Chart Beat
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Charli XCX occupies a very special and very rare spot in the pop music ecosystem. On the one hand, she’s the mainstream entry point into the underground, with projects such as Vroom Vroom introducing PC music to top 40 audiences back in 2016. On the other hand, she’s also known to deliver a smash single or two for the biggest films of the year and craft chart-topping collaborations with era-defining artists.
As the 2024 Billboard Women in Music Powerhouse honoree, Charli XCX stands as one of the most exciting figures in contemporary pop music. To contextualize her decade-long career, a trip through the Grammy nominee’s chart history is in order.
Charli XCX made her Billboard Hot 100 debut back in 2013 with “I Love It,” a boisterous synth-pop team-up with Icona Pop that reached No. 7 on the chart. The following year, Charli doubled up with two additional Hot 100 top 10 hits: “Boom Clap” (No. 8), the breakout song from The Fault in Our Stars soundtrack, and “Fancy” (No. 1), a monsterous smash collaboration with Iggy Azalea that spent seven weeks atop the ranking.
“Boom Clap,” in addition to fellow single “Break the Rules” (No. 91), appeared on 2014’s Sucker, which hit No. 28 on the Billboard 200, marking her first entry on the chart. She followed that up with four more entries, including 2022’s Crash (No. 7), her first Billboard 200 top 10 title. The following year, Charli revisited her soundtrack roots and cooked up “Speed Drive,” a single from Barbie the Album that hit No. 73 on the Hot 100 — her first entry on the chart in nine years.
With a catalog and career as kaleidoscopic as hers, Charli XCX is a Powerhouse through and through.
After the video, catch up on more Billboard Explains videos and learn about Peso Pluma and the Mexican music boom, the role record labels play, origins of hip-hop, how Beyoncé arrived at Renaissance, the evolution of girl groups, BBMAs, NFTs, SXSW, the magic of boy bands, American Music Awards, the Billboard Latin Music Awards, the Hot 100 chart, how R&B/hip-hop became the biggest genre in the U.S., how festivals book their lineups, Billie Eilish’s formula for success, the history of rap battles, nonbinary awareness in music, the Billboard Music Awards, the Free Britney movement, rise of K-pop in the U.S., why Taylor Swift is re-recording her first six albums, the boom of hit all-female collaborations, how Grammy nominees and winners are chosen, why songwriters are selling their publishing catalogs, how the Super Bowl halftime show is booked and more.
When Beyoncé released “Texas Hold ‘Em” as the first single from her upcoming Act II album on Super Bowl Sunday (Feb. 18), it scored a No. 2 debut on the Billboard Hot 100 with just four days of tracking activity. That was impressive enough — but in its second week, “Hold ‘Em” maintains and then some, climbing to No. 1 on the chart.
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The song makes for Beyoncé’s second Hot 100 No. 1 of the 2020s, following Renaissance leader “Break My Soul,” and the ninth of her solo career (following four notched at the turn of the ’00s as part of Destiny’s Child). While the song continues to excel in sales and streams in its second week, it also grows rapidly at radio — including on country radio, whose approval has been historically hard to come by for artists from outside of the Nashville community (as well as for Black women artists in general).
What does the No. 1 mean for Beyoncé? And will it be a gate-busting moment for Black women in the country space in general? Billboard staffers discuss these questions and more below.
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1. A week after debuting at No. 2, “Texas Hold ‘Em” climbs to the top spot on the Billboard Hot 100. On a scale from a pair of deuces to a royal flush, how big of a win do you think this is for Beyoncé?
Rania Aniftos: Full house. Beyoncé has hit icon status at this point, so anything she touches turns to gold, but I’m sure that making a major genre switch and it being received so well is incredibly validating no matter what status level you’re at.
Kyle Denis: Royal flush. Beyoncé bagged her ninth solo No. 1, made history in the process and pulled off a highly effective launch of both her country pivot and the second installment of her three-act Renaissance project. Most importantly, she did this all while playing the game (mostly) on her terms. Sure, Bey & Co. gave into the “multiple versions” trend with recent single releases, but “Texas Hold ‘Em” reached nearly instant astronomical heights without deviating from the current Beyoncé playbook: surprises and silence.
From a purely musical and personal standpoint, it must feel really gratifying to not only keep scoring hits nearly three decades in the game, but to score one of your biggest hits in years while exploring a genre you grew up listening to and cherishing.
Jason Lipshutz: Let’s call it a very strong full house. Beyoncé didn’t need another Hot 100 chart-topper for the Act II era to continue her phenomenal run, especially after a No. 2 debut demonstrated widespread interest in her next project. Yet “Texas Hold ‘Em” powering to No. 1 in its second week shows that Act II is kicking off with a bonafide smash — the type of multi-quadrant, cross-genre hit that makes the music industry salivate — and could very well become Beyoncé’s biggest chart hit in a decade. Maybe it’s all just gravy for Queen Bey at this point, but it’s still gotta taste pretty delicious.
Melinda Newman: This is a full house for Beyoncé, the type of hand that any poker player would be excited to have and one that doesn’t come along every day, but isn’t so rare and unattainable as a royal flush. It’s still a thrill to see the cards (or chart positions, in this case), add up to such a winning hand, no matter how many times an artist has been here before — and in Beyoncé’s case, it’s eight times before as a solo artist.
Andrew Unterberger: To invert a Garth Brooks title from 30-plus years ago — in a way that may not make all that much sense in actual poker terms — Beyoncé has a full house, working on four of a kind. It’s just one of many historic accomplishments for her at this point, but it’s still a pretty big deal for her to have such success with such a hard pivot, and to maybe end up with her biggest hit in a decade or longer when all is said and done.
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2. “Hold ‘Em” has gotten off to a much better start on streaming than any of her Renaissance hits or other singles from the past five years or so — helped, of course, by instant virality on TikTok. What do you think is the biggest factor that has allowed this song to take off with that kind of velocity?
Rania Aniftos: Bey played her cards just right with something fun and different. Everyone loves Beyoncé’s classic R&B sound, but I was definitely among the masses that rushed to streaming services to hear this new country song as fast as possible. And just like everyone else, I loved it and have been listening to it ever since, despite not generally being a country fan myself. I think music fans like hearing something unique from an artist that’s been in the game for decades, and it’s even better when it’s executed as well as “Texas Hold ’Em.”
Kyle Denis: The same night “Hold ‘Em” dropped, it was available on all streaming platforms. There wasn’t a mysterious unlisted YouTube video nor was there a week-long Spotify Premium exclusivity period nor were the new country songs locked away on TIDAL years at a time. And immediate wide release coupled with a blockbuster Super Bowl ad gave “Hold Em” an advantage that few Beyoncé singles have ever had. Think about it: even “Break My Soul” was simply announced via the singer’s Instagram bio.
Speaking of “Break My Soul,” a lot of the immediate success of “Hold ‘Em” is due to the work Renaissance did to help Beyoncé regain her footing on streaming. “Break My Soul” marked the first solo song attached to a Beyoncé studio album in six years. From 2016-2022 – although she gifted us a bevy of stunning projects — Beyoncé withheld a studio album while streaming exploded. Now that she’s gotten solo streaming smashes and reintroduced herself to younger audiences through those hits and the Renaissance World Tour, “Hold ‘Em” was always going to get off to a particularly strong start.
Of course, there are also the facts that 1) “Hold ‘Em” is an unequivocally catchy song with wide appeal that fits into the current guitar-centric wave of pop music and 2) “Hold ‘Em” benefitted, at least initially, from the novelty of Beyoncé making a country record.
Jason Lipshutz: The song’s chorus possesses a perfect combination of hummable, radio-friendly hooks and interactive TikTok fodder for a hit in 2024 — “Texas Hold ’Em” reaches the passive listener ready to enjoy a new Beyoncé singles, and the active social media user ready to make the most of those “hey”s and “woo”s. If the song relied more heavily on gimmickry, maybe it would still go viral, but it wouldn’t be hitting the top of the Hot 100. “Texas Hold ’Em” contains a stronger hook than any of the (still great) big Renaissance singles, and looks like it may eclipse them in terms of both Hot 100 longevity and TikTok reach.
Melinda Newman: Announcing and releasing it during the Super Bowl was a brilliant move and showed that an artist doesn’t have to be a halftime performer, or even in attendance, to get a huge bump. Her Verizon commercial was money very well spent with 123 million viewers made aware that new music was dropping. It’s hard to think of any other platform that could have created such an instant blast.
Andrew Unterberger: She landed in the right genre at the right time, didn’t she? The mainstream ceiling for country right now is basically as high (and the audience as wide) as it’s been for R&B or even for more classic pop at any point this decade, and Bey’s spin on it is so fun and fresh and viral-friendly — and clearly authentic to her and her artistry — that it’s really no major surprise it’s being embraced by all kinds of 2024 audiences.
3. “Hold ‘Em” is also off to a fast start on that most contentious of platforms for a crossover star — country radio, moving No. 54 to 34 in its second week on the Country Airplay listing. Do you think it will continue to climb there, or is this hot start mostly due to a curiosity factor that will abate in the weeks to come?
Rania Aniftos: I want it to keep climbing! A Black female artist atop country radio is long overdue. Period.
Kyle Denis: Country radio is notoriously hard to break if you’re Black, a woman, or crossing over – and Beyoncé is all three at the same time. I see “Hold ‘Em” peaking somewhere in the 20s on Country Airplay; if it can break the top 20, I think that will be one of the song’s most notable achievements. But who knows? “Hold ‘Em” is well on its way to being too big to completely ignore, so if listeners connect with the track and Columbia Nashville works its muscle, the sky is the limit for “Texas.”
Jason Lipshutz: I could see it continuing to climb into the top 20 and potentially even the top 10, but have some trouble vying for No. 1 against core country artists. History tells us that crossover artists can move the needle at country radio without necessarily installing their songs in the heaviest rotation, so I think that “Texas Hold ’Em” could keep gaining spins while still being boxed out of the pinnacle by songs from artists like Warren Zeiders, Morgan Wallen and HARDY.
Melinda Newman: There was definitely a curiosity factor and we’ll know for sure if that’s all it was if in a couple of weeks it begins to fall, but the 20-position leap in its first full week on the Country Airplay chart indicates that fans are responding to the song and requesting it. Columbia Nashville is pushing the song and that will carry weight with programmers. Plus, it sounds great on the radio. It’s sweet vindication for Beyoncé, after 2016’s “Daddy Lessons” got no love from mainstream country and was rejected for consideration by the Grammys in the country categories.
Andrew Unterberger: A 20-spot jump in its second week is definitely some eye-opening movement — especially in country radio, which can be purposefully gradual in its adoption of new songs, particularly from non-core artists. i imagine that will slow a little as the excitement (and conversation) around “Hold ‘Em” recedes a bit, but it feels now like it could end up a real hit there — which would’ve felt close to unimaginable just a couple weeks ago.
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4. Billboard reported last week about how big a bump Bey’s country pivot had already afforded to both up-and-coming and legendary Black female artists in the country space. Do you think “Hold ‘Em” is turning into a moment of real significance in country’s history in terms of shining more light on the Black female artists who have been doing important work in the genre all along — or is it too soon to tell if its impact will be a lasting one?
Rania Aniftos: I certainly hope so. With artists like Mickey Guyton, Brittney Spencer and Tanya Blount-Trotter of The War and Treaty out there, Black women in country have always displayed immeasurable talent. With Bey’s success with “Texas Hold ’Em,” I’d like to see country music spotlight other Black women as well, including up and coming artists who might not have had the confidence (or opportunity) to pursue a more mainstream avenue before.
Kyle Denis: I think the song is already turning into a moment of real significance in country’s history. Even outside of its milestone achievements, new fans are falling in love with country and checking out other Black woman in the genre as a result of “Hold ‘Em.” I see fans sharing playlists rounding up notable Black women in country music every day. Ideally, the impact of “Texas Hold ‘Em” is a lasting one, but we’ll probably have to wait for the next mainstream country album from a Black woman to gauge just how much things have (or haven’t) changed.
Jason Lipshutz: Yeah, way too soon to tell. “Texas Hold ’Em” producing real gains for rising and veteran Black female artists in country makes for an important by-product of a smash single, but we can’t yet say how sustained those gains will be, which songs and artists will experience prolonged revivals, and, stepping back even further, how much the paradigm will shift as more Black women release country music for mass audiences. Let’s hope “Texas Hold ’Em” symbolizes real change for music discovery and in-genre opportunity, but we likely won’t know its full impact for a while.
Melinda Newman: Sadly, no. Beyoncé occupies her own unique space in the musical firmament and it’s likely that the streaming bump other Black female artists saw is short-lived. If radio stations aren’t inclined to play Black female artists, at least streaming outlets may be a little more willing to add them to their playlists, but I don’t expect for Beyoncé to be an “a-ha moment” for programmers.
Andrew Unterberger: I doubt it’s going to be an opening of the floodgates exactly, but I think it could be an important turning point in subtler, deeper ways. For the biggest Black female artist in popular music this century to stake her ground in country, and to be embraced from (nearly) all corners in the process… it’s going to have an impact beyond what we can see in the immediate numbers, and more in the long-term shifts of perception from artists and audiences on all sides. (And as we’re already seeing, it’s going to have a pretty sizable impact in the immediate numbers, too.)
5. Given the hot start it’s off to and how it’s still growing rapidly at radio — it debuts at No. 43 on Radio Songs this week — it doesn’t seem like “Hold ‘Em” is likely to fold on the Hot 100 particularly soon. How many weeks total would you guess it spends at No. 1 on the chart?
Rania Aniftos: I’m going to guess a good nine or ten weeks — perhaps non-consecutively and with a boost from when Act II arrives or something like a surprise performance or remix.
Kyle Denis: Barring a “Carnival” surge or a massive breakout hit from Eternal Sunshine, I can see “Hold ‘Em” spending at least eight weeks atop the Hot 100… so until Taylor Swift’s Tortured Poets songs make their debut. And, by then, “Hold ‘Em” might be so strong that it’ll only get knocked off the top for a week.
Jason Lipshutz: My guess would be six weeks — a legitimate smash, to be sure, but one that happens to be hitting its stride during a crammed two-month period in the release calendar. Could another single from Ariana Grande’s Eternal Sunshine pause its run? What about the focus track from Taylor Swift’s The Tortured Poets Department? “Hold ’Em” is just getting started, but at a busy moment in pop, so I’ll predict a half-dozen nonconsecutive weeks on top.
Melinda Newman: Barring a rebound by Jack Harlow’s “Lovin’ on Me,” which dropped 1-2 after six weeks at No. 1, Beyoncé probably has a few weeks at the top with “Hold ‘Em.” Most of the songs in the top 10 have already hit their peak so that plays in her favor.
Andrew Unterberger: I’ll say six. It could end up being longer, but competition is about to start getting thick with new albums from Ariana Grande and Taylor Swift (and maybe another Vultures or two), while current top five hits from Teddy Swims, Benson Boone and Kanye West & Ty Dolla $ign continue to grow. In the less-crowded winter landscape of 2022 or 2023, Beyoncé might’ve had a clear path until at least April, but this year she’s going to have to fight every week to keep hold of her spot.
Joe Keery has already solidified himself as a breakthrough actor during his run as heartthrob Steve Harrington in Netflix’s Stranger Things. Now, he’s officially a Billboard Hot 100-charting artist.
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Keery debuts on the March 2-dated chart under his musical pseudonym Djo, his synth-pop solo project, with his breakout viral hit “End of Beginning.” The song starts at No. 51 entirely from its official U.S. streaming sum: 8.4 million in the Feb. 16-22 tracking week, according to Luminate. That’s a 194% increase from the week before.
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Keery initially released the song in 2022 on his sophomore solo album Decide, but it recently began surging on TikTok. Billboard reported that over Feb. 16-19, the track earned 5.3 million streams, up more than 200% from Feb. 9-12 (1.7 million). The uptick was sparked by a trend in which TikTok users have taken the chorus lyric, “And when I’m back in Chicago, I feel it / Another version of me, I was in it / I wave goodbye to the end of beginning,” to soundtrack clips of Chicago or their own hometown. “End of Beginning” has been used in over 18,000 TikToks to date.
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On Feb. 9, Keery uploaded a video on his TikTok page of him riding the subway, saying he’s been “tokked,” referencing the song’s sudden popularity.
Keery has been releasing music for nearly a decade. He was a member of the Chicago psych-rock band Post Animal from 2015-18 and launched his solo career as Djo in 2019. He has self-released two solo full-lengths under exclusive license to AWAL: Twenty Twenty (in 2019) and Decide (2022). He has also performed at festivals including Boston Calling, BottleRock, Lollapalooza and Shaky Knees.
In a 2022 Billboard feature, Keery explained his philosophy about making music. “I say that [music] is a hobby because it’s a freeing way to think about it,” he said. “The second I start to get too precious with something, I inhibit myself. If you’re less worried about making mistakes, you might make something crazy or exciting. That’s what I’m focused on doing.”
Along with Stranger Things, Keery has starred in the latest season of FX’s Fargo, as well as the films Free Guy and Spree. In December, he made headlines when he crossed paths with Taylor Swift at Electric Lady Studios in New York City.
Swing Fever is gripping the U.K.
When the calendar flips over to March, expect to see Rod Stewart and Jools Holland at No. 1 on the U.K. chart with Swing Fever (via Rhino), a covers collection gathering songs from the big band era.
Swing Fever leads the midweek chart, and is set to become Stewart’s 11th No. 1 album, and first since You’re In My Heart led the tally back in December 2019. Holland has never nabbed top spot on the Official U.K. Chart.
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Should it stay on target, Swing Fever would see Stewart move up to 10th on the U.K.’s list of artists with the most career No. 1s, and into equal fifth among solo acts with the most leaders.
Meanwhile, Scottish rock act the Snuts slot in at No. 2 on the Official Chart Update with Millennials (Happy Artist), their third album. Millennials should give the Snuts a third consecutive top three debut, following 2021 chart leader W.L. and 2022’s Burn The Empire, which peaked at No. 3.
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Liverpool’s Red Rum Club could be raising a glass this Friday. The alternative sextet’s new album Western Approaches (Modern Sky) is set to enter the national tally at No. 3, for what would be the group’s first top 10 appearance. The band previously cracked the top 40 with 2021’s How To Steal The World, which hit No. 34.
Completing an all-new top four on the chart blast is Barking, England rapper Potter Payper with Thanks For Hating (36TL), new at No. 4. The homegrown hip-hop artist has two previous top 10 appearances, with 2020’s Training Day 3 (No. 3 peak) and 2021’s Thanks For Waiting (No. 8).
Further down the list, Tyneside, England singer and songwriter Nadine Shah is on the brink of her first top 10 appearance with Filthy Underneath (EMI North), her fifth album. It’s new at No. 8 on the chart update. Filthy Underneath should comfortably set a new career best for Shah, besting the No. 29 peak for 2020’s Kitchen Sink.
All will be revealed when the Official U.K. Albums Chart is published Friday, March 1.
Jennifer Lopez achieves her third No. 1 on Billboard’s Top Album Sales chart (dated March 2), as her new studio album This Is Me… Now opens atop the tally. Lopez was last at No. 1 more than 20 years ago, when J to Tha L-O! The Remixes spent two weeks atop the chart in February and March of 2002. She scored her first No. 1 on the list with J.Lo in 2001.
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In total, This Is Me… Now marks Lopez’s ninth top 10 on Top Album Sales and 13th chart entry overall. The new release is a sister project to Lopez’s third album, This Is Me… Then, which was released 2002 and peaked at No. 2 on the chart.
Also debuting in the top 10 of the new Top Album Sales chart, Yeat’s 2093, Blackberry Smoke’s Be Right Here and IDLES’ TANGK.
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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 units and streaming equivalent album units. The new March 2-dated chart will be posted in full on Billboard‘s website on Feb. 27. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
In the tracking week ending Feb. 22, This Is Me… Now sold 14,000 copies in the U.S. Of that sum, physical sales comprise 11,000 (6,000 on CD and 5,000 on vinyl) and digital download sales comprise 3,000. The album was available in four CD variants (including one that had a signed insert), nine vinyl editions (all were color variants, including one with a signed insert) and three digital album variations (a standard version, a deluxe edition with two bonus tracks and a commentary edition sold via Lopez’s official webstore).
This Is Me… Now also debuts at No. 1 on Top Current Album Sales, No. 1 on Tastemaker Albums, No. 7 on Vinyl Albums, No. 7 on Independent Albums and No. 38 on the Billboard 200. Top Current Album Sales ranks the week’s top-selling new/current albums (non-catalog/older titles). Vinyl Album tallies the week’s top-selling vinyl releases. Tastemaker Albums measures the top-selling titles at independent and small chain record stores. Independent Albums ranks the most popular independently released albums of the week, by units.
On the Billboard 200, This Is Me… Now marks Lopez’s 13th total chart entry and 11th top 40-charting effort. It’s her first studio album in nearly a decade, and her first release outside the major label system, as the new set was issued via Nuyorican/BMG.
“This is the first step of an immediate strategy with a long-term goal as the incredible content to support the album continues to roll out,” says Cyndi Lynott, SVP marketing at BMG, “including the This Is Me…Now: A Love Story Amazon Original, a documentary entitled The Greatest Love Story Never Told, and of course her massive summer tour.”
Meanwhile, Yeat debuts at No. 2 with 2093 – his second entry on Top Album Sales and first to reach the top 40. The set sold 12,000 copies, all from digital downloads, as the album was not available to purchase in any physical configurations. The set’s digital sales were boosted by its availability across three variations. 2093 was released initially as a 22-song standard album on Feb. 16, boasting features from Future and Lil Wayne. A day later, the album was reissued in a deluxe edition, dubbed 2093 P2, with two bonus tracks, including one featuring Drake. Then, on Feb. 21, the album saw another reissue, termed 2093 P3, with four bonus tracks. This version of the album was only available as a digital download via the artist’s official webstore (and the four bonus tracks were only available as part of the full album purchase).
Taylor Swift’s chart-topping 1989 (Taylor’s Version) rises 4-3 with 11,000 sold (though down 25%) and Swift’s former leader Lover climbs 6-4 with 9,000 (down 24%). Toby Keith’s chart-topper 35 Biggest Hits rises 9-5 with nearly 9,000 sold (up 28%).
Blackberry Smoke clocks its fourth top 10-charting set on Top Album Sales as Be Right Here arrives at No. 6 with 8,500 sold.
Taylor Swift’s former No. 1s Midnights and Folklore are up next, non-movers at Nos. 7 and 8, with nearly 7,500 (down 32%) and 7,000 (down 17%), respectively.
P1Harmony’s Killin’ It falls 2-9 in its second week with 7,000 sold (down 60%).
IDLES’ TANGK starts at No. 10, marking the second top 10 for the act. The set starts with 7,000 sold.
In the week ending Feb. 22, there were 1.166 million albums sold in the U.S. (down 7.3% compared to the previous week). Of that sum, physical albums (CDs, vinyl LPs, cassettes, etc.) comprised 858,000 (down 5.3%) and digital albums comprised 308,000 (down 12.6%).
There were 408,000 CD albums sold in the week ending Feb. 22 (down 6.1% week-over-week) and 446,000 vinyl albums sold (down 4.6%). Year-to-date CD album sales stand at 3.342 million (down 32.1% compared to the same time frame a year ago) and year-to-date vinyl album sales total 3.759 million (down 47.1%).
Overall year-to-date album sales total 9.507 million (down 35.8% compared to the same year-to-date time frame a year ago). Year-to-date physical album sales stand at 7.137 million (down 41%) and digital album sales total 2.37 million (down 12.7%).
Taylor Swift makes Billboard chart history by becoming the first artist to spend 100 total weeks at No. 1 on the Billboard Artist 100.
The Artist 100 measures artists’ activity across key metrics of music consumption: album sales, track sales, radio airplay and streaming. Using a methodology comprising those metrics, the chart provides a weekly multi-dimensional ranking of artist popularity.
Billboard launched the Artist 100 in July 2014. Since then, Swift’s No. 1 run is more than twice as long as any other act’s. Here’s an updated look at the artists with the most weeks spent at the top spot (through the latest, March 2, 2024-dated survey).
Most Weeks at No. 1 on Billboard Artist 100:100, Taylor Swift38, Drake28, The Weeknd21, BTS20, Adele15, Ariana Grande15, Ed Sheeran14, Justin Bieber14, Post Malone13, Morgan Wallen12, Billie Eilish
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Swift continues her tear atop the Artist 100 thanks to the continued success of her catalog. Her music generated the most streams among all artists in the Feb. 16-22 tracking week, according to Luminate, while she was also the most-heard artist on radio and the top-selling artist, in terms of both combined album and digital song sales.
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That chart domination results in two currently-charting songs on the Billboard Hot 100 – “Cruel Summer” at No. 7 and “Is It Over Now? (Taylor’s Version) [From the Vault]” at No. 18 – and 10 albums on the Billboard 200: No. 6, 1989 (Taylor’s Version); No. 7, Lover; No. 9, Midnights; No. 15, Folklore; No. 21, reputation; No. 29, Speak Now (Taylor’s Version); No. 31, Red (Taylor’s Version); No. 34, Evermore; No. 58, Fearless (Taylor’s Version); and No. 65, 1989.
As Swift spends a milestone 100th week at No. 1 on the Artist 100, she also logs a landmark 500th total week on the chart. She’s the second-longest-charting act in the list’s history, after Drake, who reached the mark four weeks ago.
Here’s a breakdown of the metrics contributing to Swift’s historic week on the Artist 100.
Streaming
Swift continues her record run at No. 1 on the Artist 100 due, in large part, to her streaming consumption totals. Over Feb. 16-22, Swift’s catalog garnered a combined 319.4 million on-demand official U.S. streams, according to Luminate (encompassing songs on which she has lead artist billing). That makes her the most-streamed artist of the week.
Her songs that generated the most streams in that span: “Cruel Summer” (13.7 million), “Is It Over Now (Taylor’s Version) [From the Vault]” (7.6 million), “Anti-Hero” (7.5 million), “Lover” (6.7 million) and “Karma,” featuring Ice Spice (6 million).
Radio Airplay
Swift was also the most-heard artist on the radio Feb. 16-22. Songs by Swift earned a combined 177.3 million radio airplay audience impressions in that span.
The songs that earned the most impressions: “Is It Over Now” (49.8 million, making it the fifth most-heard song across all formats, as reflected on the Radio Songs chart), “Cruel Summer” (48.4 million; the sixth most-heard song overall), “Anti-Hero” (16.5 million), “Karma” (10.3 million) and “Blank Space” (28.3 million).
Swift is also currently charting on the following radio rankings:
Pop Airplay: “Is It Over Now?” (No. 4) and “Cruel Summer” (No. 12)Adult Pop Airplay: “Cruel Summer” (No. 3) and “Is It Over Now?” (No. 4)Adult Contemporary: “Cruel Summer” (No. 1 for a fifth week), “Anti-Hero” (No. 5), “Is It Over Now?” (No. 17) and “Bad Blood (Taylor’s Version)” (No. 29)Dance/Mix Show Airplay: “Is It Over Now?” (No. 22)
Album Consumption
Swift is additionally the top artist of the week in terms of album consumption. Her albums earned a combined 297,000 equivalent album units in the latest tracking week, the biggest total among all acts.
Here’s a breakdown of her album sales Feb. 16-22:
Overall album sales: 60,000, the most among all artistsVinyl sales: 33,000, the most among all artistsCD sales: 20,000, the most among all artists
Swift’s top-selling albums of the week: 1989 (Taylor’s Version) (11,000 copies sold; it’s No. 3 on the Top Album Sales chart), Lover (9,000; No. 4), Midnights (7,000; No. 7), Folklore (7,000; No. 8) and Evermore (5,000; No. 15).
As for her albums selling the most on vinyl: Folklore (6,000; No. 1 on the Vinyl Albums chart), 1989 (Taylor’s Version) (5,000; No. 2), Lover (5,000; No. 5), Midnights (4,000; No. 8) and Evermore (3,000; No. 11).
Digital Song Sales
Finally, Swift is also the top-selling artist of the week in terms of digital song sales. Swift’s songs sold a combined 36,000 downloads Feb. 16-22.
Her songs selling the most downloads in that tracking period: “Cruel Summer,” “Anti-Hero,” “You’re Losing Me (From the Vault)” (2,000 each), “Karma” (1,000), and “Love Story (Taylor’s Version)” (1,000 each).
Taylor Swift carves out another Billboard chart record as she surpasses The Beatles for the most weeks spent in the top 10 on the Billboard 200 albums chart in the last 60 years across all her top 10-charting albums combined.
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On the latest Billboard 200 chart (dated March 2), Swift has three albums in the top 10, which ups her cumulative total of weeks in the top 10 to 384 — across all her 16-top 10-charting albums combined. She’s in the top 10 on the latest list with three former No. 1s: 1989 (Taylor’s Version) at No. 6, Lover at No. 7 and Midnights at No. 9.
Since the Billboard 200 combined its previously separate mono and stereo album charts on the Aug. 17, 1963-dated chart, Swift now has the most weeks in the top 10. She steps past The Beatles, who have a total of 382 weeks in the top 10 across their 32 top 10-charting albums. (The Billboard 200 began publishing on a regular, weekly basis in March of 1956.)
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Swift first visited the top 10 on the Nov. 24, 2007-dated chart when her self-titled debut climbed 26-8. The Beatles first hit the top 10 on the Feb. 8, 1964, chart, when Meet the Beatles! vaulted 92-3. The Beatles were last in the top 10 on the Nov. 12, 2022-dated chart, when a deluxe reissue of the 1966 album Revolver prompted its re-entry on the list at No. 4.
Among Swift’s top 10-charting albums, the one with the most weeks in the top 10 is Midnights, with 68 weeks in the region. It’s followed by 1989 (60), Fearless (58), Lover (54) and Folklore (30).
As for The Beatles, the band’s five albums with the most weeks in the top 10 are Sgt. Pepper’s Lonely Hearts Club Band (35), Abbey Road, A Hard Day’s Night (28 each), Meet the Beatles! (21) and 1 (20).
Following Swift and The Beatles among acts the most weeks in the top 10 (since August 1963) are The Rolling Stones (with 309), Barbra Streisand (277) and Drake and Mariah Carey (233 each).
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 March 2, 2024-dated chart will be posted in full on Billboard‘s website on Feb. 27. For all chart news, follow @billboard and @billboardcharts on both X and Instagram.
Beyoncé’s “Texas Hold ‘Em” draws the No. 1 spot on the Billboard Global 200 chart, lifting from No. 4. The song is the superstar’s first leader on the list (which began in September 2020).
Meanwhile, Benson Boone’s “Beautiful Things” notches a second week at No. 1 on the Billboard Global Excl. U.S. survey.
Plus, Dua Lipa’s new single “Training Season” debuts at No. 4 on Global Excl. U.S. and No. 6 on the Global 200.
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The Billboard Global 200 and Billboard Global Excl. U.S. charts 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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Beyoncé’s Winning Hand on Global 200
Beyoncé’s “Texas Hold ‘Em” jumps to No. 1, from No. 4, where it debuted a week earlier, on the Billboard Global 200, with 59.6 million streams (up 86%) and 43,000 sold (down 10%) worldwide Feb. 16-22. Dating to the chart’s 2020 start, she previously reached the top 10 with “Break My Soul,” which hit No. 6 in 2022.
Notably, “Texas Hold ‘Em” is the second Global 200 No. 1, among 54 total so far, that has topped Billboard’s U.S.-based Hot Country Songs chart, joining Taylor Swift’s 2021 leader “All Too Well (Taylor’s Version).”
“Texas Hold ‘Em,” on Parkwood/Columbia Records/Columbia Nashville, is one of two songs that Houston native Beyoncé released Feb. 11, along with “16 Carriages.” The arrival of both tracks was announced via a Verizon commercial that aired during CBS’ broadcast of Super Bowl LVIII, ahead of the March 29 release of her new album, which follows her 2022 Renaissance LP.
Benson Boone’s “Beautiful Things” ranks at No. 2 after two weeks atop the Global 200; Ye (the artist formerly known as Kanye West) and Ty Dolla $ign’s “Carnival,” featuring Rich the Kid and Playboi Carti, drops 2-3 in its second week on the chart; Teddy Swims’ “Lose Control” climbs 7-4, returning to its best rank; and Swift’s “Cruel Summer” slips 3-5, following a week at No. 1 in November.
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Plus, Dua Lipa’s “Training Season,” released Feb. 15, debuts at No. 6 on the Global 200 with 43.9 million streams and 10,000 sold worldwide Feb. 16-22. The song is her fifth top 10 on the chart, and her third earned consecutively, following the No. 3-peaking hits “Houdini” and “Dance the Night.”
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‘Beautiful’ Banks Second Week Atop Global Excl. U.S.
Benson Boone’s “Beautiful Things,” released on Night Street/Warner Records, tallies a second week at No. 1 on the Billboard Global Excl. U.S. chart, with 43.1 million streams (up 20%) and 5,000 sold (up 12%) outside the U.S. Feb. 16-22.
Beyoncé’s “Texas Hold ‘Em” blasts 40-2 on Global Excl. U.S., with 31.5 million streams (up 136%) and 14,000 sold (up 54%) outside the U.S. She scores her second and top-charting top 10, after “Break My Soul” reached No. 9.
Creepy Nuts’ “Bling-Bang-Bang-Born” retreats to No. 3 from its No. 2 Global Excl. U.S. high.
Dua Lipa’s “Training Season” opens at No. 4 on Global Excl. U.S. with 32.9 million streams and 5,000 sold outside the U.S., marking her sixth top 10; as on the Global 200, it’s her third in a row.
Rounding out the Global Excl. U.S. top five, Taylor Swift’s “Cruel Summer” is steady at No. 5, after hitting No. 3.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated March 2, 2024) will update on Billboard.com tomorrow, Feb. 27. 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.
Beyond Beyoncé on the Hot 100, Jack Harlow’s “Lovin on Me” ranks at No. 2, following six nonconsecutive weeks at No. 1. Still, it adds a sixth week atop Radio Songs and rules the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which use the same methodology as the Hot 100, for a 14th week each.
Teddy Swims’ “Lose Control” rebounds 5-3 on the Hot 100, after reaching No. 2; Ye (formerly known as Kanye West) and Ty Dolla $ign’s “Carnival,” featuring Rich the Kid and Playboi Carti, dips 3-4 in its second week on the chart, as Ye and Ty Dolla $ign’s collaborative album Vultures 1 spends a second week at No. 1 on the Billboard 200 chart; and Benson Boone’s “Beautiful Things” backtracks 4-5 on the Hot 100, after hitting No. 2.
SZA’s “Snooze” rises 7-6 on the Hot 100, after reaching No. 2, as it leads the multimetric Hot R&B Songs chart for a 30th week – tying her own “Kill Bill” for the longest command by a woman; among all songs dating to the chart’s 2012 launch, only The Weeknd’s “Blinding Lights” has led longer (48 weeks, 2020-21).
Taylor Swift’s “Cruel Summer” falls 6-7 on the Hot 100, following four nonconsecutive weeks at No. 1 beginning in October, and Tate McRae’s “Greedy” pushes 9-8, after reaching No. 3.
Zach Bryan’s “I Remember Everything,” featuring Kacey Musgraves, slides 8-9 on the Hot 100, after it led for a week upon its debut last September. It leads the multimetric Hot Rock & Alternative Songs and Hot Rock Songs charts for a 26th week each.
Rounding out the Hot 100’s top 10, Doja Cat’s “Agora Hills” reenters the region (12-10), after hitting No. 7.
Again, for all chart news, you can follow @billboard and @billboardcharts on Billboard’s social accounts, and all charts (dated March 2), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Feb. 27).
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.
Five months after Karol G and Peso Pluma’s “Qlona” concluded its fifth week at No. 1 on Billboard’s Hot Latin Songs chart, the collab rises 2-1 to lead the Latin Airplay chart dated March 2.
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“Qlona” lands at the summit with a 17% gain in audience impressions, to 9.54 million, earned in the U.S. in the week ending Feb. 22, according to Luminate. It ousts Myke Towers’ “La Falda” from the top after one week in charge, dropping 1-2 with a 10% dip in impressions, to 9.5 million.
As “Qlona” reaches the summit in its 23rd week on the list, it wraps the longest journey to the top spot this decade, passing the 22-week trek that two Towers’ songs needed to their reign in 2020: “Bandido,” with Juhn, and “Bésame,” with Luis Fonsi. (The last song to take longer to reach No. 1 was Pedro Capo and Farruko’s “Calma,” which hit the top in its 24th week, on the April 13, 2019 chart.)
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With “Qlona” on top, Karol logs the 17th No. 1 in her Latin Airplay career. The new champ arrives five months after her own “Mi Ex Tenía Razón” reigned for two weeks last October. Peso Pluma, meanwhile, picks up his third, after “Ella Baila Sola,” with Eslabon Armado, ruled for one week last June.
Elsewhere, “Qlona” wins a first term at No. 1 on Latin Rhythm Airplay, marking a 16th win for Karol. It’s the second Latin rhythmic crown for Pluma, after the four-week champ “La Bebe,” with Yng Lvcas, in 2023.
Thanks to its radio haul, “Qlona” rebounds 5-4 on the multimetric Hot Latin Songs chart — which blends airplay, streaming activity, and digital sales — after five weeks in charge.
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Karol G & Tiesto Enter Upper Region
In more Karol G news, “Contigo,” her latest collab with Tiesto, flies 48-3 on Hot Latin Songs in its second week.
The song, released via Bichota/Interscope, debuted Feb. 15 at No. 48 with only one day of activity, the last day of the previous tracking week. In its first full tracking week, “Contigo” rallies to No. 3 on the strength of streaming activity. The song generated 8.2 million during the same period, up 240% in U.S. clicks.
That figure is enough to debut at No. 44 on the overall Streaming Songs chart, and to yield a No. 5 debut on Latin Streaming Songs.
Sales too, assist in its second week at No. 1 on Latin Digital Songs, as the song logged 1,000 downloads after its debut week.
Notably, the new champ also secures a milestone achievement for Tiesto, who captures his first top 10 on Hot Latin Songs among two chart entries. The electronic DJ and record producer earned his first career entry on the multimetric ranking with a No. 36 high for “Provenza (Remix),” with Karol G, in Aug. 2023.
Beyond its No. 3 high on Hot Latin Songs, “Contigo” matches Karol’s previous Tiesto team-ups on the Hot Dance/Electronic Songs ranking, lifting 10-4, and mirroring the No. 4 high of “Don’t Be Shy” and “Provenza (Remix)” in 2021 and 2023, respectively.
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The new, March 2, 2024-dated chart will be posted in full on Billboard‘s website on Feb. 27.