Chart Beat
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Bad Bunny’s new album, DeBÍ TiRAR MáS FOToS, opens at No. 1 on Billboard’s Top Streaming Albums chart (dated Jan. 18), with the largest streaming week for a Latin title in over a year.
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Also in the top 10 of the latest Top Streaming Albums chart, Lil Baby’s WHAM debuts at No. 3, while last week’s leader, SZA’s SOS, falls to No. 2.
Bad Bunny’s album was released on an off-cycle Sunday (Jan. 5), and, thus, it arrives on the chart with only five days of activity (as the chart’s tracking week runs Friday through Thursday every week). The album’s release date was announced on Dec. 25. The new Top Streaming Albums chart captures the tracking frame of Jan. 3-9.
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WHAM’s Friday, Jan. 3 release was announced by Lil Baby in late December.
The 50-position Top Streaming Albums chart ranks the most-streamed albums of the week in the U.S., as compiled by Luminate. Titles are ranked by streaming equivalent album (SEA) units, where each SEA unit equals 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. If an artist has multiple albums containing the same song, SEA units for that song are generally assigned to whichever album sells the most by traditional album sales in a given week. The new Jan. 18, 2025-dated chart will be posted in full on Billboard‘s website on Jan. 7. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
DeBÍ TiRAR MáS FOToS launches at No. 1 with 113,500 SEA units earned in the week ending Jan. 9 in the U.S., according to Luminate. That sum equates to 152.16 million on-demand official streams of the set’s 17 songs – the largest streaming week for a Latin album in over a year. The last Latin set with a bigger streaming week was Bad Bunny’s previous release, Nadie Sabe Lo Que Va A Pasar Mañana, when it launched at No. 1 on Top Streaming Albums with 239.56 million on-demand official streams for its songs (Oct. 28, 2023-dated chart).
DeBÍ TiRAR MáS FOToS was preceded by a pair of entries from the album on the all-genre Billboard Hot 100 songs chart: “EL CLúB” and “PIToRRO DE COCO.”
SZA’s SOS falls from No. 1 to No. 2 on Top Streaming Albums with 110,000 SEA units (down 12%, equaling 146.88 million on-demand official streams of its collected songs – across its standard and its SOS Deluxe: LANA editions). Meanwhile, Lil Baby’s WHAM arrives at No. 3 with 90,000 SEA units (equaling 119.77 million on-demand official streams of the 15 songs on the streaming edition of the album available during its first week).
Rounding out the rest of the top five on Top Streaming Albums, Kendrick Lamar’s chart-topping GNX dips 2-4 (down 4%) and Sabrina Carpenter’s former No. 1 Short n’ Sweet moves 3-5 (down 6%).
Heidi Montag’s 2010 album Superficial has achieved an unexpected resurgence, surging to No. 1 on iTunes following a social media push by her husband, Spencer Pratt.
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The couple, who first found fame on the mid-2000s reality series The Hills, lost their home in the Pacific Palisades wildfire. Amid the tragedy, the pair turned to social media to share their journey and encourage fans to stream Montag’s music as a way to help them rebuild.
“Anyone that hasn’t gone to iTunes, just do it now. Let’s go to No. 1,” Pratt said last week on TikTok. “We’ll get the screenshot, she’ll be a famous pop star for when her kids are grown up. She’ll be in the history books,” Pratt said prior to Montag’s album surging to No. 1 on iTunes.
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“They won’t know it’s because our house burned down, and we have no possessions and people are just trying to support us. They’ll just be like, ‘Wow! My mom was a pop superstar that was No. 1 on the charts.’”
The campaign gained traction quickly, with support from fans and fellow celebrities like Emily Ratajkowski and Flavor Flav, who posted a TikTok of himself dancing to Montag’s track with the caption, “Doing my part to get Heidi to No. 1.”
Later, Pratt jubilantly shared on social media amid the news his wife’s album had surpassed Bad Bunny’s Debí Tirar Más Fotos on iTunes. “Popstar Heidi Montag No. 1 on iTunes America! Thank you everyone! Who needs a house, who needs clothes, who needs anything but this level of clout, pop, superstardom? Our sons are gonna be like, ‘My mom was No. 1 on iTunes America.’ Thank you to everyone who made this happen.”
Pratt, who recently reached over one million followers on TikTok while sharing candid updates about the destruction of their home, has now set his sights on the Billboard charts.
“So I was just informed that for Heidi to get No. 1 on Billboard, we need all do it or Superficial to be on the radio. So anybody that has a radio station, you know, a radio station on social media you can tag, please ask them for the next week to play ‘I’ll Do It’ or Superficial from Heidi’s album,” Pratt said in one of his updates.
“We need radio play, I guess not just iTunes, to get No. 1 on Billboard charts, which is the ultimate goal, cause then it’s like, that’s a wrap. Heidi is the biggest superstar in the world, you know, obviously not Taylor Swift, but it’s like Taylor Swift, Heidi Montag.”
He joked about enlisting the help of Taylor Swift’s fanbase, saying, “I need all the Swifties back up. I mean, I really do need Taylor, you know, I think I’m gonna have to, you know, get out the bat phone and put the Swiftie light in the sky. Like, we need some Taylor Swift support here.”
In one candid update on TikTok, Pratt also spoke of the gravity of his family’s tragic loss in the Los Angeles wildfires which has seen the death toll rise to 24 as of Jan. 13. “Let’s be clear. If I seem like the most unhinged, crashing out person on this whole app, I am. Let’s just get that frickin’ clear. I have lost my mind,” he said.
“I am keeping it together here, ’cause I have two kids and I wanna frickin’ have them go to college and have a frickin’ life, okay? So this is crashing out at its finest, OK?”
In an earlier video after the family witnessed their home burn down in real-time via a security camera, Pratt said on TikTok, “I have been ‘faking it till you make it’ since 2007. Guess what? Faking it till you make it, doesn’t make it. Especially when everything burns down.”
Despite their situation, Pratt remains laser-focused on turning the iTunes success into Billboard charting glory, using every platform to rally supporters. “But yes, radio play, ‘I’ll Do It’ or ‘Superficial,’ those are the two that are charting. Please, please, please, anybody that knows any radio people, or message your radio station or call your radio station. Let’s make this happen!” he told his TikTok followers.
“We’ve got one week before this Billboard chart drops.”
Lil Baby collects his fourth No. 1 album on the Billboard 200 chart, all tallied consecutively, as WHAM opens atop the chart dated Jan. 18. The set earned 140,000 equivalent album units in the U.S. in the week ending Jan. 9, according to Luminate. The rapper previously topped the list with his last three releases: It’s Only Me (2022), The Voice of the Heroes (with Lil Durk, 2021) and My Turn (2020).
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In total, WHAM marks Lil Baby’s seventh top 10 on the Billboard 200, stretching back to 2019’s Harder Than Ever (No. 3 peak).
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WHAM’s Friday (Jan. 3) release was announced by Lil Baby in late December.
Also in the top 10: Bad Bunny’s DeBÍ TiRAR MáS FOToS debuts at No. 2, securing the superstar his seventh top 10-charting set. Bunny’s album was released on an off-cycle Sunday (Jan. 5) and, thus, it arrives on the chart with only five days of activity (as the chart’s tracking week runs Friday through Thursday). The album’s release date was announced on Dec. 25.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric 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 Jan. 18, 2025-dated chart will be posted in full on Billboard‘s website on Tuesday (Jan. 14). For all chart news, follow @billboard and @billboardcharts on both X and Instagram.
Of WHAM’s 140,000 first-week equivalent album units, SEA units comprise 90,000 (equaling 119.77 million on-demand official streams of the streaming version of the album’s songs; the set debuts at No. 3 on the Top Streaming Albums chart), album sales comprise 50,000 (it debuts at No. 1 on Top Album Sales) and TEA units comprise a negligible sum.
WHAM was available to purchase as a 15-song standard digital download album and a standard CD (the latter exclusively sold via the artist’s official webstore). On Jan. 7, an extended edition of WHAM — with four additional songs — was released exclusively via Lil Baby’s label webstore for purchase. The extended edition was later issued widely through streaming services and digital retailers on Friday (Jan. 10). Both digital versions of the album were discounted to $4.99 in the webstores of the artist and his label (Motown), along with in the iTunes Store.
The standard version of WHAM features guest turns from 21 Savage, Future, GloRilla, Rylo Rodriguez, Travis Scott, Young Thug and Rod Wave.
Bad Bunny’s DeBÍ TiRAR MáS FOToS starts at No. 2 on the Billboard 200 with 122,000 equivalent album units earned. Of that sum, SEA units comprise 113,500 (equaling 152.16 million on-demand official streams of the set’s 17 songs; it debuts at No. 1 on Top Streaming Albums), album sales comprise 8,000 and TEA units comprise 500. The album was only available as a standard 17-song set via streaming services and to purchase as a digital download (also discounted to $4.99 in Bad Bunny’s official webstore and the iTunes Store).
DeBÍ TiRAR MáS FOToS was preceded by a pair of entries from the album on the Billboard Hot 100 songs chart: “EL CLúB” and “PIToRRO DE COCO.”
Three former No. 1s follow on the Billboard 200: SZA’s SOS falls 1-3 on the (113,000 equivalent album units earned; down 13%), Kendrick Lamar’s GNX moves 2-4 (67,000; down 4%) and Sabrina Carpenter’s Short n’ Sweet slips 3-5 (51,000; down 9%).
The Wicked film soundtrack dips 4-6 (45,000 equivalent album units; down 7%); Billie Eilish’s Hit Me Hard and Soft falls 5-7 (43,000; down 5%); Morgan Wallen’s chart-topping One Thing at a Time is a non-mover at No. 8 (40,000; down 1%); Gracie Abrams’ The Secret of Us is steady at No. 9 (38,000; down 5%); and Tyler, The Creator’s former leader CHROMAKOPIA is stationary at No. 10 (37,000; down 3%).
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.
David Guetta, Alphaville and Ava Max’s update of Alphaville’s timeless anthem “Forever Young” ascends to No. 1 on Billboard’s Dance/Mix Show Airplay chart (dated Jan. 18).
Guetta achieves his 17th leader on the list, lifting him past Calvin Harris for the most No. 1s since the chart began in August 2003. Guetta tied Harris at 16 apiece when “Never Going Home Again,” with Alesso and featuring Madison Love, led in November. Harris scored his 16th No. 1 with “Free,” with Ellie Goulding, in October.
Next up, Rihanna boasts 12 Dance/Mix Show Airplay No. 1s and The Chainsmokers, 10.
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(The Dance/Mix Show Airplay chart measures radio airplay on a select group of full-time dance stations, along with plays during mix shows on around 60 top 40-formatted reporters. Airplay is provided to Billboard by Luminate, with stations monitored by Mediabase.)
Max earns her second No. 1 on the survey, after “The Motto,” with Tiësto, reigned in February 2022.
Alphaville, meanwhile, leads a third Billboard list in a chart-topping history that now stretches more than 40 years. The new version of “Forever Young” crowned the TikTok Billboard Top 50 for a week in October. The German group first topped a Billboard chart when its debut hit, “Big in Japan,” led Dance Club Songs for two weeks in December 1984.
The original “Forever Young” solely by Alphaville hit No. 32 on Dance Club Songs in 1985. Following four weeks on the Billboard Hot 100 in 1985 (between Nos. 93 and 100), it hit No. 65 on the chart in December 1988, sparked in part by renewed radio airplay.
Among other reworkings of the song, Jay-Z and Mr. Hudson’s “Young Forever,” with the latter singing the original’s enduring chorus, hit No. 10 on the Hot 100 in May 2010.
The new “Forever Young,” on Budde Alphaville/What a DJ/Warner Records, concurrently reaches the top 10 on Adult Pop Airplay, jumping 13-10 with Greatest Gainer honors. Guetta and Max each add their second top 10 on the ranking, while the track marks Alphaville’s first overall entry.
All charts dated Jan. 18 will update Tuesday, Jan. 14, on Billboard.com.
Two songs that deftly blend country and hip-hop influences reign as the longest-leading No. 1s on the Billboard Hot 100 chart over the first 25 years of the 21st century – and all-time: Lil Nas X’s “Old Town Road,” featuring Billy Ray Cyrus, and Shaboozey’s “A Bar Song (Tipsy).” The former reigned for a record-breaking […]
“Because Rihanna has remained in the public’s eye for two years, her recognition level is high,” Billboard wrote in 2007. “‘If you say her name, people know who she is,’ [radio programmer Cat] Thomas says. ‘But is she at a level where she can sell out an arena? No.’
“Pausing, he adds, ‘but that could change.’ ”
Long before the end of the 21st century, Rihanna’s profile had rocketed, in music and beyond, punctuated in 2023 by her appearance at a spectacle far bigger than an arena: the Super Bowl LVII Halftime Show at State Farm Stadium in Glendale, Ariz. In addition to 67,827 ticketholders, the performance played to a then-record 121 million viewers on TV.
Rihanna had by then also notched the most No. 1 songs on the Billboard Hot 100 of any artist during the 21st century: 14. She first topped the chart dated May 13, 2006, with “SOS.” (“Normally, the universal signal for distress means that someone is in trouble. The opposite is true for Rihanna,” Fred Bronson wrote in the Chart Beat column that issue.)
Rihanna most recently ruled the Hot 100 with “Work,” featuring Drake, for 10 weeks in 2016.
As Billboard celebrates the top-performing artists, albums and songs of the first 25 years of the century since 2000, browse below the acts with the most No. 1 hits on the Hot 100 in that span.
Plus, check out Billboard’s Top Hot 100 Songs of the 21st Century chart, Top Artists of the 21st Century chart and Top Billboard 200 Albums of the 21st Century chart, as well as all coverage of Billboard’s 21st Century charts here.
Billboard’s Top Artists, Top Billboard 200 Albums and Top Hot 100 Songs of the 21st Century recaps reflect performance on weekly charts dated Jan. 1, 2000, through Dec. 28, 2024. The Top Artists category ranks the best-performing acts in that span based on activity on the Billboard 200 and Hot 100. (Titles released prior to mid-1999 are excluded, although such entries that appeared on the Billboard 200 or Hot 100 in that span contribute to the calculation of the Top Artists chart.)
14, Rihanna
Sir Elton John is still shining bright on the U.K.’s Albums Chart as his greatest hits collection Diamonds has finally hit No. 1 in its 374th week on the chart (Jan 10). The icon’s career-spanning collection was first released in 2017 and features a number of his biggest hits, including “Your Song,” “Tiny Dancer,” “Rocket […]
Gracie Abrams‘ breakout hit “That’s So True” has secured a seventh non-consecutive week at No. 1 on the Official Singles Chart (Jan. 10). “That’s So True” first hit the top spot back in November and lasted at the summit for five consecutive weeks into mid-December until Wham!’s festive classic “Last Christmas” interrupted her run at […]
Koe Wetzel and Jessie Murph’s “High Road” rules Billboard’s Country Airplay chart (dated Jan. 18) for a fourth total and consecutive week. The collaboration drew 32.2 million in audience (down 1%) Jan. 3-9, according to Luminate.
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The song became the first Country Airplay No. 1 for both Wetzel, 32, and Murph, 20, in each artist’s initial trip up the tally. It is the first freshman track to reign for four or more weeks since Shaboozey’s “A Bar Song (Tipsy),” which commenced its seven-week command last August, the longest for a breakthrough hit at the format. Overall, only 10 country career-establishing No. 1s have led for four-plus weeks since the list started in 1990 – with “High Road” the first by two acts each charting for the first time.
Wetzel and Murph co-wrote “High Road” with Amy Allen, Carrie K, Josh Serrato, Gabe Simon and Laura Veltz. It’s from Wetzel’s album 9 Lives, which became his fourth top 10 on Top Country Albums when it opened at its No. 5 best last August. It’s also on Murph’s That Ain’t No Man That’s the Devil, which arrived at its No. 24 high on the all-genre Billboard 200 in September.
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Meanwhile, Murph, who hails from Huntsville, Ala., is the first woman to dominate Country Airplay for four or more weeks with an introductory hit at the format in almost 19 years. On Jan. 21, 2006, then-reigning American Idol champ Carrie Underwood began a six-week No. 1 stay with her launch single promoted to country radio, “Jesus, Take the Wheel.”
That’s One High ‘Bar’
Shaboozey’s “A Bar Song (Tipsy)” ranks at No. 5 on Country Airplay (22.9 million, down 3%), adding a record-tying 28th week in the top 10. It matches Dustin Lynch’s 2021-22 hit “Thinking ‘Bout You,” featuring MacKenzie Porter, for the longest top 10 run in the chart’s history.
What sonic characteristics led to The Weeknd’s “Blinding Lights” claiming the No. 1 spot on Billboard’s Top Hot 100 Songs of the 21st Century chart?
In 2021, Hit Songs Deconstructed, which provides in-depth analysis of Billboard Hot 100 top 10 hits, held its Max Martin Deconstructed Masterclass, led by Hit Songs Deconstructed co-founder Dave Penn. Martin co-wrote and co-produced “Blinding Lights” (with The Weeknd, among others), which contributed to his 27 No. 1s as a writer and record 25 leaders as a producer.
“Blinding Lights” led (LED?) the Hot 100 for four weeks in 2020, logged a record 57-week in the top 10 and charted for a dazzling 90 weeks total.
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Class is in session again (spit out your gum): Here’s a reprinted rundown, according to Penn’s insights as presented in 2021, of the songwriting and production elements and more that helped “Blinding Lights” beam brighter than any other song on the Hot 100 over the first 25 years of the century.
David Penn of Hit Songs Deconstructed: “Like most hits, ‘Blinding Lights’ features a meticulous combination of the typical and the atypical, which helps the song sound familiar to people while still standing out from the pack. But when it comes to this song, it’s really the writing and production team’s stellar arrangement techniques, along with Max Martin’s melodic genius, that make it such an interesting and captivating hit.
“For instance, its 28-second intro is almost unheard of currently; the average [intro on a] Hot 100 top 10 in 2020 was just 13 seconds. So, it really comes down to the way that the ‘Blinding Lights’ team arranged the intro to keep the listener engaged, all while establishing many key aspects of the song, including its atypical instrumental hook; most hooks in today’s hits are vocal.
“Another atypical quality is its, what I call, disappearing chorus. While many top 10 hits give the listener more chorus as a song progresses, the ‘Blinding Lights’ creators actually shorten the chorus as the song progresses. Like with everything else, there is purpose behind this. In this case, it makes the listener long to hear that full chorus again and return for another listen.
“Also, the song’s 1980s-influenced production qualities, a la ‘Take On Me’ by a-ha, come across as new and fresh to younger audiences while creating a sense of nostalgia for older audiences, which ultimately broadens the song’s reach across demographics.
“But perhaps the song’s most notable quality is the expert use of motifs and hook foreshadowing techniques that take its catchiness and memorability to the next level, whether the listener realizes it or not. This is a hallmark of Max Martin’s melody writing throughout his career. For example, the synth hook in the intro melodically foreshadows lines two and four of the chorus vocal melody. And the verse that follows rhythmically foreshadows lines one and three of the chorus.
“So, by the time listeners arrive at the first chorus, they’re already familiar with the entire melody, which makes it that much easier for them to sing along and remember it. And this goes on throughout the entire song; almost every line relates to some other line in the song, which gets it ingrained in the listener’s head without ever becoming monotonous.
“Along with promotional factors, these are just of a few of the many qualities that helped ‘Blinding Lights’ achieve its mass success.”
Browse Billboard’s Top Hot 100 Songs of the 21st Century chart, Top Artists of the 21st Century chart and Top Billboard 200 Albums of the 21st Century chart, as well as all coverage of Billboard’s 21st Century charts here.
Billboard’s Top Artists, Top Billboard 200 Albums and Top Hot 100 Songs of the 21st Century recaps reflect performance on weekly charts dated Jan. 1, 2000, through Dec. 28, 2024. The Top Artists category ranks the best-performing acts in that span based on activity on the Billboard 200 and Hot 100. (Titles released prior to mid-1999 are excluded, although such entries that appeared on the Billboard 200 or Hot 100 in that span contribute to the calculation of the Top Artists chart.)