Chart Beat
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It’s a big week for Usher. On Friday (Feb. 9), he’ll release Coming Home, his first studio LP in eight years. Two days later, he’ll perform as the official headliner of the 2024 Apple Super Bowl LVIII Halftime Show. On Tuesday morning (Feb. 6), he announced Usher: Past Present Future, his first solo headline tour in a decade.
But that doesn’t mean that Usher has been away from the concert stage. In July 2021, he kicked off Usher: The Las Vegas Residency at The Colosseum at Caesars Palace. A year later, he moved down the strip to MGM’s Dolby Live for My Way: The Vegas Residency. As he looks forward to a new album and some of the biggest performances of his career, he can celebrate the success of these two residencies: According to figures reported to Billboard Boxscore, Usher has grossed more than $100 million across these Vegas stints.
The Caesars residency was relatively brief, with 14 shows in July and August 2021, and another six around the turn of the new year. Those 20 dates earned $18.8 million and sold 84,000 tickets. The MGM run was more extensive, hitting 80 shows between July 15, 2022, and Dec. 2, 2023. There, he grossed $95.9 million and sold 394,000 tickets.
Altogether, these theater shows grossed $114.6 million and sold 479,000 tickets across 100 dates. That’s a higher revenue total than any of Usher’s prior tours, previously topped by the OMG Tour, which brought in $76 million in 2010-11. That lined up with Usher’s other Super Bowl halftime appearance, when he made a cameo during the Black Eyed Peas’ 2011 set.
On a per-show scale, My Way: The Vegas Residency has averaged $1.198 million each night, surpassing $1.026 million from the OMG Tour and $698,000 from Truth Tour (2004-05). The latter run supported Confessions, the 2004 album that spawned four Billboard Hot 100 No. 1s and was the top Billboard 200 album of the year.
By almost any metric, that album and tour was a rare commercial peak for an artist with multiple No. 1 singles before and after. To improve upon his demand as a live act by more than 70% with his Vegas residencies proves the strength of his talent, discography, and brand, more than 30 years after he first hit the Billboard charts with “Call Me A Mack (From “Poetic Justice”)” in the summer of 1993.
Of course, inflation and an ever-changing ticketing market make comparing concert revenues from 20 years apart a difficult task. But in a Vegas theater a third the size of most North American arenas, Usher is a high-demand destination ticket. Both residencies have averaged a $239 ticket, far beyond the post-pandemic highs at Resorts World Theater and Caesar’s Bakkt Theater.
And while Usher arrived in Vegas in 2021 with new-and-improved demand, he leaves Sin City with even bigger momentum thanks to word-of-mouth around both residencies, a well-received Tiny Desk Concert and a run of single releases. His first stretch of shows at Caesars averaged $928,000, before increasing on almost every leg, peaking at $1.5 million on his last run of 21 shows from Oct. 11-Dec. 2.
After he releases Coming Home and plays the Super Bowl stage this weekend, he will embark on Usher: Past Present Future later this year. The arena trek launches on Aug. 20 in Washington D.C. and is scheduled through two shows in Chicago on Oct. 28-29. The initial announcement’s 24 North American stops could yield more than $50 million at the box office. But a successful album rollout and Super Bowl performance could lead to additional dates, extending his routing and pushing potential earnings further toward the $100 million threshold that he cleared after two and a half years in Las Vegas theaters.
Ben Shapiro, the conservative political commentator and editor for The Daily Wire, makes his debut on the Billboard Hot 100 chart (dated Feb. 10), thanks to “Facts,” his new collaboration with Canadian rapper Tom MacDonald. Released Jan. 26, the song enters at No. 16 with 5.6 million U.S. streams and 96,000 downloads sold in its […]
Toby Keith, the iconoclastic country music singer, songwriter and hitmaker behind songs including “Should’ve Been a Cowboy,” “American Soldier” and “Red Solo Cup,” died Feb. 5 at age 62, following a battle with stomach cancer.
Since his career debut in 1993, Keith lobbed 20 songs to the pinnacle of Billboard‘s Hot Country Songs chart. Born in 1961, the Oklahoma native worked in the oil fields alongside his father after he graduated from high school. He also launched the Easy Money Band and began playing small clubs around Oklahoma and Texas. In the early 1990s, Keith moved to Nashville to continue pursuing music. After Keith’s demo tape was given to producer Harold Shedd, Keith signed a deal with Mercury Records.
His first hit came in 1993, when “Should’ve Been a Cowboy,” a solo write from Keith, hit No. 1 on the Hot Country Songs chart, while his eponymous debut album was certified 4x multi-platinum by the RIAA. His early career hits were marked by ballads that showcased his strong baritone and emotional range, such as “He Ain’t Worth Missin’” and “Who’s That Man,” as well as the romantic “Me Too.”
In 1998, seeking greater creative control, Keith left Mercury for DreamWorks Nashville. Beginning with 1999’s “How Do You Like Me Now?!,” Keith’s image and song selections began to shift, embracing an in-your-face swagger and braggadocio, along with more novelty-oriented songs such as “Who’s Your Daddy?” In 2001, inspired by both the loss of his father and the 9/11 attacks, Keith released “Courtesy of the Red, White & Blue (The Angry American),” with the controversial line “We’ll put a boot in your a–/ It’s the American way,” which both underscored the rage that many Americans felt, but also garnered garnered backlash. Not long after, he would release “American Soldier,” which depicted the everyday sacrifices of military personnel.
Keith co-founded the label Show Dog Nashville in 2005 and released his album White Trash With Money in 2006, earning top five Country Songs hits from the album including “A Little Too Late.” He continued scoring hits patriotic-themed songs such as “Made in America” and “American Ride.” In 2011, another novelty song, “Red Solo Cup,” gave Keith his highest-charting song on the all-genre Billboard Hot 100, reaching No. 15.
Keith won three Billboard Music Awards during his career, and was named the Country Music Association’s male vocalist of the year in 2001. He earned the ACM’s Merle Haggard Spirit Award, and was inducted into both the Songwriters Hall of Fame and the Nashville Songwriters Hall of Fame. He was named a BMI Icon in 2022, and won BMI’s country songwriter of the year honor three times.
From 2002-2013, he also went on 11 USO tours, performing for active-duty service members in over 15 countries. He also supported organizations including his own Toby Keith Foundation, as well as Ally’s House (an Oklahoma organization dedicated to aiding children with cancer), and the OK Kids Korral, a cost-free home for families of children battling illness.
In October, bolstered by his performance on the inaugural People’s Choice Country Awards, Keith’s “Don’t Let the Old Man In” topped the Country Digital Song Sales chart.
As the world remembers the burly-voiced singer, the hitmaker, the heartfelt songwriter, the staunch, outspoken American military supporter, and businessman that was Toby Keith, Billboard recounts his 20 biggest Hot Country Songs chart hits.
Toby Keith’s Biggest Billboard Hits chart is based on actual performance on the weekly Hot Country Songs chart through the list dated Feb. 10, 2024. Songs are ranked based on an inverse point system, with weeks at No. 1 earning the greatest value and weeks at lower ranks earning less. Due to changes in chart methodology over the years, eras are weighted to account for different chart turnover rates over various periods.
“A Little Less Talk (And a Lot More Action)”
Justin Timberlake notches his highest Billboard Hot 100 debut in six years as his new single “Selfish” debuts at No. 19 on the Feb. 10-dated chart.
Released Jan. 25, the song tallied 22.4 million in all-format radio airplay audience, 11.5 million official streams and 10,000 downloads sold in the U.S. in its first full week of activity (Jan. 26-Feb. 1), according to Luminate.
“Selfish” is taking off across multiple radio formats: It jumps 20-13 on Adult Pop Airplay and 33-17 on Pop Airplay and debuts at No. 14 on Adult Contemporary and No. 33 on Rhythmic Airplay. On the all-format Radio Songs chart, it starts at No. 33.
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Timberlake’s last song to debut higher on the Hot 100 was “Say Something” featuring Chris Stapleton (No. 9, February 2018). Only three other Timberlake songs have debuted higher than “Selfish”: “Can’t Stop the Feeling!,” which launched at No. 1 in 2016; “Holy Grail,” with Jay-Z (No. 8 debut, before reaching No. 4, in 2013); and “Filthy” (No. 9 debut and peak, 2018).
“Selfish” earns Timberlake his 39th career solo entry on the Hot 100, and his 29th to reach the top 40. His first solo song to reach the chart was “Like I Love You” in 2002 (No. 11 peak). He has earned five solo No. 1s: “SexyBack” (for seven weeks in 2006); “My Love,” featuring T.I. (three, 2006); “What Goes Around…Comes Around” (one week, 2007); “Give It to Me” (by Timbaland featuring Nelly Furtado and Timberlake; two, 2007); and “Can’t Stop the Feeling!” (one, 2016).
Outside of his solo work, *NSYNC has charted 13 songs with Timberlake as a member, including the group’s recent reunion single “Better Place,” which reached No. 25 in October. The group reigned with “It’s Gonna Be Me” (two, 2000).
Last week, Timberlake hinted on The Kelly Clarkson Show that the band may be working on more new music. “We’ve been in the studio,” he said. “So there may be a little something in the future.”
Benson Boone is about to complete the jump from viral star to the U.K. top 10.
The 21-year-old Washington native has three appearances on the Official U.K. Singles Chart, the standout with “Beautiful Things” (via Warner Records), which last week reached No. 11.
Prior to its release, Boone built buzz for the song by teasing it on TikTok and Instagram. Now, Boone is on the brink of his first top tier hit, as “Beautiful Things” lifts to No. 8 on the midweek tally.
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Boone recently announced his forthcoming album, Fireworks and Rollerblades, and its namesake world tour, and performed the single last week on Jimmy Kimmel Live!
Also on the rise is of Bob Marley’s grandson YG Marley, whose debut “Praise Jah In The Moonlight” (YG Marley Music) vaults 24-12 on the chart blast. “Praise Jah In The Moonlight” is co-written with Marley’s mom, Ms. Lauryn Hill.
Critically-lauded British newcomers The Last Dinner Party are heading for the U.K. albums chart title with Prelude to Ecstasy (Island), their debut album. And a new chart peak awaits for their single “Nothing Matters,” which last week entered the top 40 for the first time and is predicted to climb further, to No. 19.
At the top of the Official Chart Update is Noah Kahan’s “Stick Season” (Republic Records), which is cruising to a sixth consecutive week at No. 1.
Finally, Cat Janice is expected to make an impact on the Official U.K. Singles Chart with “Dance You Outta My Head.”
Behind the upbeat dance tune is a touching story.
The 31-year-old singer, from Washington, D.C., was diagnosed with sarcoma, a type of rare malignant tumor, in 2021. After going through chemotherapy and radiation treatment, the cancer returned, and she released this song as a final tune for her 7-year-old son, just after entering hospice care. “Dance You Outta My Head” (Cat Janice) debuts at No. 74 on the chart blast. All proceeds from the song will go to her son.
The Official U.K. Singles Chart will be published late Friday, Feb. 9.
And just like that, The Last Dinner Party is converting critical praise into commercial success with Prelude to Ecstasy (via Island), the British newcomers’ debut LP.
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Based on midweek sales and streaming data published by the Official Charts Company, Prelude to Ecstasy leads the way in the U.K. chart race.
Prelude to Ecstasy makes a fast start and is predicted to take the title when the national chart is published later this week.
Based in London, the indie rock-pop quintet — Abigail Morris (vocals), Georgia Davies (bass), Lizzie Mayland (guitar), Aurora Nishevci (keys) and Emily Roberts (lead guitar) — captured the buzz on both sides of the Atlantic last year, thanks in part to “Nothing Matters,” their breakthrough debut single.
With “Nothing Matters” in their pocket, the group snagged this year’s BRITs Rising Star Award and the BBC Sound Of 2024 poll, a double that assures The Last Dinner Party status as the next big thing in music.
Prelude to Ecstasy features “Nothing Matters,” which the band performed on The Late Show last month for their U.S. late night TV debut, and which last week cracked the U.K. top 40 for the first time, vaulting 41-22.
Also new to the Official Chart Update is Jamie Webster’s 10 For The People (Modern Sky), at No. 2. If it holds its course, 10 For The People would give Webster a career best, outdoing 2022’s Moments, which peaked at No. 3.
Completing the podium on the chart blast is Paul McCartney & Wings’ third LP Band on the Run (Capitol), which is set for a return to the top 10 following the release of a special 50th anniversary edition. After release back in 1973, Band on the Run led the albums tally for seven consecutive weeks.
Britpop era psychedelic rock band Kula Shaker is eyeing a first top 10 album in 25 years with Natural Magick (Strange Folk), new at No. 5. Kula Shaker previously cracked the U.K. top 10 with 1996’s leader K and 1999’s Peasants, Pigs and Astronauts (No. 9).
Finally, Scottish singer and songwriter Dylan John Thomas is targeting a top 10 entry with his self-titled debut album. Dylan John Thomas (via Ignition) is set to enter the chart at No. 8.
All when will be revealed when the Official U.K. Albums Chart is published late Friday, Feb. 9.
Megan Thee Stallion’s “Hiss” debuts at No. 1 on the Billboard Global 200 chart. With the launch, she becomes the first female rapper in a lead role to start atop the tally.
Meanwhile, Tate McRae’s “Greedy” rebounds for a fourth week atop the Billboard Global Excl. U.S. survey.
Elsewhere, Benson Boone’s “Beautiful Things” hits the Global 200’s top 10, jumping from No. 13 to No. 6, while three songs enter the Global Excl. U.S. top 10: Creepy Nuts’ “Bling-Bang-Bang-Born” (16-7), Teddy Swims’ “Lose Control” (15-9) and Noah Kahan’s “Stick Season” (12-10).
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.
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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‘Hiss’ Hits Global 200 at No. 1
Megan Thee Stallion’s “Hiss” opens atop the Billboard Global 200 with 39.6 million streams and 99,000 sold worldwide Jan. 26-Feb. 1. (In addition to the original version’s clean and explicit options released Jan. 26, an instrumental version and clean and explicit “chopped ‘n screwed” versions arrived Jan. 31.)
As the song soars in atop the Global 200, Megan Thee Stallion becomes the first female rapper in a lead role to debut atop the chart. She adds her second No. 1, after Cardi B’s “WAP,” on which she’s featured, led for three weeks in September-October 2020. (Among female rappers, Latto has also entered the ranking at No. 1, as featured on Jung Kook’s “Seven,” in July 2023; the song went on to reign for, fittingly, seven weeks.)
Jack Harlow’s “Lovin in Me” holds at No. 2 on the Global 200, after two weeks at No. 1 in January; Tate McRae’s “Greedy” keeps at No. 3, after two weeks at No. 1 beginning in November; Xavi’s “La Diabla” repeats at No. 4, after reaching No. 3; and Ariana Grande’s “Yes, And?” falls to No. 5 after spending its first two weeks on the chart at No. 1.
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Plus, Benson Boone’s “Beautiful Things” surges 13-6 in its second week on the Global 200, becoming his first top 10 hit. The song by the 21-year-old from Monroe, Wash., drew 40.4 million streams (up 31%) and sold 10,000 worldwide (up 20%) in the tracking week.
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‘Greedy’ for More: McRae Back Atop Global Excl. U.S.
Tate McRae’s “Greedy” rules the Billboard Global Excl. U.S. chart for a fourth week, returning to the top from No. 2, with 39.6 million streams (down 3%) and 1,000 sold (down 4%) outside the U.S. Jan. 26-Feb. 1. The track became McRae’s first No. 1 on the chart in early December.
Ariana Grande’s “Yes, And?” drops to No. 2 after logging its first two weeks on Global Excl. U.S. at No. 1; Xavi’s “La Diabla” holds at No. 3, after reaching No. 2; Feid and ATL Jacob’s “Luna” is steady at its No. 4 high; and The Weeknd, Jennie and Lily Rose Depp’s “One of the Girls,” which hit the top 10 three weeks earlier, reaches the top five (7-5; 38.6 million streams outside the U.S., up 2%).
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Three songs ascend to the Global Excl. U.S. top 10 – marking each act’s first appearance in the region – led by Creepy Nuts’ “Bling-Bang-Bang-Born,” which blasts 16-7 with 21.9 million streams (up 45%) and 7,000 sold (up 46%) outside the U.S. The track by the Japanese duo rose to No. 1 a week ago on the Billboard Japan Hot 100.
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Teddy Swims’ “Lose Control” leaps 15-9 on Global Excl. U.S. The song by the Conyers, Ga., native drew 22.5 million streams (up 18%) and 6,000 sold (up 13%) outside the U.S. in the tracking week.
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Additionally, “Stick Season,” by Noah Kahan, from Strafford, Vt., climbs 12-10 on Global Excl. U.S., with 23.8 million streams (up 8%) and 3,000 sold (up 11%) outside the U.S.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Feb. 10, 2024) will update on Billboard.com tomorrow, Feb. 6. 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.
Grateful Dead breaks the record for most top 40-charting albums in the nearly 68-year history the Billboard 200. The group’s latest archival live release, Dave’s Picks, Volume 49: Frost Amphitheatre, Stanford U., Palo Alto, CA (4/27/85 & 4/28/85), debuts at No. 25 on the chart dated Feb. 10. It’s the 59th top 40-charting set for the band, surpassing the 58 top 40s earned by both Elvis Presley and Frank Sinatra.
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Here’s a recap of the acts with the most top 40-charting albums on the Billboard 200 since the list began publishing on a regular, weekly basis in March of 1956:
59, Grateful Dead
58, Elvis Presley
58, Frank Sinatra
54, Barbra Streisand
51, Bob Dylan
48, The Rolling Stones
Dave’s Picks, Volume 49 is from the band’s long-running archival release series, named for the group’s archivist, David Lemieux. The series launched in 2012 and has granted the group 41 of its 59 top 40-charting sets on the Billboard 200.
Dave’s Picks, Volume 49 earned 21,000 equivalent album units in the U.S. in the week ending Feb. 1, according to Luminate – with all of that sum in traditional album sales. The album was exclusively available as a four-CD set, with a limited run of 25,000 copies manufactured. It was sold only through the band’s official website. (Releases in the series are issued exclusively on CD, in limited quantities, and sold through the Dead’s official channels.)
Grateful Dead has logged at least three new top 40-charting albums on the Billboard 200 in every year from 2013 through 2023, largely on the strength of the Dave’s Picks releases.
Dave’s Picks, Volume 49 also launches at No. 1 on Billboard’s Top Album Sales chart, marking the first No. 1 on that chart for the group since the list began in 1991.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multimetric 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 Feb. 10, 2024-dated chart will be posted in full on Billboard‘s website on Feb. 6. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter and Instagram.
Megan Thee Stallion’s writing hisstory, as she’s earned her third No. 1 hit on the Billboard Hot 100 after her scorching “Hiss” single debuted at the chart’s apex on Monday (Feb. 5).
After reaching No. 1 status twice in 2020 thanks to the Beyoncé-assisted “Savage” and Cardi B’s “WAP,” Meg has notched her first No. 1 hit as a solo act, becoming one of two women rappers — alongside Nicki Minaj — to debut atop the tally. The “Body” rapper exuded humility and grace when thanking all involved with making this feat possible.
“Thank you thank you thank you ! Thank you GOD, Thank you MAMA HOLLY, Thank you to EVERYONEEEEE that took the time out of their week to go hard and make this happen,” she tweeted.
“I love you I appreciate you I’m so grateful likeeee #HISS is number 1 !!! Thank you for RUNNING IT UP HOTTIES Let’s keep going hard and staying positive ! Love yall.”
The Hot 100 isn’t the only chart Megan’s ruling, as the Houston Hottie hit No. 1 on the Streaming Songs, Digital Song Sales, Hot R&B/Hip-Hop Songs and Hot Rap Songs charts concurrently thanks to her fiery serpentine-themed single.
“HISS” accumulated 29.2 million first-week streams, 2.9 million radio airplay audience impressions and 104,000 downloads sold from Jan. 26-Feb. 1, according to Luminate.
Co-produced by LilJuMadeDaBeat and Bankroll Got It, “HISS” arrived on Jan. 26 via Hot Girl Productions and found Megan responding to critics who have had plenty to say about her in the last couple of years. The 28-year-old even possibly had smoke for Drake, Nicki Minaj, Kenneth Petty, Tory Lanez, and ex-boyfriend Pardison Fontaine.
A week after the single’s release, Megan Thee Stallion announced an “innovative” distribution deal with Warner Music Group on Friday (Feb. 2). With the unique partnership, the Houston Hottie will have access to WMG’s global services ranging from music promotion to distribution and worldwide marketing.
Megan will keep releasing music independently through her Hot Girl Productions label while the deal allows Thee Stallion to keep ownership and control of her masters as well as her publishing. Billboard previously reported about the Houston-bred rapper working with WMG in December.
Find the Houston Hottie’s reaction to “HISS” going No. 1 below.
Thank you thank you thank you ! Thank you GOD, Thank you MAMA HOLLY, Thank you to EVERYONEEEEE that took the time out of their week to go hard and make this happen! I love you I appreciate you I’m so grateful 🥹🥹🥹🥹🥹💙💙💙💙 likeeee #HISS is number 1 !!! Thank you for RUNNING…— TINA SNOW (@theestallion) February 5, 2024
Megan Thee Stallion’s “Hiss” lunges onto the Billboard Hot 100 songs chart at No. 1. The rapper notches her third leader with the debut of the diss track, following two in 2020: “Savage,” with Beyoncé, for a week that May, and Cardi B’s “WAP,” on which Megan Thee Stallion is featured, for four weeks beginning that August.
Plus, singer-songwriter Benson Boone scores his first Hot 100 top 10, as “Beautiful Things” bounds from No. 15 to No. 8 in its second week on the survey.
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 Feb. 10, 2024) will update on Billboard.com tomorrow, Feb. 6. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
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“Hiss” was released on Hot Girl Productions. (Megan Thee Stallion signed an agreement with Warner Music Group, with Roc Nation continuing to be involved in managing her, as announced Feb. 2.) The song starts as the 1,163rd No. 1 in the Hot 100’s 65-year archives, and the 75th to debut at the summit.
“Hiss” launches with 29.2 million first-week streams, 2.9 million radio airplay audience impressions and 104,000 downloads sold Jan. 26-Feb. 1, according to Luminate. In addition to the original version’s clean and explicit options released Jan. 26, an instrumental version and clean and explicit “chopped ‘n screwed” mixes arrived Jan. 31.
The single soars in atop both the Streaming Songs and Digital Song Sales charts. Megan Thee Stallion adds her fourth leader on the former, following “Savage” (one week at No. 1), “WAP” (10 weeks) and “Body” (one), all in 2020. She also lands her fourth No. 1 on the latter, after “Savage” (three weeks) and her Cardi B collabs “WAP” (two) and “Bongos” (one, last September).
“Hiss” concurrently opens atop the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which use the same methodology as the Hot 100, marking Megan Thee Stallion’s third No. 1 on each ranking. “Savage” and WAP” ruled Hot R&B/Hip-Hop Songs for a respective two and 10 weeks and Hot Rap Songs for three and eight frames, respectively.
Jack Harlow’s “Lovin on Me” dips to No. 2 on the Hot 100, following a career-best four weeks at No. 1, while adding a third week atop the Radio Songs chart (75.9 million, up 3%). It leads Rap Airplay for a seventh week and Rhythmic Airplay for a sixth frame and ascends to No. 1 on Pop Airplay, where it’s Harlow’s second leader, after “Industry Baby,” with Lil Nas X, for one week in November 2021; “Lovin on Me” also topped Mainstream R&B/Hip-Hop Airplay for two weeks beginning in January.
Taylor Swift’s “Cruel Summer” falls 2-3 on the Hot 100, following four nonconsecutive weeks at No. 1 beginning in October; Teddy Swims’ “Lose Control” holds at its No. 4 high; and Tate McRae’s “Greedy” drops to No. 5 from its No. 3 best.
Zach Bryan’s “I Remember Everything,” featuring Kacey Musgraves, backtracks 5-6 on the Hot 100, after it reigned for a week upon its debut last September. It tops the multimetric Hot Rock & Alternative Songs and Hot Rock Songs charts for a 23rd week each and Hot Country Songs for a 19th frame.
Doja Cat’s “Agora Hills” is steady at its No. 7 Hot 100 high.
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Benson Boone’s “Beautiful Things” jumps 15-8 on the Hot 100, becoming his first top 10. The song surges with 18.5 million streams (up 18%), 800,000 million in airplay audience (up 393%) and 8,000 sold (up 21%).
The 21-year-old Monroe, Wash., native previously charted two Hot 100 entries, each for one week: “Ghost Town” (No. 100, November 2021) and “In the Stars” (No. 82, May 2022). Notably, “Beautiful Things,” released on Night Street Records/Warner Records, becomes the first Hot 100 top 10 for the Night Street imprint, which Imagine Dragons frontman Dan Reynolds helms in partnership with Warner. (Imagine Dragons has tallied five Hot 100 top 10s.)
Rounding out the Hot 100’s top 10, 21 Savage’s “Redrum” rises 10-9, two weeks after it debuted at No. 5, and SZA’s “Snooze” descends 9-10, after reaching No. 2, as it leads the multimetric Hot R&B Songs chart for a 28th week.
Again, for all chart news, you can follow @billboard and @billboardcharts on Billboard’s social accounts, and all charts (dated Feb. 10), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Feb. 6).
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.