Chart Beat
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Ariana Grande earns her fifth No. 1 on Billboard’s Streaming Songs chart with “Yes, And?,” which starts atop the Jan. 27-dated tally. In the Jan. 12-18 tracking week, “Yes, And?” earned 27.2 million official U.S. streams, according to Luminate. It’s Grande’s first ruler since “Die for You,” her collaboration with The Weeknd, led for a […]
Trans-Siberian Orchestra (TSO) once again rules Billboard’s monthly Top Tours chart in December, with the act now ringing the No. 1 bell for the final month of the year in 2023, 2022, 2021 and 2019. (Of note, there was no chart in 2020 due to COVID-19’s impact on touring.) Over 73 shows between Dec. 1-30, the classical holiday collective grossed $51.5 million and sold 657,000 tickets according to figures reported to Billboard Boxscore.
With ensembles on both the East and West Coasts, TSO was able to play at least two shows per day — and used the additional bandwidth to its advantage, squeezing the most performances into this December than it has in any year since 2016. Despite a 6% dip in attendance compared with last year, revenue increased by 1%, marking the highest grossing month for TSO in its illustrious 25-year touring history.
Overall, TSO grossed $68.2 million and sold 873,000 tickets on its 2023 tour. The group saw consistent increases in its annual grosses through the end of the 2010s, up 10%, 13%, and 18% in 2017, 2018 and 2019, respectively.
The 2021 season, flanked by the first wave of COVID-19’s Omicron, dipped back by 18%, while last year’s tour came within half a percentage point of the 2019 peak. Finally, with the effect of COVID in the rearview mirror, this year’s revue establishes a new high dating back to the collective’s 1999 touring debut.
TSO hit 21 markets in November and another 42 in December. As always, major markets prime for double-headers are saved for mid-to-late December when seasonal hype reaches its apex. The average gross per city in November was $835,000, while December’s pace rose to $1.2 million.
Cleveland and Tampa were standout markets, and the first to ever generate more than $2 million in TSO history. Two shows at the former’s Rocket Mortgage Fieldhouse grossed $2.02 million from 26,000 tickets, and a double-header at the latter’s Amalie Arena earned $2.08 million from 25,600 tickets.
Including its Y2K launch (Dec. 10, 1999, to be exact), TSO has grossed a reported $802.4 million and sold 15 million tickets from 1,893 shows. While that situates it just outside the top 20 grossing acts in Boxscore history, its rank based on attendance makes it one of the top 10 artists since Boxscore’s late-‘80s start.
TSO’s fourth month at No. 1 ties Bad Bunny and Beyoncé. Only Elton John has spent more time on top, having reigned for seven months, spread between 2019, 2020, 2022 and 2023. While its annual touring window is limited to holiday months, its dominance is reliable, likely to be repeated in Decembers to come.
Given the sheer abundance of shows in TSO’s calendar throughout all of December — compared with most tours wrapping up halfway through the month — the group’s victory this time of year can feel inevitable. Still, the No. 1 spot was claimed by just a 3% margin, narrowly fending off U2’s eight-show run at Las Vegas’ Sphere.
U2 earned just over $50 million and sold 133,000 tickets during the Dec. 1-16 leg of its residency at Sphere, claiming the No. 1 spot on Top Boxscores. Combined with the first leg, which stretched from late September to early November, the rock legends have earned $159.8 million at the groundbreaking Vegas arena. Beginning this weekend, Bono & Co. are slated for 15 more shows through March 2.
U2 isn’t the only Vegas residency act to impact the December recap. Bruno Mars is No. 4 on Top Boxscores with a five-show return to MGM’s Dolby Live. The pop-R&B chart-topper grossed $10.3 million toward the end of the month, including a New Year’s Eve performance. At the same venue, Usher is No. 30 with the final two shows of a 12-date leg that began in early November. At Resorts World Theatre, Carrie Underwood pops up at No. 22, with $4.1 million from eight of nine shows that kicked off on Nov. 30.
While Vegas leads the way, half of the 30-position Top Boxscores chart took place outside of the mainland U.S., ranging from Latin America (RBD) and Europe (Madonna) to Asia (SEVENTEEN) and Australia (50 Cent). Paul McCartney takes up the most real estate with four appearances, all of which were in Brazil. Shows in Sao Paulo, Belo Horizonte, Rio de Janeiro and Curitiba rank at Nos. 3, 12-13 and 18, respectively. Three shows at Allianz Parque lead the pack with a $16.2 million gross and 149,000 attendance count over three shows.
And while Sphere enjoys a commanding lead over the Top Venues (15,001+ capacity) chart, it’s a New York theater that reigns over all concert halls in December. Radio City Music Hall crowns the Top Venues (5,001-10,000 capacity) list with $80.6 million and 133 shows. Even more efficient than TSO, The Radio City Rockettes headlined this year’s annual Christmas Spectacular, earning a gargantuan $116.7 million over 193 shows between Nov. 17 and Jan. 4.
Flo Milli’s “Never Lose Me” ranks at No. 1 on the TikTok Billboard Top 50 chart for a second week, while He Is We’s “I Wouldn’t Mind” vaults to No. 2 on the ranking dated Jan. 27.
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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” attains a second week at No. 1 concurrent with continued gains on streaming services that report to the Billboard Hot 100 and its genre-based charts. The song, released in November 2023, tops 10 million official U.S. streams for the first time, jumping 24% from 9.9 million to 12.1 million streams Jan. 12-18, according to Luminate. As such, the song leaps 42-37 on the Hot 100 as the tally’s greatest gainer in streaming.
As previously reported, “Never Lose Me” is largely driven by a variety of trends, with a more recent theme being uploads highlighting the “never had a bitch like me” lyric.
He Is We’s “I Wouldn’t Mind” has also been previously highlighted, following its debut on the Jan. 20 survey at No. 8. A sped-up edition of the 2010 track continues to drive the most attention, with the song’s TikTok uploads spanning a viral dance trend, POV videos and more. The song concurrently sports a 16% gain in official U.S. streams to 2.5 million.
A few more previously covered songs – Sophie Ellis-Bextor’s “Murder on the Dancefloor,” Cordelia’s “Little Life” and Project Pat’s “Choose U” – round out the top five, with the latter two reaching the top five for the first time.
“Choose U” isn’t the only place where you’ll find Project Pat in the top 10. “Good Googly Moogly,” featuring DJ Paul and Juicy J, joins the track in the top 10 by vaulting 18-7.
The main trend for “Good Googly Moogly” on TikTok features creators ogling someone, showing surprise at a passerby or other eyebrow-raising reactions, set to the “good googly moogly” line in the 2006 track’s chorus. Some more recent uploads with higher volume of interactions on the platform include photos and videos of users’ newborn babies, showing how people announced the birth of their children vs. how the child actually looked like when they were born.
Project Pat becomes the fifth different act to land more than one song in the TikTok Billboard Top 50’s top 10 in a single week since the ranking’s September 2023 inception. Nicki Minaj has done so three times, while Lana Del Rey, Kanye West and Drake have accomplished the feat once apiece.
One final song appears in the chart’s top 10 for the first time: MGMT’s “Time to Pretend,” which debuts at No. 9. The lead track from the duo’s 2007 breakout Oracular Spectacular, “Time to Pretend’s” overarching trend involves creators using the same or similar photos, both with the same caption – but using different emojis to represent that the same phrase can mean different things for one’s life.
“Time to Pretend” was MGMT’s first Billboard-charting song when it peaked at No. 23 on the Alternative Airplay survey in May 2008. The song snagged 1.8 million official U.S. streams in the latest tracking week, a 28% gain.
Just outside the TikTok Billboard Top 50’s top 10, Muni Long’s “Made for Me” debuts at No. 12. 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 Chloe, That Girl Lay Lay and more.
“Made for Me” debuts on the Hot 100 dated Jan. 27 at No. 93, Long’s third appearance on the ranking and first solo since breakthrough “Hrs and Hrs” peaked at No. 16 in February 2022.
Ariana Grande’s “Yes, And?,” which debuts at No. 1 on the Hot 100, makes an appearance on the TikTok Billboard Top 50, bowing at No. 23. It’s Grande’s third song on the tally since it began and first non-holiday entry, as “Santa Tell Me” and “Last Christmas” comprised her previous appearances.
See the full TikTok Billboard Top 50 here and on the TikTok app. 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.
Jack Harlow attains a new milestone on Billboard’s Hot R&B/Hip-Hop Songs chart as “Lovin on Me” adds a 10th week at No. 1 on the list. With the latest week in charge, on the chart dated Jan. 27, Harlow becomes only the third artist to have three No. 1 hits that have each ruled for […]
On Jan. 25, 1992, Tracy Lawrence’s rookie single “Sticks and Stones” hit No. 1 on Billboard’s Hot Country Songs chart. It marked the first of his eight career leaders. The song, which Roger Dillon and Elbert West wrote and James Stroud produced, ushered in Lawrence’s like-titled LP, which became his first of 10 top 10s on […]
Cody Carnes tops Billboard’s Christian AC Airplay chart for the first time, as “Firm Foundation (He Won’t)” ascends to No. 1 on the survey Jan. 27. In the Jan. 12-18 tracking week, the song increased by 3% in plays, according to Luminate.
On the genre’s overall Christian Airplay chart, the track holds at its No. 2 best, up 2% to 5.4 million in audience.
Carnes, Austin Davis and Chandler Moore wrote the song, which Davis produced.
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The 34-year-old Carnes, from Atlanta, banked two prior Christian AC Airplay top 10s. “Ain’t Nobody” hit No. 2 last April and “The Blessing: Live,” with Kari Jobe and Elevation Worship, reached No. 5 in August 2020.
Carnes and Jobe married in November 2014.
Little, Stone Roll to No. 1
Damon Little’s “No Stressing,” featuring Angie Stone, rises to No. 1 on Gospel Airplay (up 3% in plays). It becomes Little’s second chart-topper and Stone’s first, in her first appearance on the ranking.
Little solely wrote and produced the song.
Little, from Baltimore, follows his first Gospel Airplay No. 1, “Stand Up,” which led for a week in December 2021. He boasts three prior top 10s: “I Won’t Be Defeated” (No. 2, February 2017), “Because of You” (No. 9, January 2015) and “Do Right,” with Nu Beginning (No. 7, April 2005).
Stone, 62, was formerly in hip-hop act The Sequence before posting seven solo entries on the all-genre Billboard 200 between 2000 and 2015. She hit a No. 11 high on the chart with The Art of Love & War in 2007.
Eden Muñoz acquires his fourth No. 1 on Billboard’s Regional Mexican Airplay chart as “Como En Los Viejos Tiempos” rallies 8-1 to lead the Jan. 27-dated ranking. The nostalgic ballad checks into the penthouse after a bulky 64% boost in audience impressions, to 7.4 million, earned in the U.S. during the Jan. 12-18 tracking week, according to Luminate.
“Como En Los Viejos Tiempos” ejects La Fiera de Ojinaga’s “La Neta Que No” from the lead after its one week in command. The song drops to No. 10 with a 42% drop (to 4.22 million impressions).
“Tiempos” is the title track and first single of the Muñoz’s 18-track eponymous album, which debuted and reached No. 19 on Regional Mexican Albums last December.
The song, released Nov. 20 via Muñoz’s own EMC/Bajo label and Sony Music Latin, takes the indie imprint to its first No. 1 on any Billboard chart.
Further, as the norteño and banda singer-songwriter and producer sends “Viejos Tiempos” to his roster of No. 1s, here’s a look at Muñoz’s four No. 1s on Regional Mexican Airplay :
Peak, Title, Artist, Weeks at No. 1May 21, 2022, “Chale!,” threeJuly 2, 2022, “Hay Que Hacer Dinero,” Banda MS featuring Muñoz, twoNov. 11, 2023, “Amor Clandestino,” with Maná, oneJan. 27, 2024, “Como En Los Viejos Tiempos,” one
Beyond its Regional Mexican Airplay win, “Viejos Tiempos” takes Muñoz to the upper region on the overall Latin Airplay tally, with a 20-4 surge.
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Bad Bunny’s Nadie Sabe Lo Que Va a Pasar Mañana spins off a third No. 1 on Billboard’s Latin Airplay chart as “Mónaco” rises 3-1 on the Jan. 27-dated ranking. The new champ follows two other chart-toppers from the album: “Where She Goes” and “Un Preview,” both one-week rulers in 2023.
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“Mónaco” leads the overall Latin radio chart with a 7% gain in audience impressions, to 8.75 million, earned in the tracking week ending Jan. 18, according to Luminate. The track leads in its 12th week, after five weeks in the top 10, and unseats Feid and Rema’s “Bubalu” from the summit after the latter’s two-week reign.
With “Mónaco,” Bad Bunny scores his 24th No. 1 on Latin Airplay among 47 chart appearances. Aside from Nadie Sabie’s three No. 1s, the set has also tallied one more entry on Latin Airplay: “Perro Negro,” with Feid, which debuted and peaked at No. 46 in December. As Bad Bunny ups his career No. 1 count, he ties with Maluma for the fifth-most champs since the chart launched in 1994. Here’s the winner recap, with J Balvin still at the lead with 36 No. 1 hits:
36, J Balvin33, Ozuna32, Enrique Iglesias28, Daddy Yankee24, Bad Bunny24, Maluma22, Wisin
Beyond its Latin Airplay coronation, “Mónaco” concurrently lands at No. 1 on Latin Rhythm Airplay, advancing from No. 2, for Bad Bunny’s 23rd champ there.
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Venesti, Nacho & Maffio’s “No Es Normal” Rules Latin Pop Airplay: Over on Latin Pop Airplay, Venesti, Nacho and Maffio’s first team-up, “No Es Normal,” holds strong for a third week with a robust 21% increase in audience impressions, to 4.1 million during the same period.
The collab earned each of the artists their first No. 1 when it lifted 2-1 on the Jan. 13-dated list. Nacho came up short a few years back, when “Báilame” achieved a No. 2 peak in Nov. 2017. Over a year later, “Déjalo,” with Manuel Turizo, took him to a No. 7 high in April 2019.
While Nacho and Maffio have secured previous entries on the chart, the song earned newcomer Venesti his first chart visit. The Colombian, however, scored his first No. 1 on any Billboard chart with “Umaye,” which spent one week atop Latin Rhythm Airplay last October.
Over on the overall Latin Airplay list, “No Es Normal” pushes from No. 35 to No, 24, Maffio’s highest ranking there.
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Welcome to Billboard Pro’s Trending Up column, where we take a closer look at the songs, artists, curiosities and trends that have caught the music industry’s attention. Some have come out of nowhere, others have taken months to catch on, and all of them could become ubiquitous in the blink of a TikTok clip. This week: Streaming audiences are, like, in love with the breakout hit from the Mean Girls musical adaptation, while a new hit may break singer-songwriter Benson Boone to his widest audience yet, and internet personality Honestav is on his way to an unusual hybrid of a viral hit.
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Reneé Rapp & Megan Thee Stallion Parlay ‘Mean Girls’ Success into Streaming Hit
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It looks like Reneé Rapp and Megan Thee Stallion have made fetch happen. “Not My Fault” — a frothy pop-rap link-up between the movie musical Regina George and the self-proclaimed “Black Regina George” – is making major waves at streaming thanks to the box office success of the new Mean Girls musical and the duo’s pitch-perfect Saturday Night Live performance (Jan. 20).
According to Luminate, “Not My Fault” earned just over three million official on-demand streams during the week of Jan. 12-18, marking a whopping 96% increase from 1.5 million streams during the week of Dec. 29-Jan. 4. “Not My Fault” arrived on DSPs on Dec. 15, about a month before the movie hit theaters on Jan. 12, so the film’s premiere accounts for a significant chunk of that streaming bump.
That bump looks poised to continue growing, based on some of the most recent streaming tallies for the soundtrack single. Last Sunday (Jan. 14), “Not My Fault” garnered just over 380,000 streams. Following that SNL performance – which featured choreography from the music video and an introduction from the OG Regina George, Rachel McAdams – that figure jumped by 33% to over 510,000 streams on Sunday, Jan. 21.
The official music video for “Not My Fault” currently boasts over 6.5 million views on YouTube, and the official TikTok sound plays in over 22,700 posts on the platform. With a box office-topping film and a viral performance in its corner, “Not My Fault” could very well be the first Billboard Hot 100 entry of Reneé Rapp’s career. — KYLE DENIS
A “Beautiful” Breakthrough for Benson Boone
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Washington singer-songwriter Benson Boone has flirted with crossover success a couple times already in his career, cameoing in the lower stretches of the Hot 100 with “Ghost Town” (No. 100) in 2021 and “In the Stars” (No. 82) in 2022. But this year, Boone looks to be well on his way to the fastest-starting hit of his still-young career, thanks to the power ballad “Beautiful Things.”
The yearning ballad was one that Boone teased extensively for a month and a half on his TikTok page before its release on Friday (Jan. 19), with snippets that previewed the song’s explosive climax. It built heavy anticipation for the song, which blew up almost immediately upon its debut, as the song bounded to the top of the iTunes chart and finished towards the top of both Spotify’s and Apple Music’s daily charts for its day of release.
In all, the song has amassed over 8.6 million official on-demand U.S. streams through its first four days (Jan. 19-22) of its release, according to early reports from Luminate, as well as nearly 4,800 digital song sales. Those are both phenomenal numbers for half a debut week — particularly for an artist without extensive commercial history behind them — and they suggest a Hot 100 debut that should pretty easily outpace Boone’s first two entries on the chart, and one with the potential to grow into one of the biggest breakout hits of the new year if it can keep up its early momentum. — ANDREW UNTERBERGER
Honestav Pulls On TikTok’s Heartstrings With Fast-Rising “I’d Rather Overdose”
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Honestav & Z’s “I’d Rather Overdose” growing into a streaming hit by way of a TikTok trend – and there’s no dancing involved this time.
Known by many on the app for his portrayal of the “broke boyfriend” character, Honestav tapped into something a bit more serious for “I’d Rather Overdose.” Somewhere between Post Malone and Noah Kahan with a dash of The Kid LAROI, “I’d Rather Overdose” explores the complexities of being in a codependent relationship with an addict. “When you’re fucked up on them pills you can’t hear me cry/ Without them you’re sick and we both know why/ Pint after pint ‘till the well runs dry/ If only you loved me like you love gettin’ high,” Honestav sings. The song has quickly been embraced by TikTok users on their own sobriety journeys, those grieving loved ones they’ve lost to substance abuse and those who are children of parents who suffered from various addictions.
“I’d Rather Overdose” garnered 1.1 million official on-demand streams during the three-day period of Jan. 20-22, according to Luminate. That marks an eye-popping 345% increase from the period of Jan. 13-15, during which the song collected just over 248,000 streams. Honestav first previewed the song – which he wrote based on his own experiences living with his parents’ addictions — in a Jan. 9 TikTok and fans quickly launched onto the song’s raw lyrics and sound. Now, the song’s official TikTok sound boasts over 16,800 posts, and its official music video has garnered over 65,000 views in just five days. It may be early in the song’s journey, but its growth is already explosive. — KD
tuki.’s “Bansanka” rises 4-1 on the Billboard Japan Hot 100, dated Jan. 24, giving the rising singer-songwriter her first No. 1 on the Japan song chart.
“Bansanka” debuted on the Japan Hot 100 at No. 14 on Oct. 11 and stayed in the top 20 for 16 consecutive weeks. The poignant ballad with a title that means “Supper Song” finally reached the top spot this week after streaming climbed 3-1 with 9,760,960 weekly streams (up 9.7%) and downloads 8-5 with 6,629 units (up 41.8%). Total streams in Japan for this track have passed the 100 million mark. This song was popular online since before the actual recording was digitally released, through covers and other secondary uses that continue to be uploaded in droves. This explains the increase in video views (moving 5-4 with 1,980,614 views, up 19%), and karaoke (7-4).
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Creepy Nuts jump 27-5 with “Bling-Bang-Bang-Born,” the opener for the anime series MASHLE Season 2, after debuting on the chart last week. The rapper/DJ duo’s latest hit broke into the top 10 in three metrics of the chart’s methodology: downloads (11-3 with 6,976 units), streaming (30-4 with 8,944,345 streams), and radio airplay (37-10). This song has been spreading on TikTok mainly in the U.S. and debuted at No. 8 on the Global Japan Songs Excl. Japan chart released Jan. 18. It’s gaining fans internationally, charting in the top 10 in four countries: U.S., France, U.K., and South Africa.
Mrs. GREEN APPLE charts two songs in the top 10 this week, with “Que Sera Sera” rising 5-4 after streaming increased slightly from the week before. The other track is “Nachtmusik,” which debuts at No. 7 after its digital release Jan. 17. The theme song for the film Silent Love rules downloads with 10,872 units, which is about 28% more than the first-week figures for “Que Sera Sera,” the trio’s previous single. “Nachtmusik” comes in at No. 11 for streaming with 5,480,372 streams, No. 6 for video and No. 14 for radio.
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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. 15 to 21, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.