Chart Beat
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Toby Keith’s 35 Biggest Hits re-enters the Billboard 200 albums chart (dated Feb. 17) at No. 1, following the country superstar’s death on Feb. 5 of stomach cancer. It’s the fifth chart-topper for Keith on the all-genre chart, and first since 2010.
The best-of collection earned 66,000 equivalent album units in the tracking week ending Feb. 8 (up 953%). The album was originally released in 2008 and initially peaked at its debut rank of No. 2 on the list dated May 24, 2008. It contains 31 of Keith’s 42 top 10 hits on Billboard’s Hot Country Songs chart, including 15 of his 20 No. 1s.
35 Biggest Hits is Keith’s first No. 1 on the Billboard 200 since 2010’s Bullets in the Gun. He also topped the tally with Big Dog Daddy (2007), Shock’N Y’all (2003) and Unleashed (2002). During his lifetime, he logged 14 top 10-charting albums (inclusive of his five No. 1s).
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multimetric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Feb. 17, 2024-dated chart will be posted in full on Billboard‘s website on Feb. 13. For all chart news, follow @billboard and @billboardcharts on both X and Instagram.
Of 35 Biggest Hits’ 66,000 units earned in the tracking week ending Feb. 8, SEA units comprise 46,000 (up 689%, equaling 64.04 million on-demand official streams of the set’s 35 songs), album sales comprise 11,000 (up 3,251%) and TEA units comprise 9,000 (up 6,966%).
35 Biggest Hits is the first posthumous No. 1 on the Billboard 200 since Pop Smoke’s Faith debuted at No. 1 on the July 31, 2021, chart, following his death on Feb. 19, 2020. The last retrospective album to hit No. 1 posthumously was Prince’s The Very Best Of, which topped the chart dated May 7, 2016, following his death on April 21 of that year. 35 Biggest Hits is the first retrospective album to reach No. 1 since BTS’ Proof opened at No. 1 on the June 25, 2002 chart.
Also, as 35 Biggest Hits replaces another country album at No. 1 — Morgan Wallen’s One Thing at Time, which dips to No. 2 — it’s first time in more than nine years that one country album has replaced another at No. 1. It last happened in late October and early November of 2014, when three country albums each debuted at No. 1 and spent one week in succession: Blake Shelton’s Bringing Back the Sunshine (Oct. 18), Jason Aldean’s Old Boots, New Dirt (Oct. 25) and Florida Georgia Line’s Anything Goes (Nov. 1).
Back on the new Billboard 200, One Thing at a Time slips one spot to No. 2 with 65,000 equivalent album units (down 2%). Four more former No. 1s follow Wallen’s, as SZA’s SOS steps 6-3 (53,000; up 28%), 21 Savage’s American Dream falls 2-4 (51,000; down 16%), Taylor Swift’s Midnights rises 9-5 (51,000; up 35%) and Drake’s For All the Dogs descends 3-6 (49,000; down 4%). SZA and Swift both gain thanks in part to exposure during the Grammy Awards’ CBS-TV broadcast (Feb. 4). The former performed and won best R&B song (for SOS single “Snooze”), while the latter won two trophies (both for Midnights: album of the year and best pop vocal album).
Noah Kahan’s Stick Season slips 4-7 on the Billboard 200 with 49,000 equivalent album units earned (though up 4%), Swift’s chart-topping 1989 (Taylor’s Version) is pushed down 5-8 with 48,000 units (up 7%) and Swift’s former leader Lover is also squeezed down despite a gain, falling 7-9 with 45,000 units (up 13%). Zach Bryan’s self-titled chart-topper rounds out the top 10, falling 8-10 with 42,000 units (while up 5%).
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.
Billy Joel’s “Turn the Lights Back On” returns the legendary singer-songwriter to the Billboard Hot 100, as it debuts on the chart dated Feb. 17 at No. 62. The song — Joel’s first single release in 17 years — marks his first entry on the chart since the survey dated Oct. 11, 1997, when he wrapped the run of his version of Bob Dylan’s “To Make You Feel My Love.”
Joel returns to the Hot 100 just one week shy of the 50th anniversary of his first appearance on the chart: on the list dated Feb. 23, 1974, he debuted at No. 94 with his breakthrough hit “Piano Man,” which went on to peak at No. 25. Among his 43 career Hot 100 entries including “Turn the Lights Back On,” he has banked 13 top 10s, including three No. 1s: “It’s Still Rock and Roll to Me” (for two weeks in 1980), “Tell Her About It” (one week, 1983) and “We Didn’t Start the Fire” (two weeks, 1989).
“Turn the Lights Back On” enters the Hot 100 following its first full week of tracking (Feb. 2-8), after it was released at 7 a.m. ET Thursday, Feb. 1, on Columbia Records. Further boosted by Joel’s performance of the piano ballad at the Grammy Awards on Feb. 4, it debuts with 5.1 million in radio audience, 4.5 million official streams and 22,000 combined physical (via 7” vinyl) and digital singles sold in the U.S., according to Luminate. It concurrently jumps 11-5 on the Digital Song Sales chart.
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Notably, Joel, who was inducted into the Rock & Roll Hall of Fame in 1999, appeared as a writer on the Hot 100 amid his quarter-century-plus break from the chart as a recording artist: the Glee Cast’s covers of his classics “Only the Good Die Young” and “Uptown Girl” hit Nos. 50 and 68 in 2010 and 2011, respectively, while Fall Out Boy’s update of “We Didn’t Start the Fire” reached No. 94 last July. (Plus, Olivia Rodrigo’s “Deja Vu” shouts-out “Uptown Girl” and Joel himself; both his original “Uptown Girl,” in 1983, and “Deja Vu,” in 2021, hit No. 3. The pair performed both songs together at Madison Square Garden in New York in August 2022.)
“Turn the Lights Back On” was written by Joel, Arthur Bacon, Wayne Hector and Freddy Wexler. (Hector has co-written five top five Hot 100 hits, beginning with O-Town’s “All or Nothing” in 2001, while Wexler co-wrote Ariana Grande and Justin Bieber’s 2020 No. 1 “Stuck With U.”)
“The melody, the chords, the chord progression, even the time signature was something that struck me immediately, and that’s how I relate to music,” Joel said of how he reacted to what Wexler was working on. “This particular lyric in this song, I’ve had these thoughts, I could have written these lyrics verbatim. I’ve chewed on these words and I’ve thought of these words, and I’ve said these words before. It was all kind of falling into place – and who am I to fight that?”
Joel has solo-written 40 of his 43 Hot 100 hits as a recording artist, with “Turn the Lights Back On” serving as his first charted co-write. In addition to the Dylan-penned “To Make You Feel My Love,” Joel reached the ranking in 1992 with his cover of Elvis Presley’s “All Shook Up,” which Presley wrote with Otis Blackwell.
Jack Harlow’s “Lovin on Me” returns to No. 1, from No. 2, for a fifth nonconsecutive week atop the Billboard Hot 100. The song first led for a week in December, followed by two frames at the summit in January.
Elsewhere, Benson Boone’s “Beautiful Things” reaches the Hot 100’s top five (8-3) and hits No. 1 on the Streaming Songs chart, while three songs soar in the Hot 100’s top 10 following spotlights at the Grammy Awards Feb. 4: SZA’s “Snooze” (10-5), Luke Combs’ “Fast Car” (20-8) and Miley Cyrus’ “Flowers” (32-10).
The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data, the lattermost metric reflecting purchases of physical singles and digital tracks from full-service digital music retailers; digital singles sales from direct-to-consumer (D2C) sites are excluded from chart calculations. All charts (dated Feb. 17, 2024) will update on Billboard.com tomorrow, Feb. 13. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
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Harlow’s “Lovin on Me,” released on Generation Now/Atlantic Records, drew 76.7 million radio airplay audience impressions (up 1%) and 23.2 million streams (down 10%) and sold 6,000 downloads (down 39%) in the Feb. 2-8 tracking week, according to Luminate.
The single adds a fourth week at No. 1 on the Radio Songs chart and dips 2-3 after five weeks atop Streaming Songs and 6-20 after two frames atop Digital Song Sales. It concurrently leads the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which use the same methodology as the Hot 100, for a 12th week each.
Teddy Swims’ “Lose Control” hits a new No. 2 Hot 100 high, rising from No. 4.
Benson Boone’s “Beautiful Things” bounds 8-3 on the Hot 100, a week after it became his first top 10. It becomes his first Streaming Songs No. 1, with 22.8 million streams (up 23%). (The song’s sum of raw streams is the week’s second-highest, after Harlow’s “Lovin on Me,” but “Beautiful Things” tops Streaming Songs due to the application of weighting to all titles’ paid/subscription and ad-supported on-demand streams and programmed/radio streams.)
Taylor Swift’s “Cruel Summer” retreats 3-4 on the Hot 100, following four nonconsecutive weeks at No. 1 beginning in October. It also becomes the sixth of her 232 charted titles (the most among women) to log at least 40 weeks on the tally, joining “Anti-Hero” (53 weeks; 2022-23), “Shake It Off” (50; 2014-15), “You Belong With Me” (50; 2008-10), “Love Story” (49; 2008-09) and “Teardrops on My Guitar” (48; 2007-08).
SZA’s “Snooze” reawakens with a 10-5 jump on the Hot 100, after reaching No. 2, up 29% to 16.5 million streams and 284% to 3,000 sold, as well as 1% to 45 million in airplay audience. SZA performed the song, in a medley with her 2023 No. 1 “Kill Bill,” at the Grammys, broadcast on CBS from Crypto.com Arena in Los Angeles, while “Snooze” additionally won for best R&B song.
Notably, “Snooze” scores its 60th week on the Hot 100. It’s just the 26th title to reach the milestone (among the over 30,000 that have hit the chart dating to its Aug. 4, 1958, inception).
“Snooze” concurrently leads the multimetric Hot R&B Songs chart for a 28th week.
Zach Bryan’s “I Remember Everything,” featuring Kacey Musgraves, keeps at No. 6 on the Hot 100, after it led for a week upon its debut last September. The collab, which won the Grammy Award for best country duo/group performance, tops the multimetric Hot Rock & Alternative Songs and Hot Rock Songs charts for a 24th week each and Hot Country Songs for a 20th frame.
Tate McRae’s “Greedy” descends 5-7 on the Hot 100, after reaching No. 3. It sports a 6% gain to 1,000 sold after she performed it at the NHL All-Star Game Feb. 3 in Toronto (broadcast in the U.S. on ABC).
Luke Combs’ “Fast Car” revs 20-8 on the Hot 100, after peaking at No. 2, up 26% to 13.6 million streams and 1,185% to 17,000 sold, as well as 1% to 39.4 million in radio reach. Combs performed the song, which was nominated for best country solo performance, at the Grammys with Tracy Chapman, whose original version hit No. 6 on the Hot 100 in 1988.
Chapman’s “Fast Car” meanwhile, re-enters Digital Song Sales at No. 1 with 35,000 sold (up 8,215%). It marks the singer-songwriter’s first leader on a Billboard chart since 2000, when “Telling Stories (There Is Fiction in the Space Between)” topped Adult Alternative Airplay for eight weeks. Plus, with 6 million streams (up 153%) and 1.3 million airplay audience impressions (up 67%), Chapman’s “Fast Car” re-enters the Hot 100 at No. 42. She appears on the chart for the first time since the survey dated Dec. 28, 1996, while her recording of “Fast Car” reaches the ranking for the first time since it wrapped its original 21-week run on the list dated Oct. 22, 1988.
(Chapman has won four Grammy Awards, including best female pop vocal performance for “Fast Car,” which she wrote solo, in 1989; she also won for best new artist, while “Fast Car” parent LP Tracy Chapman won for best contemporary folk album that year.)
Doja Cat’s “Agora Hills” backtracks to No. 9 from its No. 7 Hot 100 high.
Rounding out the Hot 100’s top 10, Miley Cyrus’ “Flowers” (32-10) likewise benefits from buzz at the Grammys, where it won for record of the year and best pop solo performance – marking her first career Grammy wins – and she performed the song. After dominating the chart for eight weeks starting upon its debut in January 2023, it surges with gains in streams (11.3 million, up 51%) and sales (26,000, up 2,160%), along with 33 million in radio audience.
Again, for all chart news, you can follow @billboard and @billboardcharts on Billboard’s social accounts, and all charts (dated Feb. 17), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Feb. 13).
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.
Noah Kahan hits the U.K. chart for six as “Stick Season” (via Republic Records) extends its reign.
The Vermont, U.S. singer and songwriter’s breakthrough folky number racks-up a market leading 8.3 million streams, the Official Charts Company reports, as it collects a sixth straight week at No. 1.
That’s the longest consecutive streak atop the Official U.K. Singles Chart since Dave & Central Cee’s “Sprinter” ran through the pack in the summer of 2023.
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“Stick Season” leads an unchanged top three, ahead of Sophie Ellis-Bextor’s “Murder on the Dancefloor” (Polydor) and Teddy Swims’ “Lose Control” (Atlantic), respectively.
There’s change, however, for Benson Boone’s “Beautiful Things”(Warner Records) which vaults 11-5, for the U.S. artist’s first career appearance in the U.K. top 10.
Another artist on the rise is YG Marley, grandson of the late, great Bob Marley, and son of Ms. Lauryn Hill, whose independently-released “Praise Jah In The Moonlight” improves 20-9. That’s Marley’s first-ever U.K. top 10 appearance.
Ella Henderson and Rudimental’s “Alibi” (Atlantic) has a new high point, lifting 24-16 in its fourth week. “Alibi” samples the late Coolio’s 1995 hit “Gangsta’s Paradise,” which logged two weeks at No. 1 and finished the year as the U.K.’s second biggest-selling single.
It’s a great week for The Last Dinner Party, the critically-lauded London band, whose debut LP Prelude to Ecstasy (via Island) blasts to No. 1 on the Official U.K. Albums Chart. The lead single from it, “Nothing Matters,” lifts 22-19 on the Official U.K. Singles Chart, published Friday, Feb. 9, for the five-piece band’s first U.K. top 20 appearance.
Also on the rise is Justin Timberlake’s “Selfish” (up 37-29 via RCA) and Michael Marcagi’s TikTok-powered “Scared To Start” (Warner Records), up 38-31 – a new career high for the singer-songwriter and Cincinnati native.
Finally, it’s a good week for Good Neighbours, the English indie-rock duo of Oli Fox and South London-based Scott Verrill, whose debut single “Home” (Some Action) cracks the top 40 for the first time. “Home” runs 81-40.
The Last Dinner Party feasts on the U.K. chart as Prelude to Ecstasy (via Island) blasts to No. 1.
The outright leader at the midweek point, Prelude to Ecstasy clocks 32,800 chart units in its first week, the Official Charts Company reports.
That’s the biggest opening week for a debut album by a band since 2015, when electronic pop act Years & Years accumulated 55,000 with their debut, Communion.
Also, according to the OCC, the Last Dinner Party’s first-week result includes more than 14,000 vinyl copies, for the fastest-selling debut album by a group on vinyl of the century, and the highest sales week for a vinyl album since Oasis’ The Masterplan remaster dropped last November.
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Based in London, the indie-rock five-piece (Abigail Morris, Lizzie Mayland, Emily Roberts, Georgia Davies and Aurora Nishevci) has some serious hype behind it.
The group snagged this year’s BRITs Rising Star Award and the BBC Sound Of 2024 poll, a brace that assures the Last Dinner Party status as the next big thing in music.
Prelude to Ecstasy features “Nothing Matters,” their breakthrough debut single which charted on the Billboard Hot 100 and the Official U.K. Singles Chart.
Also new to the Official U.K. Albums Chart, published Friday, Feb. 9, is Jamie Webster’s 10 For The People (Modern Sky), at No. 2. With that effort, the Liverpool, England singer and songwriter boasts a new career high, outdoing 2022’s Moments, which peaked at No. 3.
Glasgow, Scotland singer and songwriter Dylan John Thomas enjoys a top 40 debut with his self-titled debut album (via Ignition), new at No. 21, while Britpop-era psychedelic rock act Kula Shaker nabs a fourth U.K. top 40 whose latest release Natural Magick (Strange Folk), new at No. 22.
Finally, Taylor Swift fever spreads on the U.K. chart following the announcement of The Tortured Poets Department, her forthcoming 11th studio album. Several of Swift’s recordings spike on the tally, including 1989 (Taylor’s Version) (up 8-5), Midnights (up 15-6), Folklore (up 18-10), Lover (up 17-13), reputation (up 20-14), and Evermore (up 51-40), all through EMI. Announced during the 2024 Grammys broadcast, The Tortured Poets Department is due out April 19.
It has been more than a year since SZA’s SOS was released on Dec. 9, 2022, but the album continues to mine new records on the Billboard charts. Now, the album’s hit single “Snooze” earns an unprecedented 30th week at No. 1 on the R&B/Hip-Hop Airplay chart, the most by any song in the list’s 31-year history.
“Snooze” scores its record-breaking moment on the chart dated Feb. 17 through a 2% increase to 22 million in audience for the tracking week of Feb. 2 – 8, according to Luminate. With its 30th week atop R&B/Hip-Hop Airplay, the song breaks from a tie with Chris Brown and Young Thug’s “Go Crazy” to solely claim first place in the archives. “Go Crazy” dominated for 29 weeks in 2020-21.
As “Snooze” shuffles the leaderboard, here’s a recap of the songs with the most weeks at No. 1 on R&B/Hip-Hop Airplay, which launched in 1993.
Weeks at No. 1, Song Title, Artist, Date Reached No. 130, “Snooze,” SZA, July 1, 202329, “Go Crazy,” Chris Brown & Young Thug, Aug. 22, 202027, “No Guidance,” Chris Brown featuring Drake, Aug. 24, 201927, “Essence,” Wizkid featuring Justin Bieber & Tems, Sept. 4, 202123, “Adorn,” Miguel, Sept. 22, 201222, “Free Mind,” Tems, Nov. 12, 202218, “Leave the Door Open,” Silk Sonic, April 24, 202116, “Boo’d Up,” Ella Mai, June 23, 201815, “Be Without You,” Mary J. Blige, Jan. 7, 200615, “Hotline Bling,” Drake, Oct. 24, 2015
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Notably, the top six tunes on the list above belong to RCA Records. The label has particularly shored up its ranks in recent years; “Snooze” marks the third time in the last four years that the record for most weeks at No. 1 has changed hands, though it has remained within the RCA family. After Miguel’s “Adorn” set a then-record 23 weeks atop the radio ranking in April 2013, it held until Brown’s “No Guidance,” featuring Drake, took the title in February 2020, before its own displacement, to “Go Crazy,” in April 2021.
As with most of the preceding titleholders, “Snooze” achieved the record through its cross-format strength at both mainstream R&B/hip-hop and adult R&B stations, whose combined audience totals are what makes up the R&B/Hip-Hop Airplay chart . The single began a four-week, nonconsecutive run at No. 1 on Mainstream R&B/Hip-Hop Airplay in July 2023 and has remained in the top five each week. At the same time, “Snooze” has been steadily climbing Adult R&B Airplay and is nearing the top slots, climbing 6-5 on the newest chart.
The R&B/Hip-Hop Airplay record furthers a major week for “Snooze,” following its Grammy Award win for best R&B song on Sunday (Feb. 4). The trophy was one of SZA’s three victories, with best pop duo/group performance for her “Ghost in the Machine,” collaboration with Phoebe Bridges and best progressive R&B album for SOS.
The Black Keys return to the top of Billboard’s Adult Alternative Airplay chart for an eighth time with “Beautiful People (Stay High),” which reigns on the Feb. 17-dated survey.
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“Beautiful People” rules in its fourth week on the tally, sporting the quickest rise to the chart’s peak in 2024 so far and fastest since The Beatles’ “Now and Then” also took four frames in December 2023.
It’s the duo’s first No. 1 since “Wild Child” reigned for four weeks beginning in April 2022. Between “Wild Child” and “Beautiful People,” the band also appeared with “It Ain’t Over,” which peaked at No. 5 in September 2022.
The Black Keys first led with “Lonely Boy,” a seven-week topper beginning in December 2011.
With eight No. 1s, the band moves into a three-way tie for the fifth-most rulers in the history of Adult Alternative Airplay, which published its first chart in 1996, alongside Death Cab for Cutie and John Mayer. U2 leads all acts with 14 No. 1s.
Most No. 1s, Adult Alternative Airplay14, U213, Coldplay11, Dave Matthews (solo and with Dave Matthews Band)11, Jack Johnson8, Death Cab for Cutie8, John Mayer8, The Black Keys7, Counting Crows7, R.E.M.7, Sheryl Crow
Concurrently, “Beautiful People” jumps 5-3 on Alternative Airplay and 30-26 on Mainstream Rock Airplay. On the all-rock-format, audience-based Rock & Alternative Airplay chart, the track bullets at its No. 3 peak with 5.3 million audience impressions, up 9%, according to Luminate.
“Beautiful People (Stay High)” is the lead single from Ohio Players, The Black Keys’ 12th studio album, scheduled for release on April 5. The band’s last album, Dropout Boogie, debuted at No. 2 on the Top Rock & Alternative Albums chart dated May 28, 2022, and has earned 146,000 equivalent album units to date.
All Billboard charts dated Feb. 17 will update on Billboard.com on Tuesday, Feb. 13.
Daughtry reaches No. 1 on Billboard’s Mainstream Rock Airplay chart for the first time as “Artificial” lifts 2-1 on the Feb. 17-dated ranking.
“Artificial” follows 17 years of appearances on Mainstream Rock Airplay for Daughtry, which first made the survey with “It’s Not Over,” a No. 5-peaking track in March 2007. The band boasts eight entries in all.
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That stretch between first appearance and first No. 1 is the longest since Jeff Beck, who set the all-time record when he went 37 years between “People Get Ready” charting in 1985 and Ozzy Osbourne’s “Patient Number 9,” on which he’s featured, reaching No. 1 in 2022.
As Daughtry is the lead artist on “Artificial,” the previous longest as a lead act went to Disturbed frontman David Draiman, who went 19 years between his solo track “Forsaken” in 2002 and “Dead Inside,” a co-lead with Nita Strauss, which hit No. 1 in 2022.
Prior to “Artificial,” Daughtry’s highest ranking song on Mainstream Rock Airplay had been “Heavy Is the Crown,” which peaked at No. 4 in 2021.
While it’s Daughtry’s first Mainstream Rock Airplay ruler, the Chris Daughtry-fronted band boasts multiple No. 1s over the years on other Billboard’s airplay charts. That includes four leaders on Adult Pop Airplay between 2007 and 2009 (“It’s Not Over,” “Home,” “Feels Like Tonight” and “No Surprise”) and one reign apiece on Pop Airplay (“It’s Not Over”) and Adult Contemporary (“Home”).
Daughtry’s output generally performed better on pop airplay formats early in the band’s career, to the point where it experienced a nearly 13-year break from Mainstream Rock Airplay between “Crashed” in 2007 and its return to the ranking, “World on Fire,” in 2020.
Concurrently, “Artificial” rises 14-13 on the all-rock-format, audience-based Rock & Alternative Airplay chart with 2.7 million audience impressions, up 13%, according to Luminate. It reaches its peak so far, No. 12, on the Jan. 13 tally.
The most recent multimetric Hot Hard Rock Songs list (Feb. 10) found “Artificial” at No. 12. In addition to its radio airplay, the song earned 346,000 official U.S. streams Jan. 26-Feb. 1.
“Artificial” is currently a standalone single for Daughtry. Its last album, Dearly Beloved, debuted at No. 4 on the Top Hard Rock Albums chart dated Oct. 2, 2021, and has earned 88,000 equivalent album units to date.
All Billboard charts dated Feb. 17 will update on Billboard.com on Tuesday, Feb. 13.
Nate Smith’s “World on Fire” continues its command on Billboard’s Country Airplay chart, ranking at No. 1 for a ninth week. It drew 31.4 million in airplay audience Feb. 2-8, according to Luminate.
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The song is now solely the second-longest-leading hit in the Country Airplay chart’s 34-year history, one week from tying Morgan Wallen’s “You Proof,” which dominated for 10 frames starting in October 2022.
“Fire” – released on Arista Nashville/RCA Nashville, and which Smith co-wrote with Ashley Gorley, Taylor Phillips and Lindsay Rimes, the lattermost of whom solely produced it – passes three eight-week No. 1s: Wallen’s “Last Night” (beginning in May 2023), Alan Jackson and Jimmy Buffett’s “It’s Five O’Clock Somewhere” (August 2003) and Lonestar’s “Amazed” (July 1999).
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“Fire” is Smith’s second straight career-opening Country Airplay No. 1, after “Whiskey on You” led for two weeks last February.
At Home in the Top 10
Thomas Rhett’s “Mamaw’s House,” featuring Morgan Wallen, hits the top 10 on Country Airplay, pushing 11-9, up 20% to 19.8 million audience impressions.
“House” is on the digital version of Rhett’s 20 Number Ones, which arrived on Top Country Albums at its No. 7 high in October 2023, becoming his seventh top 10.
Rhett — who is currently working on a new LP — and Wallen co-wrote “House” with Matt Dragstrem and Chase McGill.
Rhett adds his 23rd Country Airplay top 10. “House” follows “Angels Don’t Always Have Wings,” which led for a week in September, becoming his 19th leader. Rhett’s third of 30 chart entries, “It Goes Like This,” became his first top 10 and his maiden leader when it dominated for three frames starting in October 2013.
Wallen banks his 13th Country Airplay top 10. “House” follows “Everything I Love,” which peaked at No. 3 in December, and “Thinkin’ Bout Me,” which started a five-week command in November, becoming his 10th chart-topper. He logs an additional song on the Feb. 17-dated list: “Man Made a Bar,” featuring Eric Church, rises 15-13 (14.7 million, up 20%).
Hot Hand
Parker McCollum’s “Burn It Down” (MCA Nashville) climbs 13-10 (16 million, up 13%). The single, which McCollum co-penned, becomes his fourth consecutive career opening top 10.
It follows “Handle on You,” which peaked at No. 2 last May. Before “Handle on You,” McCollum’s scored two straight leaders; his first entry “Pretty Heart” led in December 2020 followed by “To Be Loved By You,” which reigned in March 2022.
Taylor Swift blocks-out the entire top 5 on Australia’s albums chart, as Swifties fire-up her catalog just days out from the start of her tour Down Under.
The U.S. pop superstar leads the ARIA Chart, published Friday, Feb. 9, with 1989 (Taylor’s Version) (via Universal), which clocks its 14th non-consecutive week at No. 1, tying with Midnights as her longest-running leader.
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It’s all TayTay from there, as Midnights (Universal) holds at No. 2, Lover (Universal) lifts 8-3, Reputation (Big Machine/Universal) holds at No. 4, and Folklore (Republic/Universal) fires 8-5.
It’s not the first Swift Sweep of the ARIA Chart. The “Wildest Dreams” singer completed what was then an unprecedented lock-up of the top 5 last July, led by Midnights, followed by Lover, 1989, Reputation, and Folklore, respectively.
On that occasion, Swift-mania was triggered by the general ticket on sale for her The Eras Tour of Australia in 2024, produced by Frontier Touring.
The time has come. Swift will play her hits across seven concerts at the Melbourne Cricket Ground and Sydney’s Accord Stadium, starting from next Friday (Feb. 16) at the MCG.
No other artist has come close to commanding the ARIA top 5. The late Michael Jackson was the standard-bearer before Swift, once landing the top three albums on the chart a week following his death in 2009.
The top new release on the latest ARIA Albums Chart is Prelude To Ecstasy (Island/Universal), the debut LP from the critically-lauded British group The Last Dinner Party. It’s new at No. 35.
Prelude To Ecstasy zoomed ahead on the midweek U.K. chart, and should give the London five-piece group a No. 1 there, adding to their growing collection of trophies which includes the BRITS Rising Star Award and the BBC Sound of… 2024 poll.
Over on the ARIA Singles Chart, Noah Kahan sticks a second week at No. 1 with “Stick Season” (Universal), ahead of Jack Harlow’s former leader “Lovin On Me” (Atlantic/Warner), holding at No. 2.
U.S. viral star Benson Boone has a new career high with “Beautiful Things” (Warner), which improves 9-3. Until “Beautiful Things,” his ARIA Chart best was No. 34 for 2022’s “Into The Stars.”
Finally, Dom Dolla marches into the top 10 for the first time with “Saving Up” (Sony). A standout on the triple j Hottest 100 poll, where it dropped in at No. 3, “Saving Up” lifts 11-10 on the ARIA Chart.
“Saving Up” is one of 11 homegrown recordings in the top 100, ARIA reports, including cuts by Royel Otis, Troye Sivan, Vance Joy, Ocean Alley, FISHER with Kita Alexander and Flume with Kai.