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For the fourth time in four tries this decade, Lil Baby has the No. 1 album in the country.
The rap star’s latest, WHAM (which stands for Who Hard as Me), bows atop the Billboard 200 this week (dated Jan. 18) with 140,000 first-week units. It follows the No. 1 debuts of 2020’s My Turn, 2021’s The Voice of the Heroes (with Lil Durk) and 2022’s It’s Only Me — albeit with the lowest first-week number of the four sets, and only one track debuting in the Billboard Hot 100‘s top 40: the Future and Young Thug collab “Dum, Dumb and Dumber” (No. 16).
What does the album bow mean for Lil Baby’s stardom? And what should he be focusing more on with his future album releases? Billboard staffers discuss these questions and more below.
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1. WHAM debuts at No. 1 with 140,000 equivalent album units moved. On a scale from 1-10, how happy do you think Lil Baby should be with that first-week performance?
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Kyle Denis: A strong 8. Pulling a six-figure opening week is nothing to scoff at, and Lil Baby has done it with his last three studio albums. WHAM’s numbers are even more impressive when you consider that the album doesn’t include any of the three solo standalone singles (“5AM,” “Insecurities” and “Touchdown”) he dropped leading up to the record’s full release. Given the lukewarm reception to WHAM online from casual and devoted fans alike, WHAM’s first-week performance is a triumph for Baby.
Carl Lamarre: 10. I’m beyond elated if I’m Baby, because the internet wasn’t thinking too fondly of my release. Plus, I escaped Bad Bunny by a millisecond after he dropped his album two days after mine. For Baby, he’s no longer the indomitable force he was after his volcanic opus My Turn blitzed the industry in 2020. There’s no reason why LiAngelo Ball, an overnight success, should generate more traction than an established superstar like Baby to start the calendar year. Despite those glaring concerns, Baby ended up on top, and that’s what matters most.
Jason Lipshutz: A 7. Releasing an album in the opening week of the year can be a little dicey, as listeners divert their attentions away from Christmas music and refocus following their holiday breaks. Lil Baby placed a bet on being the biggest game in town once the calendar flipped over to 2025, and sure enough, he snagged another No. 1 debut — with a lower equivalent album units total than 2022’s It’s Only Me, but with a track list roughly half as long as its predecessor hampering streams a bit, so a six-figure bow is pretty impressive.
Michael Saponara: I think he’s gotta be at a 9. To outsell Bad Bunny and debut at No. 1 after Baby’s 2024 singles weren’t generating a ton of buzz is a major W.
Andrew Unterberger: At least an 8. Yes, things might’ve tilted differently if Bad Bunny had a full first week to work with, but the fact that Benito made such a late charge and Baby still ended up on top — while also eclipsing SZA’s revitalized SOS blockbuster — is no small feat, and speaks to the rapper’s continued resonance.
2. The star-studded “Dum, Dumb and Dumber” with Future and Young Thug is the set’s top debut on the Billboard Hot 100, entering in the top 20. Does it feel like a long-lasting hit, or is it mostly bowing so high on the strength of its guest list?
Kyle Denis: This doesn’t feel like a long-lasting hit to me, and it feels particularly tepid for Thugger’s first post-prison verse. I’d be surprised if any of the WHAM songs stick around and become hits on the level of “We Paid” or “Sum 2 Prove.” Maybe the Dominique album will fare better in that arena.
Carl Lamarre: The more I listen to it, the more I like it, but I don’t see it having the endurance of being a long-lasting hit. A torrid Future coming off three No. 1 albums in ’24 alongside Thug’s first post-jail verse should be enough to blow the top off any record, but I don’t think these guys really brought their A-game this time. It felt more like a scrimmage versus a full-throttled performance.
Jason Lipshutz: Although it might never climb higher on the Hot 100 than its current peak, I think it’s going to endure. “Dum, Dumb and Dumber” was obviously newsworthy as Young Thug’s return to the microphone, but Lil Baby and Future match his level of urgency on the track; the beat, co-produced by Wheezy, wails and pummels, letting all three stars rise toward its intensity without relenting for a chorus. That lack of a hook might limit its crossover potential, but I’d bet on “Dum, Dumb and Dumber” continuing to accrue millions of streams and dominate hip-hop playlists in the coming months.
Michael Saponara: Young Thug’s first spotlighted verse since being released from jail combined with a Future reunion is a formula for commercial success. Baby capitalized on the moment and it’s a solid three-man weave between the Atlanta trio, but I don’t see it having a ton of staying power in the Hot 100’s top 25.
Andrew Unterberger: It’s a strong song, and I don’t think it’s going to disappear from the culture completely, but I dunno if it really has enough of a hook — either in terms of a chorus or just an overall narrative coherence — to really keep listeners coming back. It’s great to hear those three voices together on a track again, though, no doubt.
3. Bad Bunny debuts just underneath Baby with his new set Debí Tirar Más Fotos, which notches 122,000 in an incomplete first week. Given that the album was released on a Sunday, already a full two days into the tracking week, do you think it’ll have a good shot at climbing to No. 1 on next week’s chart?
Kyle Denis: Absolutely. Bad Bunny dropped a compelling project, and it’s resonating with people as several songs on the album morph into breakout streaming hits around the world. Between viral quotes from a Rolling Stone interview, an NYC subway takeover, a short film, and co-hosting The Tonight Show with Jimmy Fallon, Bad Bunny has been extremely present throughout the past week, which will only help the second-week performance of Debí Tirar Más Fotos. Of course, Benito is also getting a lot of good press for his innovative approach to ticketing for his upcoming Puerto Rico residency.
But this record also already has much more positive word of mouth than his last LP, 2023’s Nadie Sabe Lo Que Va a Pasar Mañana, and that’s probably the clearest sign that DTMF momentum is just getting started.
Carl Lamarre: I don’t see Baby’s album securing another week at No. 1 for this cycle. The fact that Bunny was only 18,000 units shy of sealing another No. 1 album after an incomplete week is telling, and worrisome for Camp Baby. There’s more chatter surrounding Bunny’s album because of the storytelling, the chances he took sonically, and the ingenious rollout. Bunny’s Rolling Stone interview and recent subway performance with Jimmy Fallon resonated more with people than Baby’s conversation with Charlamagne and his late-night outings.
Jason Lipshutz: Definitely. If you take a peek at daily streaming charts, Bad Bunny’s new album is not just performing strongly but seems to be gaining momentum, with the crackling “DtMF” leading a slew of tracks that will likely fly up the Hot 100 chart next week. The Sunday release helped prevent Bad Bunny from scoring another No. 1 album himself, but he’s got a great shot at getting there next week, especially considering that there are no new Lil Baby-sized debuts to for Debí Tirar Más Fotos to compete with.
Michael Saponara: Yeah, Bad Bunny should do another solid number next week as the tracks are still streaming well across DSPs. However, Mac Miller’s posthumous Balloonerism arrives on Friday (Jan. 17) which could interrupt Benito’s run at No. 1 pretty quickly should he claim the top spot next week.
Andrew Unterberger: Yeah it certainly should be considered a frontrunner to claim the top spot in the next couple weeks. Really cool to see Bad Bunny on track to another enduring full-length, in the wintertime no less.
4. Lil Baby’s career momentum has been trending somewhat in the wrong direction since the 2020 breakthrough of My Turn made him one of the biggest stars in hip-hop. Does WHAM and the early reception to it give you confidence that he can turn that around?
Kyle Denis: My biggest gripe with WHAM is how Baby is seemingly unwilling to deviate from the formula established with his mixtapes and first three albums. The record lacks standout moments, but it’s not a poor collection of songs – he’s just not pushing himself in meaningful or interesting ways. As it stands, Wham tells me that Baby is okay not fulfilling the role of “generation leader” that many tried to cast him in back in 2020. I think Baby has the talent to turn his momentum around, but it’s probably more of a matter of how happy he is with where he’s currently at.
Carl Lamarre: For Baby to land back-to-back No. 1 albums despite falling flat musically speaks a lot to his fanbase. They still believe in him because of his Herculean effort on My Turn. In 2020, he accomplished what few fail to do in the modern-day rap era: conquer the charts and, more importantly, the hearts of listeners. That’s why fans of artists like Roddy Ricch still have hope, as he achieved that same feat with his 2019 debut album. But, like Roddy, Baby is possibly down to his last strike after failing to connect on his previous two projects.
Jason Lipshutz: Lil Baby is an interesting case study in 2020s hip-hop, where an artist can score multiple No. 1 albums and top 10 Hot 100 hits, remain a constant presence on New Music Friday through solo tracks and collaborations, command a sizable touring audience, and yet simultaneously feel like momentum is flagging because the genre is so focused on new voices and achievements. Over the past half-decade, Lil Baby has hunkered down on a winning formula, but also hasn’t taken the artistic chances that can help superstars grow into icons. The chart-topping success of WHAM is in line with what he’s done in the past, and there’s nothing wrong with those commercial wins — but taking the next step as a leader in hip-hop may require an evolution.
Michael Saponara: Turn it around to the level of 2019-2021 Lil Baby? No, but WHAM is a step in the right direction. The test will come next month as Baby already said his Dominique album is slated to arrive in February. Is the appetite for another solo body of work there just a month out? As the great Lee Corso would say, “Not so fast, my friend!”
Andrew Unterberger: It shows me that he still has the fan support that if he ever does release the right project to turn things around, it won’t be too late for him to actually do so. I don’t think this is necessarily the project for that though — it’s solid, but doesn’t really advance his artistry or sound in any meaningful way, so it seems unlikely to have an extensive impact outside of that core fanbase.
5. If you could advise Lil Baby on his next release, is there any particular direction or area of focus you’d recommend he zero in on? Anything to really recapture the excitement of his turn-of-the-‘20s run?
Kyle Denis: Lock in with one executive producer – either Section 8, Twysted Genius, or someone brand new – and try to get back to the headspace that made you sound so voracious on your biggest and best records. And keep making sure those tracklists are tight and concise, WHAM was a good step in that direction.
Carl Lamarre: I would ease down on the Autotune and tap more into his heartfelt bag like he did the intro and outro of WHAM. I thought “Listen Up” and “Streets Colder” showed flashes of the old Baby regarding candor and vulnerability. That’s what made songs like “Emotionally Scarred” and “The Bigger Picture” instant classics upon first listen. Ultimately, he could be back in everyone’s good graces if he can connect the dots and inject that same pathos into his bars on the next album.
Jason Lipshutz: I find it interesting that “The Bigger Picture” — a smart, incisive single that captured the energy around the 2020 Black Lives Matter protests — has yet to receive a proper follow-up, or anything too overtly political, from Lil Baby. Maybe he’s not interested in that lane, but his level of thoughtfulness, refined flow and broad appeal would help him dominate it, if he so chooses.
Michael Saponara: Instead of coming back next month with another solo project, I’d say to finish the joint album he teased with Future and mix in some Young Thug. I think that would really galvanize his fan base and put the rest of the rap game on notice while holding his own with a pair of his heavyweight ATL peers.
Andrew Unterberger: The answer is almost always “focus” — make an album that feels a little more purposeful in its songs, track ordering, guest list and overall messaging. I might also encourage Baby to do a team-up album with a younger, ascending rap star, someone who can maybe challenge him a little and get him a little more motivated to prove himself and his continued supremacy.
Tina Campbell achieves her first solo chart-topper on Billboard’s Gospel Airplay chart (dated Jan. 18) with “Pray for Me.” The song, which climbs two spots to the top, advanced by 9% in plays during the Jan. 3-9 tracking week, according to Luminate. Campbell, who is half of the sibling duo Mary Mary with her older […]
LiAngelo Ball is officially a Billboard Hot 100-charting artist, as his breakthrough viral hit, “Tweaker,” debuts at No. 29 on the Jan. 18-dated chart.
The song debuts almost entirely from its streaming sum: 12.4 million official streams in the U.S. in the Jan. 3-9 tracking week, according to Luminate. It also sold 2,000 downloads. The song concurrently tips off at No. 7 on Hot Rap Songs and No. 9 on Hot R&B/Hip-Hop Songs.
Ball is one-third of the famed Ball brothers, the sons of Big Baller Brand co-founder Lavar Ball. Eldest son, Lonzo Ball, was the second overall pick in the 2017 NBA draft and is now the starting point guard for the Chicago Bulls. The youngest son, LaMelo Ball, was the third pick in the 2020 NBA draft and is now the starting point guard for the Charlotte Hornets — he was voted rookie of the year in 2021 and named an all-star in 2022. LiAngelo, the middle child, played basketball in Lithuania and Mexico, but hasn’t made the NBA. He is, however, the first of the siblings to score a Billboard chart hit.
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LiAngelo released “Tweaker” on Jan. 3 via Born to Ball Music Group, and it almost immediately went viral. The song has already soundtracked nearly 30,000 clips on TikTok. His upward momentum even earned him a slot to perform at Rolling Loud California 2025 in March. The song also helped him, reportedly, sign a deal with Def Jam/Universal Music Group.
LiAngelo isn’t the first basketball star to reach Billboard’s charts. Shaquille O’Neal charted five Hot 100 hits in the 1990s: “What’s Up Doc? (Can We Rock),” with Fu-Schnickens (No. 39 peak in 1993); “(I Know I Got) Skillz” (No. 35, 1993); “I’m Outstanding” (No. 47, 1994); “Biological Didn’t Bother” (No. 78, 1995); and “Men of Steel,” with Ice Cube, B-Real, Peter Gunz and KRS-One (No. 82, 1997). He has also charted four albums on the Billboard 200: Shaq Diesel (No. 25, 1993); Shaq-Fu: Da Return (No. 67, 1994); You Can’t Stop the Reign (No. 82, 1996); and Respect (No. 58, 1998).
Milwaukee Bucks point guard Damian Lillard, who raps under the name Dame D.O.L.L.A., has also charted an album on the Billboard 200: The Letter O reached No. 119 in 2016. During a postgame interview on Jan. 8 with ESPN’s Michael Eaves, Lillard co-signed LiAngelo’s “Tweaker.”
“I rock with it, man,” he said. “I’ve been hearing it a lot, it gives me that 2003, 2004 vibe. … And as an artist, you gotta respect other people’s artistry, and when something is going, it’s going. … I’m happy for him, it’s a big record, you’re hearing it everywhere.”
Billboard’s Hot Dance/Pop Songs chart (dated Jan. 18) premieres this week led by Tate McRae’s “It’s OK I’m OK” at No. 1.
As previously announced, the 15-position chart ranks the most popular current dance/pop titles, featuring titles with dance-centric vocals, melody and hooks by artists not rooted in the dance/electronic genre, ranked by streaming activity by online music sources tracked by Luminate; radio airplay audience impressions as measured by Mediabase and provided by Luminate; and sales data as compiled by Luminate.
“It’s OK I’m OK” tops the chart thanks to 22.3 million radio airplay audience impressions and 4.7 million official U.S. streams in the Jan. 3-9 tracking week.
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Charli XCX follows at Nos 2, 3, 4 and 6 with “Apple,” “360,” “Guess” (featuring Billie Eilish) and “Sympathy Is a Knife” (featuring Ariana Grande), respectively, all from her album Brat.
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Rounding out the top 10 of the inaugural Hot Dance/Pop Songs chart, The Weeknd and Anitta’s “Sao Paolo” ranks at No. 5, Betsy and Maria Yankovskaya’s viral “Sigma Boy” starts at No. 7, bbno$’s “Two” places at No. 8, Katy Perry’s “I’m Him, He’s Mine” (featuring Doechii) ranks at No. 9 and Kesha’s “Joyride” is No. 10.
Billboard’s revamped Hot Dance/Electronic Songs chart also takes effect this week. The 25-position list ranks the most popular current dance/electronic songs, billed to DJs, producers and long-standing core artists in the dance/electronic genre, with an emphasis on electronic-based production.
Marshmello and Kane Brown’s “Miles On It” rules Hot Dance/Electronic Songs for a 35th week, with 16.7 million radio airplay audience impressions, 7.3 million U.S. streams and 1,000 sold. It’s the fourth longest-leading No. 1 in the chart’s 12-year history, after Marshmello and Bastille’s “Happier” (69 weeks at No. 1 in 2018-20); David Guetta and Bebe Rexha’s “I’m Good (Blue)” (55 weeks, 2022-23); and Elton John and Dua Lipa’s “Cold Heart (Pnau Remix)” (36 weeks, 2021-22).
Elsewhere in the top five: Guetta, Alphaville and Ava Max’s “Forever Young” (No. 2), Chrystal’s “The Days” (No. 3), Adam Port and Stryv’s “Move” (featuring Malachiii; No. 4) and Snow Strippers’ “Under Your Spell” (No. 5).
Meanwhile, on the Top Dance Albums chart (whose name switches from Top Dance/Electronic Albums as of this week), Charli XCX’s Brat spends a 31st week at No. 1 – encompassing its entire run on the ranking – with 20,000 equivalent album units.
Mary J. Blige enters a select club as just the fourth artist to earn at least 10 No. 1s on Billboard’s Adult R&B Airplay chart. The Queen of Hip-Hop Soul achieves the feat on the list dated Jan. 18, as “You Ain’t the Only One” rises 3-1 to become her 10th career leader on the […]
Bad Bunny makes history on Billboard’s latest charts (dated Jan. 18), thanks to the arrival of his new studio album, Debí Tirar Más Fotos.
The album launches at No. 2 on the Billboard 200 with 122,000 equivalent album units earned in the U.S. in its opening week, according to Luminate. The set arrived Sunday. Jan. 5, so its opening week figure is from just five days of activity (with Billboard’s chart tracking week running each Friday through Thursday).
Despite its mid-week release, all 17 songs from the album chart on the Billboard Hot 100, led by the set’s opening track “Nuevayol” at No. 27. Below is a recap (all are debuts except where noted).
Rank, Title:
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No. 27, “Nuavayol”
No. 28, “Baile Inolvidable”
No. 36, “Voy a Llevarte Pa’ PR”
No. 37, “El Clúb” (up from No. 89; new peak)
No. 38, “DtMF”
No. 43, “Veldá,” with Omar Courtz & Dei V
No. 45, “Perfumito Nuevo,” with RaiNao
No. 52, “Weltita,” with Chuwi
No. 54, “EoO”
No. 59, “Ketu Tecré”
No. 60, “Pitorro de Coco” (up from No. 91; new peak)
No. 66, “Kloufrens”
No. 69, “Bokete”
No. 77, “Turista”
No. 83, “Café con Ron,” with Los Pleneros de la Cresta
No. 94, “Lo Que Le Pasó a Hawaii”
No. 95, “La Mudanza”
(Bad Bunny has an 18th song on the latest Hot 100: “Qué Pasaría…,” with Rauw Alejandro, ranks at No. 72.)
With 15 debuts, Bad Bunny ups his career total from 98 to 113 career Hot 100-charted songs. He becomes the 20th artist to join the 100 Hot 100 hits club, and the first who primarily records Latin music.
Here’s a look at every artist with 100 or more Hot 100 hits, through the chart dated Jan. 18.
Total Hot 100 Entries, Artist:
338, Drake
264, Taylor Swift
218, Future
207, Glee cast
187, Lil Wayne
161, Kanye West
155, Lil Baby
149, Nicki Minaj
119, Travis Scott
118, Chris Brown
113, Bad Bunny
112, Eminem
111, Lil Uzi Vert
109, Elvis Presley (whose career predates the Hot 100’s August 1958 start)
106, Beyoncé
105, 21 Savage
105, Jay-Z
105, Justin Bieber
104, The Weeknd
104, YoungBoy Never Broke Again
Of Bad Bunny’s 113 Hot 100 hits, 41 have reached the top 40; 12 have hit the top 10; and one rose to No. 1: “I Like It,” with Cardi B and J Balvin, in 2018.
Bad Bunny also pushes his total to a record-extending 189 career Hot Latin Songs chart entries.
While it’s rare for artists to chart a triple-digit total of Hot 100 appearance, it has become a more regular occurrence since the chart began including streaming data in 2007. As such, some artists have been able to chart a high number of songs after releasing high-profile albums. The model contrasts with prior decades, when acts generally promoted one single at a time in the physical-only marketplace and on radio. That shift in consumption helps explain why artists have been able to log many songs over short spans in recent years.
Bad Bunny banks his ninth straight No. 1 project on Billboard’s Top Latin Albums chart as DeBÍ TiRAR MáS FOToS debuts atop the Jan. 18-dated list. The 17-track set also opens at No. 2 on the overall Billboard 200, No. 1 on the Top Streaming Albums, and No. 1 on the Latin Rhythm Albums charts.
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DeBÍ TiRAR MáS FOToS launches at No. 1 on Top Latin Albums with 122,000 equivalent album units earned in the U.S. during the Jan. 3-9 tracking week, according to Luminate. The set was released Jan. 5 via Rimas Entertainment, two days after the beginning of the tracking week which runs weekly Friday through Thursday. Thus, it arrives with five days of activity instead of the usual seven days.
DeBÍ TiRAR MáS FOToS was available via streamers and through download services to purchase. The download version available on Benito’s webstore and the iTunes Store for $4.99. A physical version of the album has not been released. Of the album’s starting total, 8,000 units come from album sales, enough for a No. 6 start on the overall Top Album Sales chart. The set is the only Latin album to appear on the chart’s top 10 since Ivan Cornejo’s Mirada debuted at No. 9 with 9,000 copies sold in August 2024.
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Streaming activity contributes 113,500 units which represents 152.6 million official on-demand streams of the 17 songs on the album. The sum yields the largest streaming week for a Latin album in over a year, since Bad Bunny’s own Nadie Sabe Lo Que Va A Pasar Mañana launched at No. 1 on Top Streaming Albums with 239.56 million on-demand official streams for its songs (Oct. 28, 2023-dated chart). Track-equivalent album units comprise the remaining 500 units of DeBÍ’s first week sum.
With DeBÍ TiRAR MáS FOToS, Bad Bunny lands his ninth straight No. 1 on Top Latin Albums, the entirety of his charting releases. The streak began with 2019’s X100PRE which led for 46 weeks. That same year, Benito scored his second champ through the J Balvin-jointed set Oasis (eight weeks atop). YHLQMDLG, however, became his most profitable project to date, with 70 weeks at No. 1, the longest-leading album overall since Top Latin Albums begun in 1993. Here’s the recap of all those winning sets:
Peak Date, Title, Artist, Weeks at No. 1Jan. 5, 2019, X 100PRE, 46July 13, 2019, Oasis, With J Balvin, eightMarch 14, 2020, YHLQMDLG, 70May 23, 2020, Las Que No Iban A Salir, oneDec. 12, 2020, El Último Tour Del Mundo, 27Jan. 15, 2022, Anniversary Trilogy, oneMay 21, 2022, Un Verano Sin Ti, 60Oct. 28, 2023, Nadie Sabe Lo Que Va A Pasar Mañana, 10Jan. 18, 2025, DeBÍ TiRAR MáS FOToS
DeBÍ TiRAR MáS FOToS Takes Over Hot Latin Songs: reinforcing his habitual performance following the debut of an album, Bad Bunny seizes the Hot Latin Songs tally as the complete album charts on the current list that blends airplay, streaming activity and digital sales. The set was preceded by “EL CLúb” which rises 9-4 with the Greatest Gainer/ Sales & Streaming honors, and “PIToRRO DE COCO” that dips 10-11.
“NUEVAYoL” leads the album’s debuting cuts, bowing at No. 1 with 13 million official U.S. streams, the most clicks among the album’s 15 debuts. That sum translates to a No. 18 on the overall Streaming Songs chart and a No. 1 debut on Latin Streaming Songs. The song, produced by MAG, La Paciencia and Justo Barreto, contains samples of “Un Verano en Nueva York” by El Gran Combo De Puerto Rico (1975) and of Félix Trinidad Post Fight interview scene from the TV show The Fight of the Millennium (Oscar De La Hoya vs. Félix Trinidad).
Here’s the full review of the songs on Hot Latin Songs:
No. 1, “NUEVAYoL” (debut)No. 2, “BAILE INoLVIDABLE” (debut)No. 3, “VOY A LLeVARTE PA PR” (debut)No. 4, “EL CLúB”No. 5, “DtMF” (debut)No. 6, “VeLDÁ,” with Omar Courtz & Dei V (debut)No. 7, “PERFuMITO NUEVO,” with Rainao (debut)No. 8, “WELTiTA,” With Chuwi (debut)No. 9, “EoO” (debut)No. 10, “KETU TeCRÉ” (debut)No. 11, “PIToRRO DE COCO” (debut)No. 13, “KLOuFRENS” (debut)No. 15, “BOKeTE” (debut)No. 17, “TURiSTA” (debut)No. 18, “CAFé CON RON,” with Los Pleneros De La Cresta (debut)No. 19, “LO QUE LE PASÓ A HAWAii” (debut)No. 20, “LA MuDANZA” (debut)
Notably, as DeBÍ TiRAR MáS FOToS charts in its entirety on Hot Latin Songs, Bad Bunny adds a record-extending 189 songs on the multi-metric tally, further distancing from the next contender, Anuel AA with 122 charted songs on the 39-year-old tally. Further, he also extends his top 10 record, with a total 88 career top 10s.
All charts (dated Jan. 18, 2025) will update on Billboard.com tomorrow (Jan. 14). For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
ROSÉ and Bruno Mars’ “APT.” leads the Billboard Global 200 and Billboard Global Excl. U.S. charts for an 11th week each. In November, the song debuted as the stars’ second leader on each list.
Plus, Lola Young’s first top 10 on the charts, “Messy,” becomes her first top five hit, climbing 8-5 on each ranking, and Bad Bunny debuts three top 10s from his new album, DeBÍ TiRAR MáS FOToS. The set launches at No. 2 on the U.S.-based Billboard 200.
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The Global 200 and 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.
“APT.” leads the Global 200 with 138 million streams (down 5% week-over-week) and 17,000 sold (down 9%) worldwide Jan. 3-9. The track ties The Kid LAROI and Justin Bieber’s “Stay” (11 weeks at No. 1 in 2021) for the chart’s fourth-longest command, after Mariah Carey’s “All I Want for Christmas Is You” (19 weeks, since December 2020), Harry Styles’ “As It Was” (15 weeks, 2022) and Miley Cyrus’ “Flowers” (13 weeks, 2023).
Lady Gaga and Mars’ “Die With a Smile” holds at No. 2 on the Global 200, following eight weeks at No. 1 beginning in September. The ballad drew 131.7 million streams (up 1%) worldwide in the latest tracking frame and has tallied over 100 million streams globally in each of the last 19 weeks, the longest such streak since the chart began.
Billie Eilish’s “Birds of a Feather” is steady at No. 4 on the Global 200, after three weeks at No. 1 beginning in August, and Gracie Abrams’ “That’s So True” repeats at its No. 4 high.
Lola Young’s “Messy” jumps 8-5 on the Global 200 with 43.5 million streams (up 20%) and 7,000 sold (up 18%) worldwide.
Bad Bunny’s “NUEVAYoL” and “BAILE INoLVIDABLE” debut at Nos. 9 and 10 on the Global 200, led by 40.2 million and 39.1 million streams worldwide, respectively. (Parent album DeBÍ TiRAR MáS FOToS was released on an off-cycle Sunday, Jan. 5, and, thus, its songs arrive on Billboard charts with five days of activity, as the chart tracking week runs Friday through Thursday.) Bad Bunny ups his count to 21 Global 200 top 10s. Only Drake (35) and Taylor Swift (33) have more.
“APT.” concurrently tops Global Excl. U.S. with 119.1 million streams (down 5%) and 11,000 sold (down 13%) outside the U.S. Jan. 3-9. The only songs that have led longer are Carey’s “All I Want for Christmas Is You” (14 weeks) and Cyrus’ “Flowers” and Styles’ “As It Was” (13 each).
“Die With a Smile” keeps at No. 2 on Global Excl. U.S., following eight weeks at No. 1 starting in September. Thanks to the song and “APT.,” Mars has claimed the top two spots on the chart for a record 11 weeks. He has notched the same double domination on the Global 200 for an unprecedented eight weeks.
Eilish’s “Birds of a Feather” holds at No. 3 on Global Excl. U.S., after three weeks at No. 1 beginning in August; Abrams’ “That’s So True” is stationary at its No. 4 best; and Young’s “Messy” bounds 8-5.
As on the Global 200, Bad Bunny debuts two songs in the Global Excl. U.S. top 10 from his new LP: “DtMF” (No. 9; 27.8 million streams outside the U.S.) and “NUEVAYoL” (No. 10; 27.4 million). With the arrivals, he now boasts 20 top 10s – tying Swift for the most since the chart began.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Jan. 18, 2025) will update on Billboard.com tomorrow, Jan. 14. 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.
Lil Baby’s WHAM enters the Billboard 200 at No. 1 this week (chart dated Jan. 18), just shy of 40 years after Wham!’s Make It Big topped the chart for three consecutive weeks in March 1985. It’s very rare for an album to top the Billboard 200 with a title that’s the same as the name of an act that also reached No. 1 on that chart. (These two aren’t exactly the same because of that pesky exclamation point on the U.K. duo’s name, but close enough.)
One time, there was an exact match: In September/October 1980, Queen topped the chart for five consecutive weeks with The Game. The rapper The Game had three No. 1 albums – The Documentary (2005), Doctor’s Advocate (2005) and The R.E.D. Album (2011).
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And there have been a lot of close (and not-so-close) calls. In March 2017, Future’s HNDRXX debuted at No. 1. In November 1968, the Jimi Hendrix Experience’s Electric Ladyland spent two weeks on top. Future altered the spelling, but the title was clearly a nod to the rock legend.
The Sting soundtrack logged five consecutive weeks at No. 1 in 1974, following the film’s seven-Oscar sweep. Sting reached No. 1 with The Police in 1983 and peaked at No. 2 with three of his first four solo albums.
There are numerous cases where a Billboard 200-topping act’s name was part of the title of somebody else’s No. 1 album. P!nk’s Hurts 2B Human debuted at No. 1 in 2019. Nicki Minaj has hit No. 1 with three Pink Friday releases. Blackpink debuted at No. 1 in 2022 with Born Pink. Lil Uzi Vert debuted at No. 1 the following year with Pink Tape.
An eponymous album by Blind Faith hit No. 1 in 1969. George Michael and Pop Smoke both hit No. 1 with albums titled Faith. Faith Hill’s Faith debuted at No. 7, but the country star reached No. 1 with three other albums. And Depeche Mode debuted at No. 1 in 1993 with Songs of Faith and Devotion.
America’s eponymous debut album, which featured the Hot 100 No. 1 “A Horse With No Name,” reached No. 1 in 1972. Wings’ Wings Over America hit No. 1 in 1977, followed by Supertramp’s Breakfast in America in 1979 and the all-star God Bless America compilation in 2001.
Heart’s eponymous album hit No. 1 in 1985. Linda Ronstadt’s Heart Like a Wheel hit No. 1 in 1975, while Bonnie Raitt’s Longing in Their Heart followed suit in 1994.
Other Billboard 200-topping acts whose name is embedded in the title of someone else’s No. 1 album include: Tiffany (Breakfast at Tiffany’s soundtrack), Frank Ocean (Eric Clapton’s 461 Ocean Boulevard), Donna Summer (Stevie Nicks’ Bella Donna), George Harrison (Jack Johnson’s Curious George soundtrack), and Lil Wayne (the Wayne’s World soundtrack).
Looking beyond cases where both acts reached No. 1, Destiny’s Child’s Survivor spent its first two weeks on top in May 2001. Survivor just missed No. 1 in 1982 when Eye of the Tiger logged four weeks at No. 2. The title track topped the Hot 100 for six weeks.
Maroon 5’s V debuted at No. 1 in 2014. V, of BTS, opened at No. 2 in 2023 with his debut album, Layover.
Asia’s eponymous debut album logged nine nonconsecutive weeks at No. 1 in 1982. Steely Dan’s Aja (different spelling, but same pronunciation) peaked at No. 3 in 1977.
Drake’s Scorpion spent its first five weeks at No. 1 in 2018. The German hard rock band Scorpions climbed as high as No. 5 with Savage Amusement in 1988.
Bruce Springsteen’s Magic spent two of its first three weeks at No. 1 in 2007. A male rapper with that name reached No. 15 in 1998 with Skys the Limit. A Canadian reggae band named MAGIC! debuted at No. 6 in 2014 with Don’t Kill the Magic.
SZA’s SOS has spent 12 weeks at No. 1 across 2022, 2023 and 2025. The S.O.S. Band’s S.O.S., which contained the hit “Take Your Time (Do It Right),” reached No. 12 in 1980.
The Descendants TV soundtrack debuted at No. 1 in 2015. A punk band with the same name hit No. 20 in 2016 with Hypercaffium Spazzinate.
Leona Lewis’ Spirit debuted at No. 1 in 2008. The California rock band Spirit climbed as high as No. 22 with The Family That Plays Together in 1969.
Kesha’s Rainbow debuted at No. 1 in 2017. The hard rock band Rainbow climbed as high as No. 30 with two albums, Ritchie Blackmore’s R-A-I-N-B-O-W (1975) and Straight Between the Eyes (1982).
Travis Scott’s Utopia spent its first four weeks at No. 1 in 2023. The band Utopia, which featured Todd Rundgren, climbed as high as No. 32 with Adventures in Utopia in 1980.
Faith Hill’s Breathe debuted at No. 1 in 1999. The English pop group Breathe climbed as high as No. 34 with All That Jazz in 1988.
Eric Church’s The Outsiders debuted at No. 1 in 2014. A rock band from Cleveland reached No. 37 in 1965 with Time Won’t Let Me. The title track was a top five hit on the Hot 100.
Justin Bieber’s Justice debuted at No. 1 in 2021. An electronic duo from France of the same name hit No. 37 in 2011 with Audio, Video, Disco.
The Exodus soundtrack logged nonconsecutive 14 weeks at No. 1 in 1961. A hard-rock band by the same name reached No. 38 in 2014 with Blood In Blood Out.
Beyoncé’s Renaissance debuted at No. 1 in 2022. An English rock band of the same name climbed as high as No. 46 with Novella in 1977.
Stray Kids’ 5-Star debuted at No. 1 in 2023. The R&B dance vocal group Five Star reached No. 47 with Luxury of Life in 1985.
And here’s my favorite, just for fun: Bon Jovi’s The Circle debuted at No. 1 in 2009. The pop group The Cyrkle climbed as high as No. 47 on the Billboard 200 with Red Rubber Ball in 1966. The title song (co-written by Paul Simon) was a No. 2 hit on the Billboard Hot 100.
Lady Gaga and Bruno Mars’ “Die With a Smile” notches a second week at No. 1 on the Billboard Hot 100. A week earlier, the ballad about flashing pearly whites just before reaching the pearly gates became Gaga’s sixth Hot 100 leader and Mars’ ninth. With the coronation, Gaga joined the elite company of Janet […]