Chart Beat
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Brenda Lee spends a second week at No. 1 on the Billboard Hot 100 songs chart with her holiday standard “Rockin’ Around the Christmas Tree.” A week earlier, the song led the list for the first time – 65 years after its release – and became Lee’s third Hot 100 No. 1, and her first since 1960.
Lee – who celebrates a birthday today (Dec. 11), as she turns 79 years young – reminisced to Billboard on Dec. 4 about recording the carol, when she was 13, after learning of its ascent to No. 1 at last from Universal Music Group Nashville chair/CEO Cindy Mabe. “The producer cut the air way down in the studio,” Lee recalled. “He had a big Christmas tree and everyone was there – the Anita Kerr Singers and the ‘A-team’ [of Nashville studio musicians], as we called them. It was like a little touch of magic kind of sprinkled in, and it turned out to be magic. It really did.”
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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 Dec. 16, 2023) will update on Billboard.com tomorrow (Dec. 12). For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
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Lee’s “Rockin’ Around the Christmas Tree,” on Decca/MCA Nashville/UMe, drew 41.3 million streams (up 18%) and 20.5 million radio airplay audience impressions (down 1%) and sold 6,000 downloads (up 109%) in the Dec. 1-7 tracking week, according to Luminate.
The single holds at No. 1 for a third total week atop the Streaming Songs chart, after it first ruled the last frame of the 2022 holiday season; rebounds to its No. 4 high, from No. 12, on Digital Song Sales; and keeps at No. 33 on Radio Songs, where it has hit a No. 17 best.
The song was originally recorded and released in 1958. Written by Johnny Marks and produced by Owen Bradley, it first hit the Hot 100 in December 1960 and reached an original No. 14 peak two weeks later. It went on to spend nine weeks at No. 2 on the Hot 100 between December 2019 and last holiday season.
For its 65th anniversary this year, Lee’s “Rockin’ Around the Christmas Tree” received its first official video, featuring cameos from country stars Tanya Tucker and Trisha Yearwood, Nov. 3. Plus, Lee performed it on NBC’s Christmas at the Opry, which aired Dec. 7. She has also joined TikTok, where she’s been sharing posts about the song and her career.
The song is just the third holiday No. 1 ever on the Hot 100, with all three now having led for multiple weeks. “The Chipmunk Song,” by The Chipmunks with David Seville, also from 1958, spent four weeks on top beginning that December, and Mariah Carey’s “All I Want for Christmas Is You,” released in 1994, has notched 12 weeks at No. 1, from its first scaling of the summit in December 2019 through last holiday season.
With another week at No. 1, Lee extends her record for the longest span of an artist topping the Hot 100: 63 years and five months, from her first week at No. 1 with “I’m Sorry” (July 18, 1960) through the latest list.
Plus, Lee, at 79 years of age as of today, expands by another week her mark as the senior-most artist to have ruled the Hot 100.
Meanwhile, Lee’s “Rockin’ Around the Christmas Tree” leads the multi-metric Holiday 100 chart, which uses the same methodology as the Hot 100, for a second week.
Carey’s “All I Want for Christmas Is You” repeats at No. 2 on the Hot 100, with across-the-board gains in streams (38.5 million, up 19%), airplay (24.1 million, up 12%) and sales (5,000, up 29%). With its 2019 triumph, Carey claimed her 19th Hot 100 No. 1, extending her record for the most among soloists and moving to within one of The Beatles’ overall record 20. The single also reigns as the No. 1 hit on Billboard’s Greatest of All Time Holiday 100 Songs retrospective.
Next up among holiday songs on the Hot 100, two carols return to their best ranks: Bobby Helms’ “Jingle Bell Rock” (4-3), from 1957, and Wham!’s “Last Christmas” (5-4), from 1984.
Jack Harlow’s “Lovin on Me” slips 3-5 on the Hot 100, two weeks after it became his third No. 1. Still, the chart’s top nonholiday song wins the list’s top Airplay Gainer award for a second consecutive week (37.7 million, up 26%, as it becomes his third top 10 on Radio Songs, surging 17-10), while also increasing in streams (27.6 million, up 10%). It concurrently tops the multi-metric Hot R&B/Hip-Hop Songs and Hot Rap Songs charts for a fourth week each.
Burl Ives’ “A Holly Jolly Christmas” is steady at No. 6 on the Hot 100, with the 1964 nugget having hit a No. 4 high.
Taylor Swift’s “Cruel Summer” holds at No. 7 on the Hot 100, following four nonconsecutive weeks at No. 1 beginning in October. It also rebounds for a seventh week atop Radio Songs (63.6 million, down 3%) – surpassing the six-week reign of “Blank Space” in 2014-15 as the sole longest-leading No. 1 of Swift’s eight career leaders on the airplay chart.
Andy Williams’ “It’s the Most Wonderful Time of the Year,” originally released in 1963, lifts 10-8 on the Hot 100. The late singer now sports a record span of 64 years, two months and one week from his first week in the top 10 with “Lonely Street” in October 1959 through his latest frame. (Excluding holiday fare, The Beatles broke the record for the longest top 10 span last month: 59 years, nine months and three weeks, from “I Want To Hold Your Hand” in 1964 to the debut of their newly-released single “Now and Then.”)
SZA’s “Snooze” keeps at No. 9 on the Hot 100’s top 10, after reaching No. 2, as it leads the multi-metric Hot R&B Songs chart for a 19th week. As noted Dec. 9, upon the one-year anniversary of the release of parent album SOS, “Snooze” is the only song to have appeared on the Hot 100 each week in 2023 to date.
Rounding out the Hot 100’s top 10, Doja Cat’s “Paint the Town Red” descends 8-10, after it led for three nonconsecutive weeks beginning in September.
Again, for all chart news, you can follow @billboard and @billboardcharts on Billboard’s social accounts, and all charts (dated Dec. 16), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Dec. 12).
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.
Last week, Billboard revealed its year-end Boxscore charts, ranking the top tours, venues and promoters of 2023. That coverage included analysis of the new wave of genre diverse artists crashing stadium stages, and in turn, our charts. This week, we are breaking down the year’s biggest tours, genre by genre. Today, we begin with K-pop, […]
ATEEZ’s THE WORLD EP.FIN: WILL bows at No. 1 on the Billboard 200 albums chart (dated Dec. 16), marking the first chart-topper for the Korean pop group. The set earned 152,000 equivalent album units in the U.S. in the week ending Dec. 7, according to Luminate, nearly entirely from traditional album sales. Its album sales were bolstered by its availability across more than 30 collectible editions.
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THE WORLD EP.FIN: WILL is the fourth top 10-charting effort from the act, all posted consecutively. The group previously charted as high as No. 2 with its last entry, THE WORLD EP.2: OUTLAW, in July.
While ATEEZ has logged six charting efforts on the Billboard 200 in total (four top 10s, plus two more that charted outside the region), the act has yet to notch a charting song on any U.S. Billboard airplay or streaming chart, the Billboard Hot 100, or the Billboard Global 200 or Billboard Global Excl. U.S. charts. (The latter two rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.)
Also in the top 10 of the new Billboard 200, Nat King Cole’s The Christmas Song returns to the region for a sixth consecutive holiday season, as the set rises 16-10.
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 Dec. 16, 2023-dated chart will be posted in full on Billboard‘s website on Dec. 12. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of THE WORLD EP.FIN: WILL’s 152,000 equivalent album units earned in the week ending Dec. 7, album sales comprise 146,000 (with 99% of that sum driven by physical album sales and 1% via digital album downloads), SEA units comprise 5,500 (equaling 7.59 million on-demand official streams of the set’s 12 tracks) and TEA units comprise 500 units.
As is typical for major K-pop releases, THE WORLD EP.FIN: WILL was issued in multiple collectible physical configurations, 33 in total. All have the same 12-song tracklist, but have alternative packaging and contain different branded paper merchandise (some randomized, including photocards). Of the 33 editions, 26 are CDs and seven are vinyl. Among the variants are retail-exclusives sold through the likes of Barnes & Noble, Target and Walmart.
Each variant of the physical album in the U.S. was sold with a minimum of two random photocards, but could contain up to five depending on where the customer bought the album. K-pop photocards are similar to sports trading cards, in that each card typically has a photo of a member of the group. Each random photocard is from a set of eight total cards (one for each member). In total, there were a dozen sets of eight photocards, with assorted sets assigned to the retail-exclusive versions of the album.
As THE WORLD EP.FIN: WILL album is mostly in the Korean language, it is the 23rd mostly non-English language album to hit No. 1, and the seventh of 2023 (and of those seven, the fifth in mostly Korean). The other six are: Stray Kids’ ROCK-STAR, Bad Bunny’s Spanish-language Nadie Sabe Lo Que Va a Pasar Mañana, NewJeans’ 2nd EP ‘Get Up,’ Stray Kids’ 5-STAR, Karol G’s Spanish Mañana Será Bonito and TOMORROW X TOGETHER’s The Name Chapter: Temptation.
THE WORLD EP.FIN: WILL is the only debut in the top 10 of the new Billboard 200. The rest of the top seven comprises former No. 1s, with Taylor Swift’s 1989 (Taylor’s Version) falling 1-2 (101,000 equivalent album units; down 28%), Drake’s For All the Dogs dipping 2-3 (76,000; down 10%), Morgan Wallen’s One Thing at a Time stationary at No. 4 (65,000; up 3%), Michael Bublé’s Christmas jingling 9-5 (60,000; up 28%), Swift’s Midnights dropping 3-6 (55,000; down 15%) and SZA’s SOS steady at No. 7 (51,000; up 7%).
Noah Kahan’s Stick Season rises 13-8 for its highest rank since its deluxe reissue pushed it 100-3 (its peak) on the June 24-dated chart. The album earned 48,000 equivalent album units in the tracking week – up 26%. The set’s gain follows Kahan’s performances on NBC’s Saturday Night Live on Dec. 2.
Taylor Swift’s former No. 1 Folklore descends 5-9 with 46,000 equivalent album units earned (down 22%).
Rounding out the top 10 is Nat King Cole’s holiday album The Christmas Song, climbing 16-10. It visits the top 10 for a sixth consecutive holiday season (having reached a high of No. 5 in January). It earned 44,000 equivalent album units in the tracking week – up 21%. The album boasts Cole’s classic title track, along with Billboard Holiday 100-charting favorites including “Deck the Halls,” “O Come All Ye Faithful,” “Joy to the World” and “Caroling, Caroling.”
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.
In the year since SZA’s SOS set sail on Dec. 9, 2022, the album has swelled into a blockbuster success that has dominated the R&B game. With a string of hit singles that preceded the release, exploded alongside it, or kept the momentum alive months after the drop date, SOS pushed SZA’s career into the stratosphere, while gliding from milestone to milestone on Billboard’s charts.
Before the first inklings of a title, release date or single, SZA’s second studio album was already among the industry’s most-anticipated albums. The singer-songwriter’s full-length debut, 2017’s Ctrl, proved a phenomenon, debuting at No. 3 on the Billboard 200 and, as of December 2023, remaining on the chart every week since its arrival. Ctrl singles “Love Galore,” featuring Travis Scott, and “The Weekend” scored SZA a pair of top 40 hits on the Billboard Hot 100, while collaborations “All the Stars,” with Kendrick Lamar, and a supporting turn on Maroon 5’s “What Lovers Do” not only added to SZA’s success in the Ctrl era, but also produced top 10 Hot 100 results.
As anticipation mounted, SZA’s sophomore era began with a cycle of hope and disappointment for fans, as a series of single releases warmed up the speculation machine each time. “Hit Different,” featuring Ty Dolla $ign, landed in September 2020, followed by “Good Days” in December 2020 and “I Hate U” in December 2021, but each came and went without any further announcements regarding S2.
And suddenly, the five-year wait had an expiration date. In a November 2022 Billboard cover story, SZA revealed the second album’s title, SOS, and promised its release the following month. If there was any doubt that the gap cooled the fervor for SOS, its initial success answered with authority. SOS debuted at No. 1 on the Billboard 200 and broke the record for the biggest streaming week for an R&B album, while its new singles expanded the hitmaking legacy of its predecessors, with “Kill Bill,” in particular, reaching historic heights.
That explosion, however, was just the beginning of a historic year for SOS, both in terms of all-time records on Billboard’s storied R&B/hip-hop charts and personal milestones for SZA’s career. As we hit the one-year anniversary of SOS, here’s a rundown of what the juggernaut album has achieved in its time.
SOS Debuts at No. 1 on the Billboard 200
Image Credit: Courtesy of RCA Records
Jelly Roll’s “Save Me,” with Lainey Wilson, spends a second week at No. 1 on Billboard’s Country Airplay chart (dated Dec. 16). The song drew 32.6 million audience impressions Dec. 1-7, according to Luminate.
The collab is the 18th to rise to No. 1 during 2023. That’s after 29 leaders in 2022, 32 in 2021, and 38 in 2020 – more than twice as many as this year.
Since Country Airplay launched in January 1990 (with Clint Black’s “Nobody’s Home,” the first No. 1), 934 songs have led, for an average of 27.5 No. 1s per year. 2016 housed the most, 40, while 2003 brought a yearly low of 18. Even if there’s a new No. 1 on each of the final two charts this year (dated Dec. 23 and 30), 2023 will sport the fewest since 2005, when 19 songs reigned.
(In 2003, one politically-themed hit, Daryl Worley’s “Have You Forgotten?,” commanded Country Airplay for seven weeks, while two superstar duets also logged long reigns: Toby Keith and Willie Nelson’s “Beer for My Horses,” for six weeks, and Alan Jackson and Jimmy Buffett’s “It’s Five O’Clock Somewhere,” for eight.)
Notably, Morgan Wallen’s “Last Night” amassed eight weeks at No. 1 beginning this May – and is Billboard’s top Country Airplay song of the year. Plus, in 2023, and for the first time in 13 years, six consecutive chart-toppers scored multi-week rules. The run started in February with Wallen’s “Thought You Should Know,” which led for three weeks, and continued with, in order, Luke Combs’ “Going, Going, Gone” (two), Bailey Zimmerman’s “Rock and a Hard Place” (six), Wallen’s “Last Night” (eight), Combs’ “Fast Car” (five) and Jelly Roll’s “Need a Favor” (four).
Notably, “Fast Car” did not start as a radio single. As Columbia Nashville vice president of promotion and artist development Lauren Thomas tells Billboard, “We declared ‘Love You Anyway’ as the [lead] single [from Combs’ LP Gettin’ Old] based on listener/fan voting, but the demand for ‘Fast Car’ quickly became undeniable.”
Ultimately, both songs reached No. 1 on Country Airplay, reflecting a mix of tried-and-true label planning and independent audience activity both influencing chart runs, as streaming continues to help labels identify potential singles.
“I think we have a couple things happening,” KBAY San Jose, Calif., program director Bo Matthews said when Billboard examined the increasing lack of turnover atop Country Airplay at midyear. “The pop music cycle is not strong currently, and clearly country music is the winner. Consumption is higher with country music, and programmers are being smart, playing what their listeners want and embracing new country stars. What a great time to be in country music. We have the rock stars right now.”
“Familiarity breeds comfort,” Charlie Cook, Cumulus Media vp of country, said earlier this year. “Okay, that’s a mashup of the saying, but that’s the case with today’s country music. I know that some acts and labels are eager to move on, but I doubt that Wallen, Combs and the writers of these longtime radio hits feel the same.”
Last week, Billboard kicked off its 2023 year-end Boxscore coverage. Beyoncé led reported tours, Taylor Swift is poised for a record-setting finish and BLACKPINK and Karol G are helping usher in a new generation of genre diverse headliners. Plus, Boxscore breaks down the highest-grossing venues in the world, split between four capacity categories, plus a chart for stadiums.
New York City is spotlighted atop two of these lists. Madison Square Garden reigns supreme amongst venues with a capacity of 15,001 or more (excluding stadiums), while Radio City Music Hall is tops for venues with a capacity of 5,001-10,000.
For Madison Square Garden, 2023 marks its 15th year at No. 1 in its capacity category, dating back to 1999. It’s been No. 1 for six of the last seven years, after dipping to No. 2 in 2021. And for the second consecutive year, it’s the highest-grossing venue, regardless or capacity or structure. According to figures reported to Billboard Boxscore, MSG’s 116 shows grossed $223 million and sold 1.6 million tickets between Nov. 1, 2022 and Sept. 30, 2023.
For Radio City Music Hall, it’s back at No. 1 for the first time since 2020, after Colorado’s Red Rocks Amphitheater led in 2021-22. Over 231 shows in the tracking period, the theater earned $122 million from 1.2 million tickets.
Red Rocks remains the venue with the most tickets sold in the 5,001-10k category (1.4M), while London’s O2 Arena takes top honors for 15,001+ (2.4M).
In between, Dickies Arena (Fort Worth, Texas) completes a steady climb to its first year-end No. 1 in the 10,001-15,000 category. After opening in November 2019, the arena was No. 10 on the 2020 year-end recap, and No. 4 in 2021 and 2022. With $70.5 million, it narrowly takes the gold over Berlin’s Mercedes-Benz Arena ($69.3M), Austin’s Moody Center ($67.8M) and Glasgow’s OVO Hydro ($67.3M).
Even newer, Las Vegas’ Resorts World Theatre claims the top spot among venues with capacity of 5,000 or less. It opened in December 2021 and remains undefeated after crowning last year’s chart. Bolstered by residencies by Luke Bryan, Katy Perry and Carrie Underwood, the theater hosted 90 shows and grossed $45.3 million.
Finally, the Top Stadiums chart is led by SoFi Stadium in Inglewood, Calif., outside Los Angeles. Like Dickies, it’s a relatively new building, after launching in September 2020. This year marks a return to the top, after leading in 2021 and sitting at No. 2 last year behind Allegiant Stadium in Las Vegas. The venue reported 19 shows that collectively earned $175.1 million and sold more than 1 million tickets.
The numbers are in for the first leg of Madonna’s The Celebration Tour. According to figures reported to Billboard Boxscore, the European leg grossed $77.5 million and sold 429,000 tickets.
In January, Madonna announced The Celebration Tour, slated to honor the biggest hits of her legendary career. After a medical emergency forced a postponement of the first batch of North American dates, she launched the trek on Oct. 14 at London’s O2 Arena.
Over four shows that week, Madonna earned $14.7 million and sold 60,000 tickets, only to return to the O2 for the leg’s final two shows on Dec. 5-6, which added another $7.5 million and 31,000 tickets. Since returning from the pandemic, only Elton John and Queen + Adam Lambert have amassed bigger totals at the O2, and they did it with nine and 10 shows, respectively. When Madonna last played the O2, it was just two nights in 2015, compared to this year’s six.
In between, Madonna stopped in Belgium, France, Germany, Italy, Portugal and more, for a total of 27 shows across 11 European markets. Four nights at Paris’ Accor Arena provided the tour’s other eight-figure gross, bringing in $10.7 million from 62,000 tickets on Nov. 12-13 and 19-20.
Madonna’s European totals average out to $2.9 million and 15,900 tickets per night on a $180.53 ticket. Compared to the theater-residency run of her last tour, the Madame X Tour (2019-20), she’s up by 312% in nightly earnings and by 518% in average attendance.
On more level footing with the European leg from the Rebel Heart Tour from 2015-16, Madonna’s last arena tour, her 2023 shows are still up – by 9% in attendance, sold out on every show, and by 70% in average gross, thanks in large part to bulked up ticket pricing.
Immediate demand for The Celebration Tour expanded Madonna’s initial routing of 12 shows in Europe to 27. Likewise, the first batch of 26 shows in the U.S. and Canada has swelled to 47. She kicks off the North American leg on Wednesday (Dec. 13) at Brooklyn’s Barclays Center. After a handful of shows this month, she’s back for the rest in 2024, playing through April 15 in Austin, plus five shows from April 20-26 at Mexico City’s Foro Sol.
Looking at the relationship between Madonna’s European shows and stateside shows on the Rebel Heart Tour, Billboard expects the U.S. and Canadian leg to earn about $150 million from 650,000 tickets.
With the handful of Mexico shows to follow, the current routing for The Celebration Tour is headed toward a total haul of $240-245 million and 1.1-1.2 million tickets over 79 shows. That would situate it behind stadium runs on the Sticky & Sweet Tour (2008-09; $407.7 million) and The MDMA Tour (2012; $305.2 million), but ahead of arena treks the Confessions Tour (2006; $194.8 million) and the Rebel Heart Tour (2015-16; $169.8 million).
Miley Cyrus’ “Used To Be Young” ascends to No. 1 on Billboard’s Adult Pop Airplay chart (dated Dec. 16). The ballad, on Columbia Records, becomes Cyrus’ second leader on the list, after “Flowers” dominated for 17 weeks beginning in March – the most among songs by women since the survey began in Billboard’s pages in […]
Last week, Billboard revealed its year-end Boxscore charts, ranking the top tours, venues, and promoters of 2023. That coverage included analysis of the new wave of genre diverse artists crashing stadium stages, and in turn, our charts. This week, we are breaking down the year’s biggest tours, genre by genre. Today, we continue with rock. […]
Tate McRae gets “Greedy” to No. 1 on Billboard’s Pop Airplay chart.
The song becomes the first leader on the list (dated Dec. 16) for the Calgary, Alberta-born, Los Angeles-based singer-songwriter, who reached a prior No. 2 best with her breakthrough hit, “You Broke Me First.,” in 2021.
(The Pop Airplay chart reflects plays on over 150 reporting mainstream top 40-formatted stations. Airplay is monitored by Mediabase and provided to Billboard by Luminate.)
“Greedy,” on RCA Records, has also become McRae’s first top 10 on the all-genre, multi-metric Billboard Hot 100, reaching a No. 7 high to date. It topped the Billboard Global 200 chart for two weeks and Billboard Global Excl. U.S. and the Billboard Canadian Hot 100 for one frame each.
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McRae wrote “Greedy” with Amy Allen, Jasper Harris and Ryan Tedder, and Harris and Tedder produced it. It’s Tedder’s sixth Pop Airplay No. 1 as a writer and producer and Harris’ second, and Allen’s third as a writer and McRae’s first.
Meanwhile, McRae bookends Pop Airplay as “Greedy” follow-up “Exes” debuts at No. 40. (McRae and Tedder are likewise two of its writers, while Tedder co-produced it.)
“Greedy” and “Exes” are from McRae’s second LP, Think Later, released today (Dec. 8). She recently performed “Greedy” in her first appearances on both NBC’s Saturday Night Live (Nov. 18) and the Billboard Music Awards (Nov. 19). In April 2024, she’s set to kick off her Think Later World Tour in Dublin.
“I think what defines a pop star is how iconic [they are],” McRae mused in her recent first Billboard cover story. “Madonna, Britney [Spears], Christina [Aguilera]; they would put on these shows and blow everybody away and make timeless art. And that’s what I want to do: make timeless art and timeless performances – and strive to keep on doing that.”
All charts dated Dec. 16 will update on Billboard.com Tuesday, Dec. 12.