Chart Beat
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Shinedown extends its record for the most No. 1s in the history of Billboard’s Mainstream Rock Airplay chart as “A Symptom of Being Human” rises to the top of the Jan. 20-dated survey.
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The song becomes the band’s 19th No. 1 on the chart. The four-piece first reigned in November 2005 with “Save Me,” and had last led with “Daylight” in August 2022.
With 19 Mainstream Rock Airplay rulers, Shinedown extends its lead over Three Days Grace, which boasts 17. The chart began in 1981.
Most No. 1s, Mainstream Rock Airplay:
19, Shinedown
17, Three Days Grace
14, Five Finger Death Punch
13, Foo Fighters
13, Metallica
13, Van Halen
12, Disturbed
12, Godsmack
10, Tom Petty (solo and with the Heartbreakers)
10, Volbeat
Concurrently, “A Symptom of Being Human” holds at No. 16 on Alternative Airplay, after reaching No. 15 two weeks earlier. It’s Shinedown’s first top 20 hit on the chart since “Bully” peaked at No. 12 in 2012.
On the all-rock-format, audience-based Rock & Alternative Airplay chart, “A Symptom of Being Human” ranks at No. 5 after rising to No. 4 two weeks ago, with 4.6 million audience impressions, up 3%, Jan. 5-11, according to Luminate.
The song also crossed over to adult top 40 radio, having logged a No. 15 peak on the Adult Pop Airplay chart last August.
On the most recently published, Jan. 13-dated Hot Rock & Alternative Songs tally — which incorporates streams, airplay and sales data — “A Symptom of Being Human” placed at its No. 29 high. In addition to its airplay, the song earned 1.1 million official U.S. streams and sold 1,000 downloads Dec. 29-Jan. 4.
“A Symptom of Being Human” is the fourth single from Planet Zero, Shinedown’s seventh studio album. The set debuted at No. 1 on Billboard’s Top Rock & Alternative Albums chart in July 2022 and has earned 248,000 equivalent album units to date.
All Billboard charts dated Jan. 20 will update on Billboard.com on Wednesday, Jan. 17, a day later than usual due to the Martin Luther King Jr. Day holiday Jan. 15.
Miley Cyrus’ “Flowers” rewrites the longest reign in the history of Billboard’s Adult Contemporary chart, logging a 37th week at the summit on the ranking dated Jan. 20.
The single surpasses the command of Maroon 5’s “Girls Like You” in 2018-19.
Here’s an updated look at the songs that have dominated Adult Contemporary the longest over the chart’s 62-plus-year archives.
Most Weeks at No. 1 on Billboard’s Adult Contemporary Chart:
37 (to date), “Flowers,” Miley Cyrus, beginning April 15, 2023
36, “Girls Like You,” Maroon 5, Nov. 10, 2018
35, “Blinding Lights,” The Weeknd, Nov. 7, 2020
28, “Drift Away,” Uncle Kracker feat. Dobie Gray, June 7, 2003
24, “Easy on Me,” Adele, Nov. 13, 2021
24, “Shape of You,” Ed Sheeran, May 6, 2017
22, “Perfect,” Ed Sheeran, Feb. 24, 2018
22, “Hey, Soul Sister,” Train, July 3, 2010
21, “Hello,” Adele, Nov. 28, 2015
21, “Breakaway,” Kelly Clarkson, March 12, 2005
21, “A New Day Has Come,” Celine Dion, March 30, 2002
20, “Memories,” Maroon 5, March 21, 2020
20, “Just the Way You Are,” Bruno Mars, Feb. 5, 2011
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“Flowers,” released on Smiley Miley/Columbia Records, previously topped the mainstream top 40-based Pop Airplay chart (which began in 1992) for 10 weeks and the adult top 40-focused Adult Pop Airplay ranking (which dates to 1996) for 17 frames.
Meanwhile, the single’s combined 64 weeks atop Adult Contemporary (37), Adult Pop Airplay (17) and Pop Airplay (10) mark the most for any hit. The Weeknd’s “Blinding Lights” ranks second with 61 weeks atop the trio of charts combined, followed by “Girls Like You” (55); 51 songs have led all three lists.
“Flowers,” which Cyrus co-wrote, launched at No. 1 on the all-genre, multimetric Billboard Hot 100 last January and ruled for eight weeks, becoming her second leader. It’s from Cyrus’ album Endless Summer Vacation, which debuted at its No. 3 best on the Billboard 200 albums chart in March, marking her 14th top 10.
“Flowers” went on to land No. 1 finishes on Billboard’s 2023 year-end Radio Songs and Adult Pop Airplay Songs charts. Cyrus also scored six 2024 Grammy nominations, including three for “Flowers”: record and song of the year and best pop solo performance.
The Adult Contemporary chart ranks titles by weekly plays on a panel of over 80 adult contemporary radio stations. The tally began in Billboard’s pages (as the “Easy Listening” chart) on July 17, 1961. Once Luminate data began powering the chart exactly 32 years later (July 17, 1993), lengthy reigns became much more common than before. (Airplay is now provided to Luminate by Mediabase.)
Notably, the longest No. 1 Adult Contemporary run on the chart prior to Luminate tracking belongs to Paul Mauriat’s “Love Is Blue” (11 weeks, 1968), followed by three 10-week leaders: Al Stewart’s “Time Passages” (1978-79), Herb Alpert’s “This Guy’s in Love With You” (1968) and Roger Miller’s “King of the Road” (1965).
Bryan Adams’ “(Everything I Do) I Do It for You” claimed the longest Adult Contemporary rule of the ‘90s before the adoption of Luminate data (eight weeks, 1991), while nine tracks share the longest No. 1 stays of the ‘80s (six weeks each): Richard Marx’s “Right Here Waiting,” Simply Red’s “If You Don’t Know Me by Now” (both 1989), Kool & The Gang’s “Cherish” (1985), Lionel Richie’s “Hello” (1984), Barry Manilow’s “Read ‘Em and Weep” (1983-84), Richie’s “You Are” (1983), Neil Diamond’s “Yesterday’s Songs” (1981-82), Kenny Rogers’ “I Don’t Need You” (1981) and Air Supply’s “Lost in Love” (1980).
All charts dated Jan. 20 will update on Billboard.com Wednesday, Jan. 17 (a day later than usual due to the Martin Luther King Jr. Day holiday on Jan. 15).
Sophie Ellis-Bextor is murdering Australia’s singles chart, too.
The British pop veteran’s 2021 hit “Murder On The Dancefloor” (Universal) returns to the top 40 on the ARIA Singles Chart, published Friday, Jan. 12, powered by the dark-energy of Saltburn.
“Murder On The Dancefloor” shuffles to No. 25 on the latest tally, still some way off its peak of No. 3, achieved more than 22 years ago.
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The song is enjoying fresh life thanks to its appearance late in the hit Amazon Prime film, which stars Australian newcomer Jacob Elordi, and is separately making climbs up the Billboard Hot 100 and Official U.K. Singles Chart.
“Murder” is platinum certified in Australia and is one of Ellis-Bextor’s three top five hits in these parts, including Spiller’s 2000 leader “Groovejet (If This Ain’t Love),” for which she was the uncredited vocalist.
At the pointy end of the ARIA Single Chart is Jack Harlow’s “Lovin On Me” (Atlantic/Warner), which enters an eighth non-consecutive week at No. 1. “Lovin On Me” was bounced from the summit when the Christmas songs chimed in, then returned to the top when the fest season came to a close.
Tate McRae’s “Greedy” (RCA/Sony) is unmoved at No. 2 while U.S. singer and songwriter Noah Kahan continues his ascent with “Stick Season” (Universal), up 6-3. That’s easily Kahan’s best-performing single in Australia, eclipsing the No. 14 peak for 2017’s “Hurt Somebody” and the No. 45 peak for 2023’s “Dial Drunk.” “Stick Season” is the current No. 1 in the U.K., his first leader there.
Taylor Swift has just been crowned queen of Australia’s year-end 2023 albums chart, with 1989 (Taylor’s Version) (via Universal), having dominated the previous year’s ARIA tally with Midnights. Some things never change. 1989 (Taylor’s Version) holds at No. 1 on the ARIA Albums Chart for its 11th straight week, while Midnights is unchanged at No. 3. Swift, whose The Eras Tour winds its way to Australia next month, has five of the top 10 titles on the latest weekly tally.
All hail Taylor Swift. That’s how Australians reacted to TayTay in 2023, as the pop superstar dominated the year-end charts.
Swift reigned supreme on the 2023 ARIA End Of Year Albums Chart, published Friday, Jan. 1, with 1989 (Taylor’s Version) taking out top spot.
The fourth re-recorded album from Swift’s repertoire, 1989 (Taylor’s Version) logged nine weeks at No. 1 on the national chart last year, the longest consecutive streak of any LP.
That’s just the start of Swift’s sweep. The “Shake It Off” singer bagged five of the top 10 albums in the land Down Under, including the runner-up spot with Midnights, ARIA confirms, and 10 of the top 50.
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Following a two-week stay at No. 1 in 2023, Speak Now (Taylor’s Version) finishes the year at No. 7 overall; Lover is at No. 8; and the original version of 1989 is at No. 9. Also impacting the tally is Reputation (No. 11), Folklore (No. 12), Red (Taylor’s Version) (No. 29), Evermore (No.36) and Fearless (Taylor’s Version) (No. 46).
Swift is accustomed to the high life. Midnights was No. 1 album of 2022, meaning Swift has had the best-selling album in Australia for two-straight years. A third isn’t out of the question. Swift has two more re-recorded albums in the works (though release dates haven’t been announced), and her The Eras Tour will storm into Australia in February for seven stadium shows across Sydney and Melbourne.
Canadian R&B star The Weeknd’s The Highlights completes the annual albums podium with his career retrospective, The Highlights, ahead of Morgan Wallen’s One Thing At A Time and SZA’s SOS, respectively.
The country comeback is in full swing as Luke Combs lands three titles in the top 25: This One’s For You at No. 14, Gettin’ Old at No. 17 and What You See Ain’t Always What You Get at No. 24.
Meanwhile, U.S. artists lock-up the four best-selling singles of 2023, a list led by Miley Cyrus’ “Flowers,” a single that stood tall atop the ARIA Singles Chart for 12 weeks during the calendar year. Just eight songs have spent more than time at No. 1, ARIA reports. Tones and I’s “Dance Monkey” remains the all-time leader, notching 24 weeks at the top in 2019-20.
Slotting in at No. 2 on the 2023 ARIA End Of Year Singles Chart is country star Morgan Wallen with “Last Night,” ahead of SZA’s “Kill Bill” and Swift’s “Anti-Hero,” respectively, while English artist PinkPantheress finishes the year at No. 5 with “Boy’s A Liar.”
“Congratulations to all the artists who dominated 2023, but particularly to Taylor, who has completely reset the narrative for what a solo artist can accomplish,” comments ARIA CEO Annabelle Herd. “She is a truly once-in-a-lifetime artist, storyteller, performer and businessperson. Similarly, Miley Cyrus’ incredible achievement on the Singles Chart over the past year – solidified at No. 1 on the 2023 Singles Chart – is cause for celebration… as is women at the top of both the Singles and Albums Charts for 2023.”
The dearth of homegrown artists on both lists, however, is no cause to celebrate. Just four Australian albums cracked the top 100 this year, led by INXS hits collection The Very Best (at No. 58), and just three Australian-made singles impacted the top 100, none of which were released in 2023. The best-placed Australian recording was The Kid Laroi’s 15-times platinum 2021 collaboration with Justin Bieber, “Stay.”
“It’s frustrating, but the data provided by these charts is an unbiased view of how Australian audiences consume music, and we need to use this data to understand we have a very urgent, very complex problem to solve,” adds Herd. “We need to address the damaging lack of data about contemporary music.
Help is on the way. With renewed support for Ausmusic from the federal government and various state governments, the establishment of Music Australia, Sound NSW, and the Centre for Creative Workplaces, notes Herd, the industry is optimistic that “we can change the narrative this time next year.”
Check out ARIA’s year-end singles and charts.
Number_i’s “GOAT” blasts in at No. 1 on the Billboard Japan Hot 100, dated Jan. 10.
Number_i is the new group formed by members Sho Hirano, Yuta Jinguji, and Yuta Kishi, three former members of King & Prince. The trio’s first digital single dropped on New Year’s Day and launched at No. 1 for downloads, radio airplay, and video views, while coming in at No. 15 for streaming with 4,801,615 weekly streams. First-week figures for the track placed it far ahead of the song at No. 2 on the Japan Hot 100 — Ado’s “Show” — with downloads hitting 64,321 units (3.8 times the number for “Show”) and 7,243,154 video views (2.3 times).
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Songs that enjoyed exposure on year-end music programs continue to rise on the charts this week, with two iconic live shows — the 65th Japan Record Awards and the 74th NHK Kohaku Uta Gassen — greatly influencing the action.
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Ado’s “Show” slips to No. 2 after extending its record to 13 weeks at No. 1 last week. The long-running hit comes in at No. 2 for downloads and streaming, with the former racking up 16,740 units (up 14%) and the latter 10,318,975 streams (up 0.6%). Radio jumped 24-11, indicating that the track is also being played on platforms other than ground-based TV broadcasts.
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YOASOBI’s “Idol” comes in at No. 3, also boosted by a jaw-dropping staging of this monster hit track on NHK’s year-end live music extravaganza, with more than a dozen A-list J-pop and K-pop idol groups, dance teams and individuals gracing the stage to assist the superstar duo’s first-ever live performance of their global hit on TV. The record-holder for most weeks at No. 1 on the Billboard Japan Hot 100 is on the rise again, with downloads up 67% to 16,740 units (No. 3), streaming up 13% to 10,571,870 streams (No. 1) and video up 11% to 2,341,628 views (No. 3). Like Ado’s “Show,” the Oshi no Ko opener has gained new fans through its year-end exposure.
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Mrs. GREEN APPLE’s “Que Sera Sera,” winner of the 2023 Grand Prix at the 65th Japan Record Awards, rises to No. 4 after jumping 17-7 last week. Points for streaming increased significantly, up 23% with 7,759,163 views, indicating that the song is reaching a new generations of fans. “Dance Hall,” which the three-man band performed on Kohaku, rose 18-12 this week, and like Vaundy’s “Kaiju no Hanauta” — a karaoke favorite that continued to chart in the upper tiers of the Japan Hot 100 throughout last year after the 23-year-old performed it on Kohaku in 2022 — Mrs. GREEN APPLE could have another hit song in the making this year.
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Other notable chart-movers powered by year-end TV performances include 10-FEET’s “Dai Zero Kan” (21-13), ATARASHII GAKKO!’s “OTONABLUE” (32-20), NewJeans’ “Ditto” (46-22) and Aimyon’s “Ai no Hana” (79-27), all enjoying surges in metrics including downloads, streaming, radio, video, and karaoke.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from Jan. 1 to 7, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Lesley Gore’s 1963 track “Misty” reaches No. 1 on the TikTok Billboard Top 50 chart as Sophie Ellis Baxter’s “Murder on the Dancefloor” lands in the top 10. Tetris Kelly:We’ve got a new leader on top of the chart, plus rap and a 2001 sleeper hit break into the top 10. Lesley Gore’s “Misty” hit […]
More than 60 years after it was released, Lesley Gore’s rendition of “Misty” hits No. 1 on a Billboard chart, crowning the TikTok Billboard Top 50 dated Jan. 13.
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The TikTok Billboard Top 50 is a weekly ranking of the most popular songs on TikTok in the United States based on creations, video views and user engagement. The latest chart reflects activity from Jan. 1 to 7. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50.
“Misty,” a jazz standard first penned by Erroll Garner in 1954 and recorded by Gore for her 1963 debut album I’ll Cry If I Want To, initially debuted on the TikTok Billboard Top 50 at No. 3 (Jan. 6) prior to its rise to No. 1.
As reported last week, TikTok usages of “Misty” mostly involves a trend where the user is shown without a feature (glasses, a certain hair style, etc.) and then with that feature. Though as a spin on what’s expected, the creator usually uploads a photo of them with a friend or family member with that feature (example: a friend with glasses) instead.
“Misty” has continued to jump in Billboard chart-eligible streams since its TikTok trend took off. In the latest tracking week for charts such as the Billboard Hot 100 (Dec. 29-Jan. 4), the track earned 330,000 official on-demand U.S. streams, a boost of 36%, according to Luminate.
At more than 60 years old, “Misty” is the oldest song to reign on the TikTok Billboard Top 50 since its September 2023 inception. It takes over from the previous oldest track, as “Misty” leads following a two-week rule for Mariah Carey’s “All I Want for Christmas Is You,” which ascended to the top of the list during the holiday season amid multiple other Christmas standards’ chart appearances. Unlike the rest, Carey actually remains on the Jan. 13 survey, albeit at No. 46.
With the path cleared of holiday tunes, Nicki Minaj’s “Everybody” featuring Lil Uzi Vert rises to a new peak of No. 2, while Playboi Carti’s “Sky” makes its monthly return to the chart, this time at No. 3, due to its “wake up, it’s the first of the month” trend.
A trio of big movers reach the TikTok Billboard Top 50’s top 10 for the first time, led by Flo Milli’s “Never Lose Me,” which vaults 13-7. One of the more recent trends using the song involves showing off medals with the caption “me if having the [insert thing here] was an award,” oftentimes the “worst ex.”
Project Pat’s “Choose U” jumps onto the chart as the top debut, ranking at No. 8. Its virality coincides with a trend where creators use the phrase “you’re the kind of girl they write books about” and then show a book cover, usually played for comedic effect.
And rounding out the top 10 as another new addition to the region is Sophie Ellis-Bextor’s “Murder on the Dancefloor.” The 2001 dance track has achieved newfound success after a synch in the new film Saltburn, and the craze has crossed over to TikTok, too, with many of the top uploads referencing the movie in some way.
“Murder on the Dancefloor” reaches the Hot 100 for the first time at No. 98, garnering 3.9 million streams, up 131%.
See the full TikTok Billboard Top 50, also featuring debuts from Coldplay, Kendrick Lamar and Drake here. You can also tune in each Friday to SiriusXM’s TikTok Radio (channel 4) to hear the premiere of the chart’s top 10 countdown at 3 p.m. ET, with reruns heard throughout the week.
It has not taken 2024 long to find its first new global superstar. Xavi, the 19-year-old Mexican-American singer-songwriter born Joshua Xavier Guiterrez, is surging on Billboard charts, notably climbing to No. 1 on the Jan. 13-dated Emerging Artists survey.
The Emerging Artists chart ranks the most popular developing artists of the week, using the same formula as the all-encompassing Billboard Artist 100, which measures artist activity across multiple Billboard charts, including the Billboard Hot 100 and Billboard 200. (The Artist 100 lists the most popular acts, overall, each week.) However, the Emerging Artists chart excludes acts that have notched a top 25 entry on either the Hot 100 or Billboard 200, as well as artists that have achieved two or more top 10s on Billboard’s “Hot” song genre charts and/or consumption-based “Top” album genre rankings.
Xavi’s bustling activity is due in large part to the success of “La Diabla” and “La Victima,” both of which are unaccompanied solo singles. The former shoots from No. 62 to No. 34 on the Hot 100 and the latter leaps 79-55. As the leading non-English-language song on the first fully post-Christmas Hot 100 of the year, “La Diabla” drew 12.7 million on-demand U.S. streams in the week ending Jan. 4, up 15% from the previous frame, according to Luminate.
“La Diabla” adds a second week atop the Hot Latin Songs chart, while rising to No. 1 on Latin Streaming Songs.
Both of Xavi’s breakout hits are making great strides on Billboard’s global charts as well. “La Diabla” is No. 2 on the Billboard Global Excl. U.S. ranking and No. 4 on the Billboard Global 200, while “La Victima” climbs to Nos. 17 and 14, respectively. Both are new in each chart’s top 20.
Further, Xavi debuts on both charts with “Poco A Poco,” with Los Dareyes De La Sierra, and “Modo Dnd” with Tony Aguirre. The one-after-another onslaught is reminiscent of fellow regional Mexican star Peso Pluma’s sudden surge on the global charts last year, when he amassed seven debuts between March and April. Peso Pluma himself scores his fifth top 10 hit on each global list, as “Bellakeo” with Anitta hits No. 6 on Global Excl. U.S. and No. 7 on the Global 200.
Even with all of Xavi’s success on the U.S.-based Hot 100 and Latin charts, three of his four globally-charting hits are higher on the Global Excl. U.S. tally than the Global 200. “La Diabla” and “La Victima” takes the Nos. 1 and 2 spots, respectively, on Billboard’s Mexico Songs ranking, while the former is also in the top 10 in Colombia and Ecuador.
Julión Álvarez y Su Norteño Banda capture their ninth No. 1 on Billboard’s Regional Mexican Airplay chart as “Buscándole a La Suerte” ascends to No. 1 on the Jan. 13-dated list. After seven weeks in the top 10, the song crowns the list with 6.7 million audience impressions earned during the Dec. 29-Jan. 4 tracking […]
Billboard has more than 200 different weekly charts in its menu, encompassing numerous genres and formats.
While established artists often compete for a spot on the Billboard Hot 100 songs chart and Billboard 200 albums ranking, which track the most popular songs and albums of the week, respectively, up-and-coming talents typically start off on genre-specific lists.
Hundreds of artists chart their songs and albums on Billboard’s rankings each week, but these five artists appear on surveys for the first time on the Jan. 13-dated charts.
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Vacations
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The Australian indie rock band has been releasing music since 2015, but as of this week, it’s officially a Billboard-charting act thanks to its single “Next Exit.” Released in April 2023 on No Fun Records/Nettwerk, the song debuts at No. 40 on Alternative Airplay (up 2% in spins, according to Luminate).
The song is the lead single off the group’s forthcoming third LP, No Place Like Home, due Friday (Jan. 12). The band released its first two albums, Changes and Forever in Bloom, in 2018 and 2020, respectively. Vacations, who is scheduled to perform at St. Jerome’s Laneway Festival in Melbourne next month, is comprised of Campbell Burns, Nate Delizzotti, Jake Johnson and Joseph Van Lier.
Ryan Larkins
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The singer-songwriter arrives on Billboard’s charts with his breakthrough single “King of Country Music.” He released the track in October on his debut five-track EP Meet Ryan Larkins, on Red Street Records. The song debuts at No. 59 on Country Airplay (up 41% in audience).
Larkins, born and raised in Nashville, began his career as a songwriter. Before this week he’d written one Billboard-charting hit: Cody Johnson’s “The Painter,” which he co-penned with Benjy Davis and Kat Higgins, has so far reached No. 12 on both Hot Country Songs and Country Airplay. He has previously written with the likes of Rhett Akins, Ben Hayslip, Tom Douglas, Tony Lane, Lee Miller, Tim Nichols, Craig Wiseman and Country Music Hall of Fame member Bill Anderson.
In February, Larkins will hit the road as the opening act on Priscilla Block’s Hey Jack Tour, which runs through May.
4Batz
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The up-and-coming R&B artist scored his first Billboard chart entry on the Jan. 6-dated charts thanks to his breakout viral song, “Act II: Date @ 8,” and now he lands his second with “Act I: Stickerz 99.”
“Date @ 8” debuted at No. 16 on Hot R&B Songs, and it jumps to No. 11 in its second week with 3.8 million official U.S. streams (up 59%). It also enters Hot R&B/Hip-Hop Songs at No. 36. “Stickerz 99” starts at No. 25 on Hot R&B Songs with 1.7 million streams (up 30%). 4Batz concurrently arrives at No. 23 on Emerging Artists.
TikTok has been central to both songs’ gains. “Date @ 8” has soundtracked over 30,000 clips on the platform to date, while “Stickerz 99” has been used in over 3,000 videos. The songs are 4Batz’s only releases on streaming services so far.
Oscar Ortiz
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The Mexican artist debuts on Billboard’s charts with his new collaboration with Edgardo Nuñez, “First Love.” Released Dec. 11 via Genesis/BadSin Records, the single debuts at No. 46 on Hot Latin Songs with 2 million streams.
Ortiz released his first song on streaming services, “Anillos” with Oscar Maydon, in April 2023. Since then, he’s released several other tracks, as well as the five-song EP 23/7 in August.
Ortiz’s brother, Gerardo Ortiz, has achieved numerous successes on Billboard’s charts, dating to his arrival in 2010: 30 hits on Hot Latin Songs and 33 on Regional Mexican Airplay — including 12 No. 1s on the latter. He has also logged 11 titles on Top Latin Albums, including six No. 1s.
In a 2021 interview with Billboard, Gerardo said that he often turns to Oscar as a springboard for new ideas. “I’m more in tune with my brothers who are musicians. I have a piano in my house, and [Oscar] will start playing his own stuff and I start singing some of my new stuff,” Gerardo said, adding that Oscar has also written some of his hits. “It’s great because they give me honest feedback. They’re not afraid to tell me how they really feel about something I’ve written.”
Princess Superstar
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The New York City-based DJ/rapper notches her first chart appearance thanks to her 17-year-old collaboration with the Dutch DJ Mason, “Perfect (Exceeder).” The song, released in 2006 on Armada Music, debuts at No. 12 on Dance/Electronic Songs with 1.5 million streams (up 76%).
The song’s new buzz can be attributed to its inclusion in the film Saltburn. The track has also begun generating attention on TikTok, where it has been used in over 27,000 clips to date. A separate mix has soundtracked 10,000 videos. In total, 10 mixes of the song appear on streaming services.
While this marks the first U.S. chart entry for Princess Superstar, she reached No. 11 on the Official UK Singles Chart in 2002 with her song “Bad Babysitter.” She has released eight solo LPs in her career, dating to the mid-‘90s, most recently with These Are the Magic Days in 2018. She has also collaborated with Grandmaster Flash, Moby and The Prodigy, among others.