 30.
Most Top 10s, Alternative Airplay
30, Foo Fighters
28, Red Hot Chili Peppers
26, Green Day
23, U2
21, Weezer
20, Pearl Jam
19, Linkin Park
18, Pearl Jam
17, Muse
17, The Smashing Pumpkins
As “Friendly Fire” was released Feb. 23, the song is also expected to appear on the multimetric Hot Rock & Alternative Songs ranking via its first-week streams and sales, in addition to its radio airplay. All Billboard charts dated March 9 will update on Billboard.com on Tuesday, March 5.
“Friendly Fire” was originally recording during sessions for One More Light, Linkin Park’s 2017 final studio album, before the death of frontman Chester Bennington that year. The song will be on Papercuts, the band’s singles collection spanning its career, due April 12.
After more than two decades away, Sum 41 is back at No. 1 on Billboard’s Alternative Airplay chart, as “Landmines” crowns the tally dated March 9.
It’s Sum 41’s second Alternative Airplay ruler, after “Fat Lip” reigned for a week in August 2001.
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That break of 22 years, five months and three weeks between No. 1s is by far the longest in the chart’s 35-year history, surpassing the 13 years and six months that The Killers waited between “When You Were Young” in October 2006 and “Caution” in April 2020.
In between “Fat Lip” and “Landmines,” the Deryck Whibley-fronted Sum 41 charted nine Alternative Airplay titles, paced by the No. 7-peaking “Still Waiting” in 2003, with a pair of additional top 10s in “In Too Deep” (No. 10, 2001) and “We’re All to Blame” (No. 10, 2004). Upon its debut in October, “Landmines” marked Sum 41’s first appearance since “Screaming Bloody Murder,” which reached No. 37 in 2011.
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“Landmines” takes over No. 1 on Alternative Airplay from Blink-182‘s “One More Time,” which sported a 20-week run atop the chart, tying it with Portugal. The Man‘s “Feel It Still” for the most weeks at No. 1 in the chart’s history.
Concurrently, “Landmines” lifts 40-37 in its second week on Mainstream Rock Airplay. On the all-rock-format, audience-based Rock & Alternative Airplay chart, it rises 6-5 with 4.8 million audience impressions, up 11%, Feb. 23-29, according to Luminate. It’s Sum 41’s top-performing song on the ranking, which began in 2009, having surpassed the No. 46 showing for “Out for Blood” in 2019.
“Landmines” is the lead single from Heaven :x: Hell, Sum 41’s eighth studio album and first since 2019’s Order in Decline, due March 29. It’s billed as the band’s final release, as the group, which formed in Ontario in 1996, plans to disband following a final tour supporting the LP.
All Billboard charts dated March 9 will update on Billboard.com Tuesday, March 5.
When a star rises as slowly and as steadily as Victoria Monét‘s, you know they’ll be around for the long haul. After making a name for herself as one of the most in-demand songwriters in contemporary pop music, Monét has built an impressive career for herself as a recording artist. From sexy tracks such as “Freak” and “Ass Like That” to culture-shifting anthems such as “On My Mama,” Monét’s lush takes on the vast expanse of R&B subgenres have earned her not just three Grammys, but also the 2024 Billboard Women in Music Rising Star honor
Joining an illustrious list of Rising Star honorees that includes Lady Gaga, Nicki Minaj and Chloe x Halle, here’s a brief overview of the major waves Monét has made as she continues to level up throughout her career.
Monét first made her Billboard Hot 100 debut back in 2019 with “Monopoly” (No. 69), a bubbly duet with Ariana Grande, who was named Billboard Women in Music‘s Rising Star in 2014. Four years after her first appearance on the Hot 100, Monét landed her first unaccompanied hit on the chart, the Grammy-nominated “On My Mama,” which peaked at No. 33 and spawned an acclaimed music video featuring original choreography by Sean Bankhead. Before “On My Mama,” however, Monét placed 22 tracks on the Hot 100 as a songwriter, including two No. 1 hits performed by Grande, “Thank U, Next” and “7 Rings.”
At the top of 2024, Monét earned her first career Grammy wins: best new artist, best R&B album and best engineered album, non-classical. She picked up the latter two awards for Jaguar II, which peaked at No. 60 on the Billboard 200 and at No. 22 on Top R&B/Hip-Hop Albums.
Already beginning 2024 with honors from music’s biggest awards shows, Victoria Monét is sure to continue her evolution from rising star to superstar.
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