Chart Beat
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Shakira is No. 1 on Billboard’s Top Tours chart for March, back on top after ruling the February edition. She led last month’s list with $32.9 million but doubles her earnings on the newest update. According to figures reported to Billboard Boxscore, Las Mujeres Ya No Lloran World Tour earned $70.6 million from 11 reported shows. That’s more than any act has grossed in any March since the charts launched in 2019.
Monthly grosses typically balloon during the summer, when summer weather allows for stadium shows in the U.S. and Europe. With most acts confined to indoor arenas in the fall, winter, and spring, Shakira’s Latin roots fueled a massive stadium run in Central and South America and Mexico. She surpasses Bad Bunny’s March 2024, Coldplay in 2023, Bad Bunny again in 2022, the Backstreet Boys in 2020, and P!nk in 2019. (There was no ranking in March 2021 due to COVID-19).
Mexico was the setting of Shakira’s March shows, hitting Monterrey and Guadalajara before climaxing in Mexico City. There, the Colombian superstar played seven shows at Estadio GNP Seguros from March 19-30, bringing in $46.6 million from 396,000 tickets sold. Those shows are No. 1 on Top Boxscore, more than tripling the gross of No. 2.
Shakira’s seven Mexico City shows set a venue record, eclipsing RBD’s six nights (2023), Daddy Yankee’s five (2022), and Taylor Swift’s four (2023). But demand was so outrageous that she announced four more dates at the same stadium in August, extending to 11 shows.
The Estadio GNP Seguros shows alone would have secured Shakira the No. 1 spot on Top Tours, but her schedule also included two shows apiece in Monterrey ($12.5 million; 88.2K tickets) and Guadalajara ($11.5 million; 70.3K).
Including the tour’s first shows in February and further dates in April, Las Mujeres Ya No Lloran World Tour has earned a reported $111 million and sold 910,000 tickets in Latin America. Shakira re-ups in Charlotte, N.C. on May 13 to begin a 23-show run in the U.S. and Canada. Then, she’ll be back in Mexico, Dominican Republic, and Peru for 18 more dates through November.
Just as Shakira was No. 1 in February and one-upped herself in March, Tyler, the Creator scores a second consecutive month at No. 2 with increased totals. This month, Tyler earned $36.2 million and sold 221,000 tickets, up 25% and 17%, respectively, from last month. It’s the first time that two acts repeated on top in consecutive months in three years, when Bad Bunny and Elton John went 1-2, respectively, in February and March 2022.
Three years after crowning Boxscore charts with his six band mates, BTS’ J-Hope is No. 3 on Top Tours with his first solo shows. Across 10 dates in March, he brought in $26.6 million and sold 149,000 tickets. After three home-town shows in Seoul, he toured North America. Like Shakira, his March peak was in Mexico City, with a $6.1 million double-header at Palacio de los Deportes on March 22-23.
TOMORROW X TOGETHER and NCT 127 represent K-pop elsewhere, with $10.6 million and $7 million, respectively.
Dead & Company follows at No. 4, with the Eagles trailing at No. 7. Both classic rock acts played shows at Las Vegas’ Sphere. As has become common in the last year and a half, the Sin City arena is No. 1 on the Top Venues (15,001+ capacity) chart, combining both bands’ dates – plus two from Anyma – for $45.4 million and 195,000 tickets.
Country music is rooted in the U.S. and has historically struggled to export internationally. So it’s a welcome surprise that this month’s roster of charting country tours include Jelly Roll in Canada, Chris Stapleton in Australia and New Zealand, and C2C Country To Country across the United Kingdom.
Shakira and J-Hope provided Mexican promoter OCESA with some of its biggest wins during March. But they crowd the top 10 of Top Boxscores further with two festivals. Mexico City’s Vive Latino Festival grossed $14.2 million and sold 146,000 tickets in the middle of the month, and Bogota’s Festival Estereo Picnic earned $10.1 million in March’s final days. Altogether, OCESA grossed $140 million and sold 1.3 million tickets.
The last time Morgan Wallen and Post Malone joined forces on record, it was for “I Had Some Help” — which debuted at No. 1 on the Billboard Hot 100, spent six weeks atop the chart, and was ultimately named Billboard‘s Song of the Summer for 2024. So when news came that the two were reuniting for a new single, expectations were understandably high.
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That new single, “I Ain’t Comin’ Back,” dropped two Fridays ago (Apr. 18) — just before Easter weekend, which made for good timing with the song’s “There’s a lot of reasons I ain’t Jesus, but the main one is that I ain’t comin’ back” hook. This week, the song debuts at No. 8 on the Hot 100: a strong entrance, but somewhat below the bar set by duo’s previous collaboration.
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How should Morgan Wallen and Post Malone feel about their new song’s initial performance? And will it still grow into a “Help”-sized smash? Billboard staffers discuss these questions and more below.
1. Morgan Wallen and Post Malone’s “I Ain’t Comin’ Back” debuts at No. 8 on the Hot 100 this week. Is that spot lower, higher, or about where you would have expected it to debut?
Katie Atkinson: I think that’s exactly where I would have expected. While their last team-up “I Had Some Help” debuted atop the chart, it also had a megawatt live debut at 2024 Stagecoach setting it up for success and was a lot more upbeat. This new one is still catchy but has a sleepier tempo. I think a top 10 debut for a midtempo country jam chock-full of Christian imagery is pretty impressive – especially given it’s the fifth song preceding Wallen’s next album.
Kyle Denis: Maybe a little bit lower. “I Had Some Help” was such a massive No. 1 debut that I expected at least a top five entry for the new duet. Nonetheless, “Comin’ Back” isn’t as immediately catchy as “Help,” it doesn’t have the glow of being the lead single from Post Malone’s big country pivot and Morgan already has so many other songs circulating – including one directly above “Comin’” (“I’m the Problem,” No. 7).
Jason Lipshutz: About where I expected. “I Had Some Help” is the obvious analog, and while last year’s smash debuted at No. 1, that song possessed the glow of being Morgan Wallen and Post Malone’s first collaboration, and arrived as Wallen’s first single following his 2023 album One Thing at a Time. “I Ain’t Coming Back” has been preceded by a steady stream of music from both Wallen and Post, which likely blunted some of the immediate excitement around its release — but still, these are two brand-name chart titans, so a top 10 debut seemed all but guaranteed.
Jessica Nicholson: It debuts around where I thought it would. “I Had Some Help” was aided by the buzz of curiosity surrounding not only Post Malone releasing a straight-ahead country album, but also regarding just what a collab between a genre-fluid artist like Post Malone and one of country music’s top-echelon artists would sound like. This time around, fans are more familiar with a Posty-Wallen collab. On the Hot 100, the song is also battling against releases from Kendrick Lamar with SZA, Alex Warren’s hit “Ordinary” and even Wallen’s own title track to his upcoming album.
Andrew Unterberger: Definitely lower. It’s not surprising that it didn’t quite match “I Had Some Help,” but only because that song was an absolute monster right out of the gate, zooming past one of the most packed periods of pop music in recent memory and reigning for six weeks. But this song couldn’t even lap Morgan Wallen’s own “I’m the Problem,” which is hardly the most explosive Wallen hit in recent memory. With that history and the two artists’ combined star power — not to mention its slick sound, big chorus and the built-in Easter tie-in — it’s a slightly underwhelming bow for the duo, for sure.
2. “I Had Some Help,” the previous teamup of Wallen and Post, ended up spending six weeks at No. 1 and topping Billboard’s Songs of the Summer chart. Do you think this song has a chance of growing into a hit near that size, or will it be diminishing returns on the sequel?
Katie Atkinson: Diminishing returns, only because this one just doesn’t have the Song of the Summer potential of “Help.” This is a reliably great Morgan Wallen song, but it’s not the backyard-BBQ-soundtracking party-starter of last summer’s smash-hit duet. If I’m going to listen to some melancholy Morgan, right now I’ve got “Just in Case” on repeat instead.
Kyle Denis: I’m inclined to say the sequel won’t be as big as “Help,” for all the reasons I listed in my previous answer. It really helped that “Help” got so much room to be the primary song for consumers to focus on from both artists. With six songs already circulating from a 37-track album that’s due in a few weeks, there might just be a little bit too much Wallen in the air.
Jason Lipshutz: I think everybody involved would be totally fine with slightly diminished returns for one of the biggest hits of last year. “I Had Some Help” caught lightning in a bottle, as an immediate and immensely enjoyable sing-along that crystallized Posty’s newfound foray into country music. “I Ain’t Comin’ Back” follows a similar formula but with a slightly less catchy hook, and it’s been delivered a few months after we’ve received a full Post Malone country album and at a time where we’ve gotten a new Wallen single every few weeks. The circumstances of “I Ain’t Comin’ Back” will blunt its commercial impact to some degree, but as a sequel to a singular hit, it’s pretty clearly a success already.
Jessica Nicholson: “I Had Some Help” had an instantly catchy groove, and the kind of post-breakup, pushback defiance fans love to hear in a breakup song. “I Ain’t Comin’ Back” shares much of that defiance, but in a slightly quieter, less-summertime-vibe way. It will be difficult to surpass the chart domination of “I Had Some Help,” especially given that “I Ain’t Comin’ Back” didn’t debut at No. 1 as its predecessor did, but fans have proven they are clamoring for any new music from Wallen, and that they loved Post’s country foray. Plus, with both Post Malone and Morgan Wallen being on the road this summer, that will keep the fans hearing this song through the summer months (assuming it makes it into their respective setlists), so it is possible that the song could gain greater strength.
Andrew Unterberger: I wouldn’t be surprised if it grows a little from here — radio’s gonna sink its teeth all the way into this thing, and the warm-weather months will undoubtedly be kind to it — but it seems pretty unlikely that it’ll grow into “I Had Some More Help.” (Particularly with all the competition it has from other recent Wallen releases, an already-crowded field which is about to quintuple in size with the release of the full I’m the Problem.) And that’s fine. Most sequels don’t quite live up their originals.
3. Wallen has released a steady stream of new songs in the run-up to his upcoming I’m the Problem album. Do you think this strategy is proving effective for promoting the new set, or is the volume getting to be too much?
Katie Atkinson: Considering it’s his record-extending fifth top 10 on the Hot 100 preceding the new album, I’d say he’s on to something. Not to mention, there are 37 songs on the standard release of I’m the Problem, so it’s not like he’s giving the whole album away ahead of time. Releasing seven total advance tracks out of 37 is like putting out two or three singles from a 13-track album, percentage-wise.
Kyle Denis: Part of me feels like it’s getting to be too much – and I think that’s evidenced by “Comin’” debuting lower than all five I’m the Problem singles that preceded it, despite being the only one to feature another artist. He could do with letting the singles breathe for a bit, especially with so much more music coming in such a short span of time.
Jason Lipshutz: It depends on what the goal is, right? If Wallen is aiming for another long-lasting No. 1 smash along the lines of “Last Night” or “I Had Some Help,” then this deluge of new singles has not been as effective as releasing one focus track and placing the country superstar’s entire weight behind it. Yet if the mission is to make Wallen even more ubiquitous — constantly near the top of New Music Friday, always with multiple songs lingering around the top of the Hot 100, with plenty of headlines and new fodder for country radio — then this rollout has largely been a win for him. And considering that his new 37-song album arrives in a few weeks, this current moment might just be the tip of the iceberg.
Jessica Nicholson: Given today’s more-is-more streaming environment, it feels like an effective strategy. Morgan’s album will encompass 37 songs, so releasing seven of those songs (so far) amounts to approximately 19% of those songs being released ahead of time, so there will still be plenty of new music to dig into the moment the full album releases.
Andrew Unterberger: It’s a good short-term strategy that I do worry will have deleterious long-term effects. Undoubtedly this will all lead to a mighty first-week bow for I’m the Problem, and will confirm Wallen as the most dominant, ubiquitous country star of his generation — but it does feel like, after five years of near-continuous rising, the excitement with him as an artist and hitmaker is beginning to level off. But even in a worst-case scenario for him, it’ll be a while before it starts to really recede, and he’ll probably break a bunch more charts records in the meantime.
4. Post Malone has revealed that a second country album is in the works. Are you optimistic that the album will be able to repeat the success of F-1 Trillion, or would he have been better off leaving his country detour as a one-and-done?
Katie Atkinson: I’m very optimistic. I’m looking forward to what Posty can do standing on his own two feet, without 15 duets pairing him up with the biggest names in country on this one. If the F-1-ending solo highlight “Yours” — which finds Post sweetly singing about his daughter’s future husband — is any indication, he could have a seriously long future in this genre. Might be time for Posty to check out some real estate in Nashville.
Kyle Denis: I think Post has definitely been embraced by country listeners, and he’ll continue to strengthen that base with his just-launched Big Ass Stadium Tour. I think without novelty on his side, it will be a bit harder to repeat the success of F-1 Trillion, but it’s not entirely impossible. I think there’s a path for the album to be a success in its own right if he focuses on solo singles this time around.
Jason Lipshutz: F-1 Trillion was such a profound success that I’m not surprised that Posty is hitching a ride back to Nashville for its follow-up. Country sounded like a natural fit for an artist who broke through in the hip-hop world, and considering how often those sounds are intermingling on the charts these days, the transition hasn’t sounded as forced as it might have during a different musical era. I don’t think there’s any chance that Post Malone remains a country artist for the rest of his career, but right now, he’s in a good groove, and he should continue exploring.
Jessica Nicholson: It would be hard to repeat the success of F-1 Trillion, unless he makes the next project as collaboration-heavy as F-1 Trillion, as teaming with so many country stars, and getting that co-sign from them, brought in fans of all of those artists. However, critically, many of his solo songs on his extended “Long Bed” version of the album were as good as his collaborative efforts, so it would be a chance to prove his status as a solo country hitmaker. That said, if the goal is entrenching himself into the country genre as an artist who is in it for the long haul, then consistently releasing country projects is an obvious essential step in accomplishing that aim, regardless of whether a new album reaches the all-genre chart pinnacle.
Andrew Unterberger: My guess would be that Post’s F-2 Trillion-type album ends up analogous to mgk’s second pop-punk set Mainstream Sellout — a chart-topping hit that generally does fine, but doesn’t quite generate the hits or the excitement of its predecessor.
5. One Thing at a Time moved 501,000 units in its first week. What’s your (mildly educated) guess for what I’m the Problem will post as its first-week number?
Katie Atkinson: I’m thinking it will be another half a milli. Wallen’s popularity has stayed steady in the last two years, and as evidenced by the top 10 performance of all five pre-release songs, people are still craving new music from him. My educated guess will be 502k just so he can say he bumped it up a step.
Kyle Denis: I’ll say… north of 450k, but it doesn’t surpass 501k.
Jason Lipshutz: 550,000. It’s got 37 tracks, it’s coming out during a relatively sleepy moment for new releases, and did I mention it’s got 37 tracks? The early streaming numbers should help Wallen’s latest secure his biggest debut yet.
Jessica Nicholson: Though this 37-song album barely exceeds the length its predecessor, the 36-track One Thing at a Time, Wallen’s celebrity status seems to have only grown since his last album. This album also includes collabs with Eric Church and Tate McRae, which should further spur fan excitement. I would conservatively estimate the project would come in at around 510,000 in first-week consumption.
Andrew Unterberger: I’ll say 485,000. Not quite the first week of One Thing, but close enough that nobody really tries to read too much into the decrease.
Forrest Frank first hit Billboard’s charts in 2020 as half of the pop duo Surfaces, but he’s since emerged as a leading voice in Christian music. This week (on the chart dated May 3), he scores his first solo entry on the Billboard Hot 100 as “Your Way’s Better” debuts at No. 72.
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Released in October 2024 via River House Records/10K Projects, the song enters with 6.5 million official U.S. streams (up 34% week-over-week), 764,000 radio audience impressions (up 18%) and 4,000 downloads sold (up 49%) April 18-24, according to Luminate.
The track also spends a 26th week on the Hot Christian Songs chart, holding at its No. 2 high.
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As a member of Surfaces (alongside Colin Padalecki), he initially broke through with “Sunday Best,” which climbed to No. 19 on the Hot 100 in June 2020. The song also found success at radio, reaching No. 9 on Pop Airplay and No. 13 on Adult Pop Airplay.
Beginning in 2023, though, Frank had pivoted to solo endeavors. He first reached Billboard’s charts as a solo act that February, when “No Longer Bound,” with Hulvey, debuted at No. 20 on Hot Christian Songs — it peaked at No. 19 the following week.
Frank has since become a force in Christian music, logging 33 entries on Hot Christian Songs, including six top 10s: “Good Day” (No. 2 peak in 2024); “Up!,” with Connor Price (No. 8, 2024); “Never Get Used to This,” with Jvke (No. 6, 2024); “The Present” (No. 9, January); “Nothing Else,” with Thomas Rhett (No. 4, March); and “Your Way’s Better.” No other artist has charted more songs on the ranking since the beginning of 2023. He finished 2024 as Billboard’s No. 1 top new Christian artist.
Frank’s album Child of God has also spent 33 weeks and counting at No. 1 on the Top Christian Albums chart, making it the fifth longest-leading No. 1 album this century. The set’s follow-up, Child of God II, is slated for release May 9.
Frank has also logged four tracks on Christian Airplay: “Good Day” (No. 5 peak), “Never Get Used To This” (No. 18), “The Present” (No. 10) and “Your Way’s Better” (No. 30 to date).
The recent surge in attention for “Your Way’s Better” can be partly attributed to TikTok, where the song has soundtracked over 400,000 clips. It’s a tried-and-true method for Frank, as “Sunday Best” also utilized the platform to blow up in 2020.
What makes “Your Way’s Better” particularly notable is that it’s a Christian track — a genre has rarely made inroads on the Hot 100 historically. This week, however, two such songs are charting simultaneously: “Your Way’s Better” and Brandon Lake’s viral “Hard Fought Hallelujah,” which jumps to the top 40 (63-40) in its 10th week on the chart, reaching a new high. The latter also spends a 20th week at No. 1 on Hot Christian Songs.
Since 2020 — excluding religious-themed holiday tracks and the 38 entries by Kanye West from his albums Jesus Is King and Donda, and one by DJ Khaled, as both were long-established hip-hop acts — only three Christian songs have charted on both the Hot 100 and Hot Christian Songs charts:
Artist Billing, Title, Peak Year(s)
Lauren Daigle, “You Say,” 2018-2021
Brandon Lake, “Hard Fought Hallelujah,” 2025
Forrest Frank, “Your Way’s Better,” 2025
The rise of Christian music is no fluke, as the genre has been steadily growing in popularity. According to Luminate’s 2024 year-end report, Christian/gospel is one of the fastest growing genres among young audiences in the U.S., with the average listener is spending 19% more time with Christian/gospel music than in 2022.
Riding a hot streak that has already established her among 2025’s buzziest names, Doechii lands a historic win on Billboard’s Rhythmic Airplay chart as the first artist to send her first three charting titles as a lead artist to No. 1 on the radio ranking.
The feat comes as “Anxiety” storms 6-1 to crown the list dated May 3 and was the most played song on U.S. panel-contributing rhythmic radio stations in the tracking week of April 18-24, according to Luminate, a 20% surge from the prior week. Thanks to the boon, “Anxiety” wins the week’s Greatest Gainer award, given to the song with the largest increase in play count.
Doechii, Billboard’s 2025 Woman of the Year recipient, traces her Rhythmic Airplay achievement to her first No. 1, the one-week champ “What It Is (Block Boy),” featuring Kodak Black, in June 2023. She returned to the summit in March with “Denial Is a River,” which reigned for three weeks, before “Anxiety” completed her third trek to the top spot. As noted, the trio makes Doechii the first act to send her first three entries as a lead artist to No. 1 in the 32-year history of the Rhythmic Airplay chart.
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Expanding to include lead and featured credits, Doechii is the third act in the overall club. There, she joins Ashanti, whose first two No. 1s were through featured slots on Ja Rule’s “Always on Time” and Fat Joe’s “What’s Luv?,” before her own chart-topping “Foolish,” all in 2002. The next year, Beyoncé inaugurated her solo career with three Rhythmic Airplay champs — a featured slot on Jay-Z’s “’03 Bonnie and Clyde,” and her own “Crazy in Love,” featuring Jay-Z, and “Baby Boy,” featuring Sean Paul.
Beyond the three aforementioned No. 1s, Doechii has one other Rhythmic Airplay entry in her account, a featured slot on Sleepy Hallow’s “A N X I E T Y,” which reached No. 31 in February. That track, from 2019, received a second wind thanks to TikTok-fueled virality, that in turn sparked Doechii’s own “Anxiety” single’s release.
Elsewhere, “Anxiety” leaps 10-5 on the Pop Airplay chart with a 21% rally in weekly plays and pushes 15-11 on the Mainstream R&B/Hip-Hop Airplay chart (up 14%), and even debuts on the Latin Airplay chart at No. 50. From the developments at pop, rhythmic and R&B/hip-hop and Latin sectors, “Anxiety” explodes 9-3 on the all-genre Radio Songs chart to 45.9 million in all-format audience for the week, a 24% improvement from 37.1 million in the week prior, and enough to win the Greatest Gainer prize.
“Anxiety,” initially a standalone single, was added to the digital and streaming editions of Doechii’s Grammy Award-winning mixtape, Alligator Bites Never Heal, in March. The hit single’s inclusion has helped the project break barriers of its own, including its first time in the top 10 of the Billboard 200 this week.
CeCe Winans banks her fourth No. 1 on Billboard’s Hot Gospel Songs chart as “Come Jesus Come” climbs three spots to No. 1 on the survey dated May 3. The song completes a record 58-week journey to No. 1. It surpasses Ricky Dillard & New G’s “Amazing,” which took 47 frames to reach the summit […]
Brandon Lake dominates Billboard’s Hot Christian Songs chart for a 20th week, on the list dated May 3, with “Hard Fought Hallelujah.”
The song initially hit No. 1 upon its debut in November, becoming Lake’s sixth leader. A remix was released on Feb. 7 adding Jelly Roll. On April 20, the pair performed the song on ABC’s American Idol. It surged by 52% to 9.1 million official U.S. streams April 18-24, according to Luminate. It also bounded by 204% to 9,000 downloads sold.
“Hard Fought Hallelujah” is the 10th hit to top Hot Christian Songs for 20 weeks or more, dating to the chart’s 2003 start. Lake is the only act with three of those elite leaders:
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132 weeks at No. 1, “You Say,” Lauren Daigle, beginning July 28, 2018
61, “Oceans (Where Feet May Fail),” Hillsong UNITED, Dec. 7, 2013
37, “What a Beautiful Name,” Hillsong Worship, Feb. 25, 2017
31, “Praise,” Elevation Worship feat. Brandon Lake, Chris Brown & Chandler Moore, March 16, 2024
28, “Gratitude,” Brandon Lake, Feb. 4, 2023
26, “Something in the Water,” Carrie Underwood, Oct. 18, 2014
24, “In Jesus Name (God of Possible),” Katy Nichole, March 26, 2022
23, “Word of God Speak,” MercyMe, Aug. 16, 2003
20, “Hard Fought Hallelujah,” Brandon Lake, Nov. 23, 2024
20, “Thank God I Do,” Lauren Daigle, May 20, 2023
Lake authored “Hard Fought Hallelujah” with Chris Brown of Elevation Worship, Steven Furtick, Benjamin Hastings and Rodrick Simmons, with Jelly Roll also now listed among its writers. It was produced by Micah Nichols.
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The song concurrently adds a 20th week at No. 1 on Christian Streaming Songs and a 15th frame atop Christian Digital Song Sales. On Christian Airplay, it rises 4-2 for a new best (3.6 million in audience, up 2%).
“Hard Fought Hallelujah” also becomes Lake’s first top 40 hit on the all-genre Billboard Hot 100, jumping 63-40. It marked his first entry on the chart in November.
Crawford’s First No. 1
Nashville-based singer-songwriter Leanna Crawford, originally from Stanwood, Wash., earns her first No. 1 on Billboard’s Christian Airplay chart with “Still Waters (Psalm 23).” The song ascends a spot via 3.6 million impressions in the tracking week.
Crawford co-penned the single with Jonathan Gamble and Justin Richards. It’s from her same- named LP, which arrived as her first Top Christian Albums entry, at its No. 7 best, last August.
Crawford previously peaked at a No. 14 Christian Airplay high with her Seph Schlueter duet, “We Sing (Joy to the World),” this past holiday season. She has also hit the chart’s top 20 with “Mean Girls” (No. 20, April 2021).
Julien Baker and TORRES’ Send a Prayer My Way debuts at No. 5 on Billboard’s Top Album Sales chart (dated May 3), and also takes a bow in the top 10 on both the Vinyl Albums and Indie Store Album Sales rankings. The set – the first collaborative effort from the duo – was released April 18 and sold about 6,500 copies in the United States in the week ending April 26, according to Luminate.
Previously, Baker has placed two solo titles on Top Album Sales. Baker is also a member of the group Boygenius, which has notched a trio of titles on the list.
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Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album (TEA) units and streaming equivalent album (SEA) units.
In addition to the No. 5 bow on Top Album Sales for Send a Prayer My Way, it also starts at No. 4 on Vinyl Albums, No. 6 on Indie Store Album Sales, No. 16 on Americana/Folk Albums and No. 34 on Independent Albums.
Elsewhere on Top Album Sales, Doechii scores her biggest sales week yet, and first No. 1, as Alligator Bites Never Heal reenters atop the chart with 14,000 sold. Until April 18, the set was only available to purchase as a download and in two vinyl variants. On April 19, it garnered a wider availability on vinyl, including two new vinyl editions (both color variants) exclusively available via Target and Urban Oufitters, along with a widely available CD.
A trio of former No. 1s are next up on Top Album Sales: Sabrina Carpenter’s Short n’ Sweet rises 7-2 (8,500; down 14%), Kendrick Lamar’s GNX climbs 8-3 (8,000; down 16%) and Lady Gaga’s MAYHEM ascends 14-4 (nearly 7,000; down 11%). Many titles on the chart vault up the tally with big positional climbs, but with declines in sales, as the chart adjusts back to normal following a crowded Record Store Day-infused chart a week ago.
Childish Gambino’s 2024 album Bando Stone and the New World reenters Top Album Sales at No. 6 with nearly 6,500 copies sold following its first physical release, on vinyl. It’s the best sales week and first week in the top 10 for the title.
Chappell Roan’s chart-topping The Rise and Fall of a Midwest Princess jumps 19-7 (5,500; down 20%), Elton John and Brandi Carlile’s Who Believes In Angels? steps 10-8 (just over 4,500; down 50%), Fleetwood Mac’s Rumours races 36-9 (4,500; down 3%) and Billie Eilish’s Hit Me Hard and Soft flies 38-10 (nearly 4,500; down 2%).
Los Ángeles Azules and Thalia unite for their first No. 1 on Billboard’s Regional Mexican Airplay chart, as “Yo Me Lo Busqué” flies 9-1 on the May 3-dated list.
“Yo Me Lo Busqué” ascends to the summit with the Greatest Gainer honors, awarded weekly to the song with the largest weekly gain in audience among the chart’s 40 songs. The song earned 6.4 million audience impressions, up 47%, in the U.S. in the week ending April 24, according to Luminate.
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“Yo Me Lo Busqué” was released January 18 via Promotodo. The Mexican label achieves its second No. 1 on the Regional Mexican Airplay chart, thanks to another collaboration featuring Los Ángeles Azules. Their previous hit, “Perdonarte Para Qué?” with Emilia, reached the top spot for one week in September 2024.
As “Yo Me Lo Busqué” takes over Regional Mexican Airplay, Thalia scores her first No. 1, besting her previous No. 5 high through “Tú y Yo” in July 2002.
With their latest chart-topper, Los Ángeles Azules secure their sixth No. 1 on Regional Mexican Airplay, among 17 career top 10 hits. The group’s breakthrough classic, “El Listón De Tu Pelo,” remains their longest-reigning No. 1, holding atop the list for seven weeks in 2000.
Here’s a look at their collection of No. 1 hits since the chart’s inception in 1994:
Title, Artist, Peak Date, Weeks at No. 1“El Listón De Tu Pelo,” Feb. 5, 2000, seven“Nunca Es Suficiente,” featuring Natalia Lafourcade, Jan. 26, 2019, three“Túi Y Tú,” with Cazzu & Santa Fe Klan, May 20, 2023, one“La Cumbia Triste,” with Alejandro Fernández, April 13, 2024, one“Perdonarte Para Que?” with Emilia, July 20, 2024, one“Yo Me Lo Busqué,” with Thalia, May 3
Notably, as “Yo Me Lo Busqué” also takes the lead on the Latin Pop Airplay chart –where it jumps 2-1 with a 39% increase in audience, to 7.2 million– Los Ángeles Azules and Thalia swap successes in new chart achievements. While Thalia scores her first-ever No. 1 on the Regional Mexican Airplay chart, Los Ángeles Azules claim the top spot on the Latin Pop Airplay chart, marking their first No. 1 there. It’s the third No. 1 for Thalia on Latin Pop Airplay, who in addition to her new airplay achievement, has also secured No. 1s on Tropical Airplay, twice, in 2000 and 2002.
Nearly five years after first ruling Billboard’s Adult Alternative Airplay chart, My Morning Jacket earns its second No. 1, topping the May 3-dated ranking with “Time Waited.” Explore Explore See latest videos, charts and news See latest videos, charts and news The song follows the five-week reign of “Feel You” beginning in September 2020. In […]
Billboard’s Dance Moves roundup serves as a guide to the biggest movers and shakers across Billboard’s many dance charts — new No. 1s, new top 10s, first-timers and more.
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This week (on charts dated May 3, 2025), David Guetta, ZULAN, Dom Dolla and others achieve new feats. Check out key movers below.
David Guetta & Sia
David Guetta and Sia’s latest collaboration, “Beautiful People,” rises 3-1 on Dance/Mix Show Airplay thanks to a 19% increase in plays (among 24/7 dance reporters and pop stations’ mix show hours) in the April 18-24 tracking week, according to Luminate.
The song earns Guetta his 18th No. 1, extending his record for the most in the chart’s 22-year history. It’s also Sia second, after her previous collab with Guetta, “Let’s Love,” in 2020.
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David Guetta’s Dance/Mix Show Airplay No. 1s“The World Is Mine,” feat. JD Davis, 2007“Love Is Gonen,” with Chris Willis, 2007“When Love Takes Over,” feat. Kelly Rowland, 2009“Sexy Chick,” feat. Akon, 2009“Gettin’ Over You,” with Chris Willis & feat. Fergie & LMFAO, 2010“Without You,” feat. Usher, 2011“Turn Me On,” feat. Nicki Minaj, 2012“Stay (Don’t Go Away),” feat. Raye, 2019“Let’s Love,” with Sia, 2020“Bed,” with Joel Corry & Raye, 2021“Heartbreak Anthem,” with Galantis & Little Mix, 2021“I’m Good (Blue),” with Bebe Rexha, 2022“Baby Don’t Hurt Me,” with Anne-Marie & Coi Leray, 2023“I Don’t Wanna Wait,” with OneRepublic, 2024“In The Dark” with Armin van Buuren & feat. Aldae, 2024“Never Going Home Tonight,” with Alesso & feat. Madison Love, 2024“Forever Young,” with Alphaville & Ava Max, 2025“Beautiful People,” with Sia, 2025
Guetta has achieved numerous other records on Dance/Mix Show Airplay, including the most top five hits (32), top 10s (44) and overall entries (67).
Most No. 1s on Dance/Mix Show Airplay18, David Guetta16, Calvin Harris12, Rihanna10, The Chainsmokers8, Ellie Goulding7, Anabel Englund7, Madonna6, Dua Lipa6, Tiësto
Along with “Beautiful People” and “Let’s Love,” Guetta and Sia previously charted together on Dance/Mix Show Airplay with “Titanium” (No. 2 peak in 2012); “Wild One Two” (by Jack Back featuring Guetta, Nicky Romero & Sia; No. 14, 2012); “She Wolf (Falling to Pieces)” (No. 8, 2013); “Bang My Head” (No. 6, 2016); and “Flames” (No. 27, 2018).
ZULAN
ZULAN makes her first appearance on Billboard’s charts this week with her debut track, “Forever.” The song, which she self-released April 11, opens at No. 22 on Hot Dance/Electronic Songs, powered by 630,000 official U.S. streams. “Forever” is a sped-up dance remix of Clairo’s 2018 song “4EVER.” ZULAN co-produced the track with New York-based producer/engineer Aire Atlantica, whose credits include work with SZA (“Low”), plus Doechii, King Princess and Mariah the Scientist.
Hailing from Argentina, ZULAN performed “Forever” at Coachella’s Do Lab Stage April 12, along with several unreleased tracks, including a remix of Ravyn Lenae’s viral hit “Love Me Not.”
Dom Dolla & Kid Cudi
The pair’s new collaboration, “Forever,” debuts at No. 9 on Hot Dance/Electronic Songs with 1.5 million streams in its first week. Released on Three Six Zero/Columbia Records, the song earns Dom Dolla his 10th career entry and third top 10, after “Rhyme Dust,” with MK (No. 9 peak in 2023), and “Dreamin’,” featuring Daya in February (No. 5).
“Forever” is Kid Cudi’s third entry on Hot Dance/Electronic Songs, after “Memories 2021” (by David Guetta featuring Kid Cudi; No. 31 peak in 2021) and “Summertime,” with Skrillex (No. 17, 2023).
Marshmello & Kane Brown
Marshmello and Kane Brown’s “Miles On It” spends a milestone 50th week at No. 1 on Hot Dance/Electronic Songs thanks 8.2 million in radio audience and 5.5 million streams. It’s just the third song in the chart’s 12-year history to reach the milestone.
Most Weeks at No. 1 on Hot Dance/Electronic Songs69, “Happier,” Marshmello & Bastille55, “I’m Good (Blue),” David Guetta & Bebe Rexha50, “Miles On It,” Marshmello & Kane Brown36, “Cold Heart (Pnau Remix),” Elton John & Dua Lipa33, “The Middle,” Zedd, Maren Morris & Grey27, “Closer,” The Chainsmokers feat. Halsey26, “Wake Me Up!” Avicii25, “Something Just Like This,” The Chainsmokers & Coldplay