Chart Beat
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Billy Joel’s “Turn the Lights Back On” bounds onto Billboard’s Adult Contemporary chart (dated Feb. 10) at No. 11. The song – his first single release in 17 years – marks his first entry on the survey since 1998.
Making Joel’s chart return even more striking, the ballad debuts from just its first day of airplay, following its release at 7 a.m. ET Thursday (Feb. 1), on Columbia Records. Concentrated play on iHeartMedia-owned radio stations, including WLTW New York and KOST Los Angeles, as well as Cumulus Media outlets, drove the song’s start at the format.
“Lights” is the first Joel recording to place on Adult Contemporary since the list dated March 7, 1998, the last week on the chart for his No. 13-peaking cover of the Gerry Goffin and Carole King-penned “Hey Girl” (which previously became a hit for Freddie Scott, in 1963, and Donny Osmond, in 1971). Joel last notched a top 10 on the tally in August-September 1997, when his version of Bob Dylan’s “To Make You Feel My Love” hit No. 9, becoming his 23rd top 10.
Joel first reached the chart with his breakthrough classic “Piano Man,” which hit No. 4 in April 1974.
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“Lights,” meanwhile, marks Joel’s highest debut on the ranking, besting the No. 23 bow of “To Make You Feel My Love.”
Notably, Joel, who was inducted into the Rock & Roll Hall of Fame in 1999, appeared as a writer on Adult Contemporary amid his nearly 26-year break from the chart as a recording artist: Fall Out Boy’s cover of his “We Didn’t Start the Fire” rose to No. 16 in December. (Joel’s original hit No. 5 in 1989.)
“Lights” was written by Joel, Arthur Bacon, Wayne Hector and Freddy Wexler.
“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 his reaction 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?”
All charts dated Feb. 10 will update on Billboard Tuesday, Feb. 5.
Nate Smith’s “World on Fire” tops Billboard’s Country Airplay chart for an eighth total and consecutive week. It leads the list dated Feb. 10 with 32.1 million audience impressions Jan. 26-Feb. 1, according to Luminate.
The song — 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 — ties three titles for the second-longest rule since Country Airplay began in January 1990: Morgan 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).
Wallen’s “You Proof” dominated Country Airplay for a record 10 weeks, starting in October 2022.
“Eight weeks at No 1 … the crazy thing about this song is that it wasn’t even supposed to come out,” Smith tells Billboard. “It was starting to gain a lot of traction on social media and the demand was high. I’m so lucky to have a team that knew how to strategically release it alongside my debut album by releasing the deluxe version the same day [April 28, 2023] that the debut dropped. This song completely anchored the album.
“My mind is absolutely blown hearing the news that ‘World on Fire’ has gone No. 1 for an eighth straight week,” Smith marvels. “Thank you to the fans and thank you, country radio.”
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“Fire” is the second straight career-opening Country Airplay leader for Smith. The Paradise, Calif., native first led with “Whiskey on You” for two weeks last February. Both are on the deluxe edition of his debut self-titled LP. The set arrived at its No. 6 high on Top Country Albums last May.
What has kept “Fire” aflame on the radio? Says Tom Oakes, program director at Summit Media-owned KTTS Springfield, Mo., the hit is “a rare song – for KTTS, it has been testing at a power level since last summer and continues to. Like Luke Combs’ ‘Fast Car,’ it’s a song that listeners love and haven’t gotten tired of.”
Oakes added that “While it’s a record company’s mission to achieve No. 1s, my mission is finding the true hits which will become future gold library songs. This song, like ‘Fast Car,’ fits the criteria.”
Media reports today that Taylor Swift won’t perform on the 2024 Grammy telecast, which is set for Sunday (Feb. 4), are a big blow to the Recording Academy, CBS and Swift’s many fans. Swift’s apparent decision also runs counter to the usual pattern when an artist dominates a year the way Swift owned 2023. Swift […]
As the calendar flips over to February, Australia finds itself in stick season.
Noah Kahan earns his first No. 1 single in Australia as “Stick Season” (via Universal) climbs 2-1 on the ARIA Chart, published Friday, Feb. 2. “Stick Season” gets there in its 15th week on the tally.
Last month, Kahan completed his We’ll All Be Here Forever Tour, which included dates across Melbourne, Brisbane, Sydney and Perth — his first Australia trek since 2019. According to reps from Universal Music Australia, Kahan performed to more than 50,000 people on the jaunt, produced by Live Nation, and made his breakfast TV debut on Channel 7’s free-to-air Sunrise, for an in-studio performance of the hit single.
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Kahan has more to come. Next Friday, Feb. 9 sees the release of Stick Season (Forever), the “final pieces” of his release strategy, says a UMG rep, following the rollout of the Stick Season album in 2022 and, in late July 2023, Stick Season (We’ll All Be Here Forever).
It’s mid-summer in Australia, another scorcher where heatwaves or storms are the forecast for any given day. The hottest months here never pass without an edition of Triple J’s Hottest 100 poll, which was counted down last week, and saw Doja Cat’s “Paint The Town Red” (RCA/Sony) crowned the winner.
A string of entries in the Hottest 100 enjoy bumps on the ARIA Chart, led by “Paint The Town Red,” up 10-6.
Also, Aussie EDM producer Dom Dolla’s flashes the cash with “Saving Up” (Sony), which vaults 44-11 on the ARIA Chart. “Saving Up” came in at No. 3 on the triple j poll, which raked in 2,355,870 votes. That result is easily Dom’s highest-charting single in Australia, eclipsing the No. 32 best for “Rhyme Dust.” After blasting in at No. 4 on the Hottest 100 poll, “Rhyme Dust” reenters the ARIA Chart this week at No. 41.
G Flip had a record-breaking result as seven of their songs appeared on the Hottest 100. Less than a week later, G Flip’s former No. 1 LP Drummer (Future Classic/Universal) returns at No. 42.
There’s no moving Taylor Swift from the top of the ARIA Albums Chart, as Taylor’s 1989 (Taylor’s Version) (via Universal) holds at No. 1 for a 13th non-consecutive week. If it logs one more week at No. 1, the latest Taylor’s Version would tie with Midnights as her longest reigning album in Australia, at 14 weeks.
According to ARIA, Swift chalks up 55 total number of weeks at No. 1 across 12 albums, starting with Speak Now in 2010.
The top debut on the albums tally is the Smile’s Wall Of Eyes (XL/Inertia), new at No. 7. It’s the second album from the Radiohead side project, following 2022’s A Light For Attracting Attention, which peaked at No. 15 on the ARIA Chart.
Green Day’s latest studio album, Saviors, makes an eye-catching debut across Billboard’s charts, as it debuts atop seven different U.S. album charts (all dated Feb. 3). Plus, the set scores the band its best sales week ever on vinyl in the U.S.
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All told, Saviors starts at No. 1 on Top Album Sales, Top Current Album Sales, Top Rock & Alternative Albums, Top Rock Albums, Top Alternative Albums, Vinyl Albums and Tastemaker Albums.
In the tracking week ending Jan. 25, Saviors sold 39,000 copies in the U.S., according to Luminate. Of that sum, physical sales comprise 30,000 (18,000 on vinyl – the band’s best week ever on vinyl; 11,000 on CD and 1,000 on cassette) and digital album download sales comprise 9,000.
Saviors is Green Day’s fifth No. 1 on Top Album Sales and Top Current Album Sales; fourth No. 1 on Top Rock & Alternative Albums, Top Rock Albums and Top Alternative Albums, third No. 1 on Vinyl Albums and fifth leader on Tastemaker Albums.
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. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
Top Rock & Alternative Albums, Top Rock Albums and Top Alternative Albums rank, respectively, the week’s most popular rock and alternative, rock, and alternative albums by equivalent album units. Vinyl Album tallies the week’s top-selling vinyl releases. Tastemaker Albums measures the top-selling titles at independent and small chain record stores. Top Current Album Sales ranks the week’s top-selling new/current albums (non-catalog/older titles).
The first-week sales of Saviors were bolstered by its availability across more than 15 vinyl variants (all with the same tracklist, just different colored vinyl), an autographed CD sold through the band’s webstore and two deluxe boxed sets containing a CD and an artist branded t-shirt (both exclusive to Green Day’s Webstore).
A quartet of former No. 1s follows Saviors on the new Top Album Sales chart, as Taylor Swift’s Folklore is a non-mover at No. 2 (11,000; down 42%), as is Swift’s 1989 (Taylor’s Version) at No. 3 (nearly 11,000; down 18%). Kali Uchis’ Orquideas falls 1-4 in its second week with 7,000 (down 78%), while Swift’s Midnights rises 6-5 (nearly 7,000; down 15%).
NMIXX notches its first top 10-charting effort on Top Album Sales as Fe3O4: Break debuts at No. 6 with a little over 6,000 sold. Its sales were encouraged by its availability in five collectible CD packages, all containing branded paper merchandise (including some randomized), including two signed editions sold through the act’s official webstore.
Stray Kids’ former No. 1 ROCK-STAR is steady at No. 7 (6,000; down 19%) and Swift’s chart-topping Lover is stationary at No. 8 (nearly 6,000; down 9%). The Rolling Stones’ Hackney Diamonds returns to the top 10, re-entering the chart at No. 9 with just over 5,000 sold, following the release of a new deluxe edition containing seven live bonus tracks recorded in October 2023. Swift’s former leader Evermore rounds out the top 10, dipping 9-10 with 5,000 sold (down 12%).
In the week ending Jan. 25, there were 1.103 million albums sold in the U.S. (up 1.8% compared to the previous week). Of that sum, physical albums (CDs, vinyl LPs, cassettes, etc.) comprised 823,000 (up 0.1%) and digital albums comprised 280,000 (up 7.4%).
There were 388,000 CD albums sold in the week ending Jan. 25 (up 5.1 week-over-week) and 429,000 vinyl albums sold (down 4.6%). Year-to-date CD album sales stand at 1.704 million (down 26.9% compared to the same time frame a year ago) and year-to-date vinyl album sales total 1.995 million (down 45.8%).
Overall year-to-date album sales total 4.797 million (down 35% compared to the same year-to-date time frame a year ago). Year-to-date physical album sales stand at 3.718 million (down 38.5%) and digital album sales total 1.079 million (down 19%).
Flo Milli’s “Never Lose Me” continues to reign on the TikTok Billboard Top 50, while Jack Harlow’s “Lovin on Me” enters the top 10. Tetris Kelly:Flo Milli keeps a grip on TikTok as Jack Harlow slides into the top 10. Flo Milli’s “Never Lose Me” spends another week at No. 1 on the TikTok Billboard […]
Flo Milli finds her first top 10 on Billboard’s Hot R&B/Hip-Hop Songs chart as “Never Lose Me” races 16-7 on the list dated Feb. 3. The single, released on RCA Records, has ridden a wave of TikTok virality that has triggered major gains across multiple streaming services as the tune also begins its radio campaign.
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To enter the top 10 on the multi-metric Hot R&B/Hip-Hop Songs chart, “Never Lose Me” tallied 15.5 million official U.S. streams in the tracking week of Jan. 19 – 25, according to Luminate, a 28% increase compared with the prior week. The improvement sends the song 10-3 on the R&B/Hip-Hop Streaming Songs chart with the Greatest Gainer award, given weekly to each song with the largest increase in stream count. Sales for the track, meanwhile, remain at a negligible amount and are essentially even with the previous week’s total; the track has yet to appear on the R&B/Hip-Hop Digital Song Sales ranking.
In the radio world, “Never Lose Me” registers its first appearances on airplay rankings with three simultaneous debuts: No. 25 on Rap Airplay, No. 35 on Rhythmic Airplay and No. 46 on R&B/Hip-Hop Airplay. As is the case too, on Hot R&B/Hip-Hop Songs, “Never Lose Me” gives the rapper her first visit to all the charts as a lead artist and second overall entry, following a featured role on Lah Pat’s “Rodeo” (which also had a separate version featuring Big Jade) in 2023.
Elsewhere, “Never Lose Me” rockets 15-5 on the Hot Rap Songs chart and 37-19 on the all-genre Billboard Hot 100. Notably, the single’s sample of Babyface Ray and 42 Dugg’s 2023 track, “Ron Artest,” helps both artists gain chart credits through songwriting contributions.
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“Never Lose Me” found huge reception on TikTok through a variety of trends that use the song as a soundtrack. Some clips that involve users displaying medals and trophies with captions that feature tongue-in-cheek reasons for the achievements (such as “worst ex”), while other videos center on flexing while using the song’s ““never had a b—h like me” lyric. Thanks to the song’s popularity on the social media platform, “Never Lose Me” leads the TikTok Billboard Top 50 chart for a third consecutive week.
The new hit is likely to appear on Flo Milli’s forthcoming album, Fine Ho, Stay, for which the rapper shared the album art last October. The new set is the third and final installment in an album trilogy, following 2020’s Ho, Why Is You Here? and 2022’s You Still Here, Ho?
Flo Milli’s “Never Lose Me” tallies a third straight week at No. 1 on the TikTok Billboard Top 50 chart (dated Feb. 3), while Good Neighbours’ breakout debut single, “Home,” opens in the top five.
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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 Jan 15-21. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50.
“Never Lose Me” continues its run at No. 1 as it also jumps into the top 20 of the Billboard Hot 100, rising 37-19 with 15.5 million U.S. streams (up 28%) and 2.5 million radio airplay audience impressions (up 105%) in the latest Jan. 19-25 tracking week, according to Luminate.
“Never Lose Me’s” run at No. 1 on the TikTok Billboard Top 50 is largely driven by a variety of trends, with a more recent theme being uploads highlighting the “never had a b—h like me” lyric.
The song is now the second-longest-leading No. 1 hit on the TikTok Billboard Top 50, after Mitski’s six-week leader “My Love Mine All Mine.”
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Just below Flo Milli, Muni Long’s “Made for Me” jumps 12-2, becoming her first top 10 hit on the chart. The song has also begun scaling the Hot 100, gaining 93-44 in its second week.
Its trend highlights the song’s “Twin/ where have you been? / nobody knows me like you do” lyric, with users making videos with friends, family or significant others. Long herself has also posted TikToks lip synching to the song, as have Chlöe, That Girl Lay Lay and more.
Good Neighbours’ breakout debut single “Home” debuts at No. 4. The song also debuts at No. 18 on Billboard’s Hot Alternative Songs chart and No. 28 on Hot Rock & Alternative Songs, marking the London duo’s first-ever chart appearance. The duo comprises Oli Fox and Scott Verrill, who had both released solo music prior to forming Good Neighbours — Verrill recorded under the name Good Scott (and before that, Kwassa).
The trend for “Home” shows users singing its “darling won’t you take me home” lyric.
Rounding out the top five of the Billboard TikTok Top 50, He Is We’s “I Wouldn’t Mind” drops 2-3 and Sophie Ellis-Bextor’s “Murder on the Dancefloor” falls 3-5.
See the full TikTok Billboard Top 50 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.
Marc Anthony’s remarkable dominance on Billboard’s Tropical Airplay chart adds yet another chapter this week as his latest single, “Punta Cana,” debuts at No. 1 on the ranking dated Feb. 3. The arrival extends his record for the most No. 1s in the chart’s history.
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“Punta Cana” storms in atop Tropical Airplay with 4.6 million audience impressions earned in the U.S. during the Jan. 19-25 tracking week, according to Luminate.
“Punta Cana’s” arrival at the summit secures Marc Anthony his unprecedented 36th No. 1 on the list, the most among all acts; a record he’s held since 1996, one year after Tropical Airplay launched. Victor Manuelle remains in second place, with 29 No. 1s.
The bachata, coproduced by Marc Anthony alongside Sergio George, was released Jan. 26 via Sony Music Latin and unseats another labelmate from the lead: Enrique Iglesias and Maria Becerra’s “Así Es La Vida” drops to No. 2 with a 19% decrease in impressions, to 4.3 million.
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Notably, out of the 36 champs on Marc Anthony’s Tropical Airplay account, “Punta Cana” becomes the third song to premiere at No. 1, following the six-week champ “Se Me Sigue Olvidando” (1995) and nine-week ruler “Ahora Quien” (2004). (Only 16 songs overall have debuted on at No. 1 on the chart.) Plus, “Punta Cana” is Marc Anthony’s first No. 1 in two years (since “Mala Santa” ruled for one week in March 2022) and his 27th No. 1 without any accompanying acts.
As Marc Anthony continues to beat the competition, here’s the recap of the artists with the most No. 1s on the 28-year-old chart:
36, Marc Anthony29, Victor Manuelle23, Prince Royce18, Romeo Santos14, Elvis Crespo14, Gilberto Santa Rosa13, Jerry Rivera12, Juan Luis Guerra 440
Beyond its Tropical Airplay coronation, “Punta Cana” gives Marc Anthony his 59th career entry on the overall Latin Airplay ranking, as the song debuts at No. 19. With the new entry, he continues to hold the record for the most chart appearances among tropical acts, and the sixth-most among all artists. Here’s the leaderboard:
85, Daddy Yankee68, Ozuna64, Intocable63, Los Tigres del Norte60, J Balvin59, Marc Anthony58, Banda El Recodo de Cruz Lizárraga
Following the launch of his solo career after soaring to success with *NSYNC, Justin Timberlake has been a force on the Billboard charts.
His 2002 solo debut album, Justified, peaked at No. 2 on the Billboard 200 and generated four top 40 hits on the Billboard Hot 100, including his first two top 10 efforts: “Like I Love You” (No. 11), “Cry Me a River” (No. 2), “Rock Your Body” (No. 5) and “Senorita” (No. 27).
The multi-hit run set Timberlake up for a monster sophomore album, FutureSex/LoveSounds, which arrived in 2006 to enormous acclaim. The project opened at No. 1 on the Billboard 200, while three of its singles mirrored the chart-topping results on the Hot 100: “SexyBack,” “My Love” (featuring T.I.) and “What Goes Around …. Comes Around.”
Though another solo album didn’t come for six years, Timberlake filled the gap and remained musically active with featured contributions on a string of hits, partnering with a range of acts such as 50 Cent (“Ayo Technology”), Madonna (“4 Minutes”), T.I. (“Dead and Gone”) and Ciara (“Love Sex Magic”). The Timberlake touch was evident: All four songs hit the Hot 100 top 10.
When he did return, the boy bander-turned-solo superstar continued his top 10 ways with The 20/20 Experience album’s “Mirrors” and the Jay-Z-assisted “Suit & Tie” in 2013; another Hot 100 champ in 2016’s Trolls soundtrack single “Can’t Stop the Feeling!”; and Man of the Woods’ “Filthy” and “Say Something,” featuring Chris Stapleton, in 2018.
As the superstar turns 43 on Wednesday (Jan. 31) and is warming up for his forthcoming Everything I Thought It Was album, Billboard recaps the Grammy winner’s biggest solo hits on the Hot 100. As a sign of his musical versatility and status as a go-to collaborator, the list includes collaborations with an array of top talent, including rap superstars Jay-Z and T.I. and pop royalty Madonna and Michael Jackson.
Justin Timberlake’s Biggest Billboard Hot 100 Hits ranking is based on weekly performance on the Hot 100 (through Feb. 3, 2024). Songs are ranked based on an inverse point system, with weeks at No. 1 earning the greatest value and weeks at lower spots earning the least. Due to changes in chart methodology over the years, eras are weighted differently to account for chart turnover rates during various periods.
“TKO”