Chart Beat
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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.
After the video, catch up on more Billboard Explains videos and learn about Peso Pluma and the Mexican music boom, the role record labels play, origins of hip-hop, how Beyoncé arrived at Renaissance, the evolution of girl groups, BBMAs, NFTs, SXSW, the magic of boy bands, American Music Awards, the Billboard Latin Music Awards, the Hot 100 chart, how R&B/hip-hop became the biggest genre in the U.S., how festivals book their lineups, Billie Eilish’s formula for success, the history of rap battles, nonbinary awareness in music, the Billboard Music Awards, the Free Britney movement, rise of K-pop in the U.S., why Taylor Swift is re-recording her first six albums, the boom of hit all-female collaborations, how Grammy nominees and winners are chosen, why songwriters are selling their publishing catalogs, how the Super Bowl halftime show is booked and more.
Tomonari Sora’s “Demons Banquet” holds at No. 1 for the second week in a row on Billboard Japan’s Heatseekers Songs chart, dated Feb. 28, tallying the week ending Feb. 25.
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This chart extracts artists rapidly on the rise based on radio airplay, downloads, streaming and video views among the metrics that make up the Billboard Japan Hot 100 weekly song chart.
The demo version of the track by the singer-songwriter born in 2002 went viral after being posted on TikTok in November, and was officially released in digital form on Jan. 10.
“Demons Banquet” comes in at No. 10 for video views, No. 59 for downloads, and No. 66 for streaming, gaining 40% in total points from the previous week.
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At No. 2 on Heatseekers Songs is swetty’s “junkie.” This track was released Dec. 4 by the artist who is active mainly on SoundCloud, and grabbed the spotlight after ONE OK ROCK frontman Taka shouted it out on Instagram Live in late January.
Meanwhile, TOMOO’s “Present” debuts on the chart at No. 7. The 28-year-old artist sings about love over a pop and upbeat, euphoric track in her latest release, which gained points mainly in radio this week.
Other first-time entries on this chart this week include Humbreaders’ (hum-bread-ers) “DANCING IN THE ROOM,” Risky Melody’s “Itai Itai Ai,” E.scene’s “Watashi to Watashi,” and WHITE SCORPION’s “Hijoshudan.” asobi’s “All In My Head,” also climbs the chart to enter the top 20 at No. 18.
Some rules regarding the Billboard Japan Heatseekers Songs chart include: songs that have entered the top 300 in at least one metric of the Japan Hot 100 for three consecutive weeks including the tallying week are eligible; the list excludes artists who have charted in the top 20 of the Japan Hot 100 or in the top 10 of the Japan Hot Albums charts after appearing on the Heatseekers list; artists / acts that have charted in the top 20 for at least 4 months (17 weeks) out of the last 6 months (26 weeks) are excluded; and if any excluded artists are clearly listed in the credited artist’s name as “Feat.” etc., their songs are also excluded.
◎Billboard JAPAN Heatseekers Songs Top 20
(Data Collected: Feb. 19-25, 2024)
1. “Demons Banquet” / Tomonari Sora
2. “junkie” / swetty
3. “Zenhoukou Bishoujo” / noa
4. “request” / krage
5. “Obsessed” / Ayumu Imazu
6. “Planet” / ako
7. “Present” / TOMOO
8. “AtoZ” / Tokimekkii
9. “SARIGIWA NO ROMANTICS” / See-Saw
10. “Konton Boogie” / Jon-YAKITORY
11. “DANCING IN THE ROOM” / Humbreaders
12. ““Itai Itai Ai” / Risky Melody
13. “LoveJetaime” / Mahiru Coda
14. “My dream girls” / NACHERRY
15. “Watashi to Watashi” / E.scene
16. “Futsunanteiranaiyo” / TENSONG
17. “ANPANMAN TAISOU” / Dreaming
18. “All In My Head” / asobi
19. “Hijoshudan” / WHITE SCORPION
20. “Ba-Bang to Suisan! Bang Bravern” / Bravern (Kenichi Suzumura)
Pearl Jam’s “Dark Matter” becomes the band’s first leader on Billboard’s Hot Hard Rock Songs chart, rising to No. 1 from No. 3 on the survey dated March 2. In the Feb. 16-22 tracking week, the first full tracking frame for “Dark Matter,” which was released Feb. 13, the song accumulated 5.6 million radio audience […]
Taylor Swift came, she played and she continues to dominate Australia’s charts.
Swift wrapped her seven-date, two-city The Eras Tour of Australia earlier in the week, and has left the country, but the afterglow of that trip can be seen on the ARIA Charts.
Swift’s Lover release “Cruel Summer” (Universal) enters a second week atop the singles tally while Midnights holds at No. 1 on the albums list, for a 16th non-consecutive week.
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Midnights leads an all-Tay Tay top six on the latest tally (Lover, 1989 (Taylor’s Version), Folklore, Reputation and Evermore, respectively), published Friday, March 1. Also, Swift retains No. 8 with Red (Taylor’s Version), marking the second week straight she has had seven albums in the top 10, equaling her own ARIA Chart record.
Swift completed sold-out shows at the Melbourne Cricket Ground (three dates) and Sydney’s Accor Stadium (four), for a trek produced by Frontier Touring. Next up, a six-night stand at Singapore National Stadium.
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The top new release on the national albums survey is Swing Fever (Rhino/Warner), the first collaborative album from Rod Stewart and Jools Holland. It’s new at No. 19.
That’s Stewart’s 32nd top 20 appearance and first since 2019, when You’re In My Heart: Rod Stewart With The Royal Philharmonic Orchestra peaked at No. 3, ARIA reports.
All told, Steward has landed seven ARIA No. 1s, dating back to 1971’s Every Picture Tells A Story.
Holland, the British bandleader and TV presenter, cracked the top 20 back in 1979 as a member of Squeeze (also known as U.K. Squeeze) with Cool For Cats, which peaked at No. 18. Swing Fever was the leader on the midweek U.K. albums chart.
Over on the ARIA Singles Chart, Swift’s “Cruel Summer,” initially released back in 2019, enjoys a second week at No. 1.
Beyonce’s country-leaning “Texas Hold ‘Em” (Columbia/Sony) lifts 3-2, and could lasso the U.S. pop/R&B superstar her first No. 1 in these parts in more than 17 years. Bey’s only other Australian leader is “Irreplaceable,” which logged three weeks at No. 1 in late 2006 and early 2007.
Benson Boone’s “Beautiful Things” (Warner) completes the podium, dipping 2-3 on the Official U.K. Singles Chart.
The top new release on the singles survey belongs to SZA, as “Saturn” (RCA/Sony) zooms in at No. 8. It’s housed by the R&B star’s Lana, a forthcoming deluxe version of her chart-topping LP SOS. SZA will play arenas across Australia next month for a tour produced by Live Nation, her first of these parts in almost five years.
Finally, Stranger Things star Joe Keery now has a top 40 hit in Australia through Djo, his recording project. Djo’s debut single “End of Beginning” (AWAL) rockets 69-14. Keery plays the chump-come-good character Steve Harrington in the much-loved Netflix sci-fi series.
Justin Timberlake seemingly confirms that *NSYNC will be featured on his upcoming album. Fans are in a frenzy after Lady Gaga refers to her “past career.” Lizzo addresses the claim that she rejected Jennifer Lopez’s ‘This is Me… Now’ cameo offer. Reneé Rapp opens up about her love for Beyoncé, shares thoughts on creating an […]
Luck Ra and Khea add a new No. 1 to their Billboard Argentina Hot 100 career as “Hola Perdida” lifts 2-1 on the chart dated March 2.
Luck Ra also holds strong in the top 10 with two other songs: “Que Me Falte Todo,” with Abel Pintos, which holds at No. 3 for a third week, and nine-week leader “La Morocha,” featuring BM, which drops 7-9. In total, the trap and freestyler places a total of seven songs on the current ranking, the most for a male act this week, behind Emilia’s 10 and Maria Becerra’s eight simultaneous songs, respectively.
As “Hola Perdida” lands at the summit, it sends Mesita, Nicki Nicole, Emilia and Tiago PZK’s “Una Foto” to No. 2 after a six-week domination.
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Elsewhere, Tiago PZK and Ke Personajes add a top 10 to their Billboard Argentina account as “Piel” rallies from No. 17 to No. 6. While Tiago scores his sixth top 10, Ke Personajes collect their 12th top 10.
Meanwhile, Chilean Floyymenor earns his first top 10 as “Gata Only,” with Cris MJ, surges 22-8 in its third week.
The week’s Greatest Gainer goes to Trueno and Nicki Nicole’s “Mamichula,” featuring Bizarrap, Taiu and Tatool, which flies from No. 82 to No. 20.
Further, Gino Mella, Jairo Vera, Yandel, Lenny Tavárez and Best take the Hot Shot Debut of the week as “El Amor De Tu Vida” starts at No. 40.
Seven other songs enter the chart this week, starting with KHEA and Emilia’s “Tú y Yo” at No. 42. Dua Lipa follows with “Training Season” at No. 55, while El Turko’s “30 Grados,” featuring Mandale Flow, joins at No. 71.
Dominican Engel Montaz follows as he nabs his first chart entry with “Cupido” at No. 80, while Pablo Chill-E and Oro600’s “Nena Sad (Orodembow)” opens at No. 81.
Lastly, La K’Onga, Emanero and David Bisbal’s first team-up, “Fama de Diabla” bows at No. 82, while Tiesto & Karol G’s “Contigo” arrives at No. 88.
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Creepy Nuts’ “Bling-Bang-Bang-Born” extends its reign over the Billboard Japan Hot 100 to five weeks on the chart dated Feb. 28.
While slowing down slightly in streams and downloads, the MASHLE Season 2 opener remains almost stationary and adds another week at No. 1 to both metrics. Streaming is down by about 0.6% (21,661,077 streams) and downloads by about 2.3% (19,520 units). The viral hit is at No. 19 for video views and rises 9-7 for karaoke, while slipping slightly in radio (7-10) this week, leading the Japan Hot 100 by a huge margin.
Sakurazaka46’s “Nansai no koro ni modoritai no ka?” rises 15-2 after launching with 531,917 CDs in its first week (released Feb. 21). The eighth single by the J-pop girl group features Ten Yamasaki in center position of the choreography, and follows the first-week sales of its previous single, “Shoninyokkyu” (545,944 copies). The track gained points in other metrics as well, coming in at No. 4 for streaming with 7,808,921 streams, No. 11 for downloads with 3,758 units, No. 74 for radio, and No. 67 for video.
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OCTPATH’s “OCTAVE” debuts at No. 4 this week. The eight-member boy band’s fifth single sold 99,413 CDs in its first week — 14.3% more than its predecessor “Sweet” —to come in at No. 2 for sales, while also hitting No. 2 for radio.
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Omoinotake’s “IKUOKU KONEN” rises a notch to No. 7. The track is steadily on the rise figure-wise as well, moving 10-8 for downloads (4,913 units, up 10.6%), 7-6 for streaming, (7,323,028 streams, up 20.8%), and 25-22 for video.
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SPYAIR’s “Orange” jumps 19-8 this week, debuting in the top 10. The second release by the four-man band featuring new vocalist YOSUKE is being featured as the theme song for the animated feature film Haikyuu!! the Movie: Decisive Battle at the Garbage Dump, which opened in Japanese theaters on Feb. 16. According to Kogyo Tsushinsha, the movie drew 2.9 million viewers and grossed over 4.18 billion yen during its first ten days. “Orange” comes in at No. 3 for downloads with 7,168 units, No. 8 for streaming with 6,492,428 streams, No. 21 for radio, and No. 13 for video.
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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 Feb. 19 to 25, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Beyoncé’s fourth No. 1 on Billboard’s Streaming Songs chart – and first completely solo – comes with “Texas Hold ‘Em,” which rises to the top of the March 2-dated tally. “Texas Hold ‘Em,” which debuted at No. 4 on the Feb. 24 ranking, vaults to No. 1 via 29 million official U.S. streams Feb. 16-22, […]
Scores of new artists snag hits in a given year, but few truly break through and create a lasting impact on the global music scene and popular culture. Tems is one of those artists. The Nigerian singer-songwriter has used her lush amalgamation of Afrobeats, soul and hip-hop to become one of the leading female artists in the global Afrobeats boom of the early 2020s.
As the 2024 Billboard Women in Music Breakthrough Artist honoree, Tems joins an exclusive list of movers and shakers that includes Idina Menzel, Maren Morris, Camila Cabello, TWICE and Tori Kelly. To illustrate why the Grammy winner is a true breakthrough artist, Billboard Explains has put together a brief overview of Tems’ impressive chart success.
Tems made her Billboard Hot 100 debut back in 2021 with “Essence,” a collaboration with fellow Afrobeats star Wizkid and Justin Bieber that reached No. 9 on the ranking. The following year, she translated that momentum into her first Hot 100 No. 1 single — “Wait for U” (with Future and Drake), which spent one week atop the chart. Her other Hot 100 hits include “Fountains” (No. 26, with Drake), “Move” (No. 55, with Beyoncé and Grace Jones) and “Free Mind” (No. 46), a single from her debut EP For Broken Ears, which reached No. 28 on Independent Albums.
“Free Mind” and “Essence” are also Tems’ two chart-toppers on Billboard U.S. Afrobeats Songs, where she boasts 15 career entries. “Higher,” which was sampled on Future’s “Wait for U,” reached No. 5 on the chart in 2022.
With a debut studio album set for release in 2024, Tems is poised to own the coming year and further solidify her breakthrough.
After the video, catch up on more Billboard Explains videos and learn about Peso Pluma and the Mexican music boom, the role record labels play, origins of hip-hop, how Beyoncé arrived at Renaissance, the evolution of girl groups, BBMAs, NFTs, SXSW, the magic of boy bands, American Music Awards, the Billboard Latin Music Awards, the Hot 100 chart, how R&B/hip-hop became the biggest genre in the U.S., how festivals book their lineups, Billie Eilish’s formula for success, the history of rap battles, nonbinary awareness in music, the Billboard Music Awards, the Free Britney movement, rise of K-pop in the U.S., why Taylor Swift is re-recording her first six albums, the boom of hit all-female collaborations, how Grammy nominees and winners are chosen, why songwriters are selling their publishing catalogs, how the Super Bowl halftime show is booked and more.
A week after scoring a splashy debut at No. 11 on the TikTok Billboard Top 50 chart, Djo’s “End of Beginning” vaults to No. 1 on the March 2-dated survey.
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 Feb. 19-25. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50. Titles that are part of Universal Music Group’s catalog are currently unavailable on TikTok.
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“End of Beginning,” as previously reported, encompasses a TikTok trend that largely centers on Chicago, which is mentioned prominently in the 2022 song’s lyrics. The line “And when I’m back in Chicago, I feel it/ Another version of me, I was in it” soundtracks footage of the city, people discussing their time there or even users pining for similar experiences in other cities.
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A more recent trend featuring “End of Beginning” is a photo montage with the prompt “If I won the lottery I wouldn’t tell anyone, but there’d be signs,” showing off how their life would change after winning the cash. While the Chicago-specific trend kicked off the song’s TikTok rise, the latest theme helped drive the track to an explosion on the platform – and subsequently on audio and video streaming services – that begets its jump to No. 1.
Concurrently, “End of Beginning” becomes Djo’s (real name Joe Keery, known also as an actor on Stranger Things, Fargo and more) first appearance on the Billboard Hot 100, bowing at No. 51. It accumulated 8.4 million official U.S. streams Feb. 16-22, a 194% jump, according to Luminate. Those streams also drive it to No. 2 on Alternative Streaming Songs.
“End of Beginning” takes over No. 1 on the TikTok Billboard Top 50 from Bobby Caldwell’s “What You Won’t Do for Love,” which falls to No. 2 after one week atop the tally. The trend for the 1978 song, which peaked at No. 9 on the Hot 100 in its time, continues, though; as noted toward the Feb. 24 ranking, creators are most often using the song to supplement footage of different food items and dishes, including chocolate-covered strawberries, while others zoom in on pets or significant others. The song jumped another 15% in official U.S. streams Feb. 16-22 to 1.8 million.
The week’s top debut is one spot below at No. 3: Glee cast’s version of “Rose’s Turn,” a song originally written for the musical Gypsy. The tune’s opening line “All that work and what did it get me? Why did I do it?” is used as creators lament trying hard to accomplish something, only for it to be all for naught.
Beyonce’s “Texas Hold ‘Em,” concurrently the week’s No. 1 song on the Hot 100, continues its ascent on the TikTok Billboard Top 50, leaping from No. 13 to No. 4, while one of its closest competitors on the Hot 100, Ye (formerly Kanye West) and Ty Dolla $ign’s “Carnival,” starts at No. 5.
While uploads for “Texas Hold ‘Em” remain largely rooted in a dance trend to the country tune, “Carnival” is being used in a variety of ways, from usages in general viral clips to creators reacting to the track, considered to be the runaway hit from Ye and Ty Dolla $ign’s No. 1 album Vultures 1.
Both “Texas Hold ‘Em” and “Carnival” rise in official U.S. streams Feb. 16-22, the former up 51% to 29 million streams and the latter jumping 5% to 24.6 million.
Cat Janice‘s “Dance You Outta My Head” ranks at No. 6; the chart’s latest tracking week came prior to the 31-year-old singer’s Feb. 28 death from sarcoma; she debuted the song while in hospice as her final release.
One other song debuts in the TikTok Billboard Top 50’s top 10: Armando Trovajoli’s “L’amore Dice Ciao,” the “slow take” version of which bows at No. 8. The instrumental track from the Italian pianist and composer is mostly utilized in a trend soundtracking animation to the prompt “Do you think you would be my [fill in the blank] in every universe?” – often friend, mother, sibling, etc. – with the response “I hope we are,” showing the users in multiple forms.
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.