Chart Beat
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The Contenders is a midweek column that looks at artists aiming for the top of the Billboard charts, and the strategies behind their efforts. This week (for the upcoming Billboard 200 dated Dec. 2), Dolly Parton’s rock-themed new set is in the mix for the No. 1 spot, but faces competition from recent Drake and Taylor Swift blockbusters.
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Dolly Parton, Rockstar (Butterfly/Big Machine): When Dolly Parton was nominated for (and later inducted into) the Rock and Roll Hall of Fame – despite a career mostly spent in country music and other rootsier genres – she was inspired to retroactively make good on her rock icon status by recording her first-ever full-length rock set. That album materialized on Friday with Rockstar, a 30-track affair that features the beloved singer-songwriter fully plugging into the genre, with a combination of covers and originals, and help from such legendary guests as Sting, Steven Tyler, Debbie Harry, Rob Halford, Elton John and of course goddaughter and frequent collaborator Miley Cyrus.
While Rockstar may not be particularly massive on streaming – though having 30 total tracks to stream will certainly help with those totals – it is expected to sell very well. It’s of course helped by the months of buzz generated by Parton’s Rock Hall embrace and her subsequent genre pivot, but even more so by the album’s wide availability: It’s being sold in more than 10 vinyl variants, including exclusive editions for Walmart, Barnes & Noble, Target, indie stores and (appropriately) the Rock Hall’s webstore, and is even being sold at less-traditional retailers like Cracker Barrel, Dollar General and HSN. (She could also get a late-week boost in visibility this Thursday, when she performs at halftime of the NFL’s Thanksgiving showdown between the Dallas Cowboys and Washington Commanders, though that boost will most likely be limited to digital album sales and streaming services, due to most brick-and-mortar stores being closed on the holiday.) )
If all this adds up to enough sales for Rockstar to claim the No. 1 spot on the Billboard 200, it would make for a benchmark moment in the country legend’s career: Despite visiting the chart 49 times – dating back to her first appearance in 1969 – Parton has yet to reach its apex, having only reached the top 10 twice. (She came closest in 1987, with the Emmylou Harris and Linda Ronstadt team-up set Trio, and with 2014’s Blue Smoke, both of which reached No. 6.)
Drake, For All the Dogs (OVO/Republic): Drake’s latest already topped the Billboard 200 upon its October debut, and it’s hung around the chart’s top five in the five weeks since. Next week, For All the Dogs should get another boost from the added attention and consumption resulting from the release of its new Scary Hours edition, which adds six extra cuts to the already-24-track set, including the J. Cole-featuring “Evil Ways.” As usual with Drake, the bonus songs are performing excellently on streaming, so Parton should beware of Dogs potentially securing an equivalent album unit total in the six digits, presenting a real challenge to her securing her first-ever No. 1 on the Billboard 200.
Taylor Swift, 1989 (Taylor’s Version) (Republic): Drake himself acknowledged Taylor Swift’s chart supremacy on his Scary Hours cut “Red Button,” calling her the “only one [who] could make me drop the album just a little later.” Swift’s latest (and biggest yet) blockbuster re-recording spent its first two weeks atop the Billboard 200, before falling to No. 2 behind Stray Kids’ Rock-Star on last week’s chart (dated Nov. 25). That sales-driven chart-topper will likely fall out of the mix for the top spot in its second week — but Swift’s should hang around, as the set continues to sell well, and several of her new Taylor’s Versions remain on the daily U.S. charts at the biggest DSPs.
IN THE MIX
ENHYPEN, Orange Blood (Befit Lab/YG): South Korean pop group ENHYPEN has inched closer to the top of the Billboard 200 with each of their last three EPs, securing their highest position on the chart with May’s No. 4-debuting Dark Blood. They’ll have a shot to one-up that finish with last Friday’s six-track Orange Blood, which should post strong sales – helped by 12 collectible CD variants with branded merch inside, and exclusives for Barnes & Noble, Target and Walmart, as well as a webstore-exclusive digital edition with seven voice memos from the group members.
2 Chainz & Lil Wayne, Welcome 2 Collegrove (Def Jam/Gamebread): With six No. 1 albums on the Billboard 200 between them, rap greats 2 Chainz and Lil Wayne team up for a second collaborative album with this month’s Welcome 2 Collegrove, follow-up to 2016’s No. 4-peaking Collegrove. The 21-track effort also features appearances from big names like Rick Ross, 21 Savage and Usher, and a signed CD of the set is available through the duo’s official webstore.
Andre 3000, New Blue Sun (Epic/Sony): One of the late year’s most-discussed sets has been hip-hop legend Andre 3000’s ambient, rap-less set New Blue Sun, announced just a couple days before its release last Friday. Though as half of OutKast, Andre reached the top two of the Billboard 200 five times, New Blue Sun is not expected to stream enough to really make it a contender for the top spot (and is not yet available for physical purchase) — but it will almost certainly be the highest-ranking album of woodwind instrumentals on next week’s chart.
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: A new release in the Hunger Games franchise leads to gains for soundtrack hits old and new, while a new TikTok challenge gives a not-that-old JID hit a second crack at the charts, Drake fans celebrate a deep cut’s title day and more.
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The Streams Are Ever in Their Favor: ‘Hunger Games’ Songs Surge Following Prequel Release
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Last weekend, The Hunger Games: The Ballad of Songbirds & Snakes topped the box office with a $100 million international gross following its Nov. 17 bow in multiplexes. The arrival of the prequel film, which is set 64 years before the events of the original Hunger Games, had fans turning back toward songs old and new that have been associated with the franchise, and volunteering as tribute as they pressed play on streaming platforms.
“Can’t Catch Me Now,” the Olivia Rodrigo soundtrack single released on Nov. 3, may have dropped 25 spots to No. 81 in its second week on the Billboard Hot 100 this week, but early streaming returns for this week suggest a rebound in conjunction with the film release. “Catch” earned 4.26 million official on-demand U.S. streams in the first four days of the Songbirds & Snakes theatrical run (Nov. 17-20) — a 43% increase from its streaming total from the previous Friday-to-Monday tracking period, according to Luminate.
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Meanwhile, “The Hanging Tree,” the James Newton Howard song that was performed by Jennifer Lawrence in 2014’s The Hunger Games: Mockingjay, Part 1 — and is revived in Songbirds & Snakes as “Lucy Gray’s Version,” as performed by Rachel Zegler — also experienced a streaming resurgence. “The Hanging Tree” earned 344,000 streams over the first four days of the film’s run, up 58% from 217,000 streams from the prior Friday-to-Monday tracking period. – JASON LIPSHUTZ
JID’s “Surround Sound” Solidifies Sleeper Hit Status With Substantial Streaming Gains
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Last year, JID’s third studio album, The Forever Story, brought him loads of acclaim and his highest Billboard 200 peak to date (No. 12). “Surround Sound,” the set’s Baby Tate- and 21 Savage-featuring lead single peaked at No. 90 during its initial run on the Hot 100 – the lowest-peaking of JID’s five career hits on the ranking. Nonetheless, that could change thanks to a viral TikTok trend that has resulted in material gains across streaming platforms.
According to Luminate, “Surround Sound” has earned over 3.9 million U.S. on-demand streams during the period of November 10-16; that’s a whopping 48.3% increase from 2.68 million streams during Nov. 3-9. In turn, that Nov. 3-9 figure is a 27.2% increase from just over 2.1 million streams during the period of October 27 to Nov. 2. The boost in streams is mainly thanks to the viral Ceiling Challenge on TikTok, where users tape their phone to the ceiling, hit record, and then post a clip of that overhead shot. Normally, the video uses the portion of the track that lets the sample of Aretha Franklin’s “One Step Ahead” play to soundtrack the camera set-up process, and once the beat drops, they proceed to do their thing for the camera. With users opting for both wholesome and risqué versions of the challenge, the official “Surround Sound” TikTok sound has been used in over 175,800 posts and counting.
No ‘Wondering’ Here: Red Clay Strays Score Chart Hit Thanks to TikTok
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While The Red Clay Strays have spent a long time supporting other major country acts on tour, from Brothers Osborne to Dierks Bentley to Eric Church, the Alabama group may finally be scoring a mainstream moment of its own. “Wondering Why,” the group’s soulful waltz from last year’s album Moment of Truth, has gone viral on TikTok, as users have been picked up on the line “She keeps on loving me/ Loves me the way I am” and deployed it in a variety of wistful clips.
“Wondering Why” has earned The Red Clay Strays their first Billboard chart appearance, as the song debuts at No. 33 on Hot Rock & Alternative Songs. And after scoring 2 million U.S. on-demand streams during the week ending Nov. 16, “Wondering Why” could be in for an even bigger total the following week, as the track earned 1.89 million streams from Nov. 17-20, according to Luminate. – JL
Ocean Alley Score Globe-Traversing Crossover Hit Five Years After Initial Release
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Five years ago, Aussie rockers Ocean Alley scored a career-defining hit with “Confidence,” the third single from their sophomore studio album Chiarascuro (2018). The track climbed to No. 9 in Australia, earned a platinum certification in the territory, and reigned atop the 2018 Triple J Hottest 100.
Clips of live performances of “Confidence” have gained ample traction on the band’s official TikTok page for years, but a slightly pitched-up and sped-up version of the song used in the band’s Nov. 2 TikTok commemorating two sold-out Brisbane shows has catapulted “Confidence” into the hearts and minds of millions of new listeners. According to Luminate, “Confidence” has collected over 1.9 million U.S. on-demand streams during the period of Nov. 10-16; that’s an eye-popping 182% increase from 700,000 streams during Nov. 3-9. In turn, that Nov. 3-9 figure is a 433.7% increase from just over 131,000 streams during the period of Oct. 27 to Nov. 2.
Ocean Alley has smartly latched onto the song’s unexpected second wining, using their TikTok comment section to confirm to fans that they’re working on getting a sped-up version on DSPs. Furthermore, the band has been posting clips of old interviews and performances of the song – one of which went viral due to how similar lead singer Baden Donegal looks to both Jordan Peele and Bad Bunny. On TikTok, the official “Confidence” sound is featured in just under 2,000 posts, but the sound connected to the sped-up version boasts over 43,800 posts. The source of that sound is Jun. 15 TikTok by user @alyx ⭐️🎧, which features a fancam of One Direction alum Zayn. In posts using “Confidence,” the main attraction to the song is split between genuine interest and a “behind every boy/girl with impeccable music taste” trend.
Thanks to its viral moment, “Confidence” has already topped the Viral 50 – USA Spotify chart, and there seems to be plenty of room for the song to continue to grow Stateside. – KD
Season’s Gainings: Drake Fans Flash Back to “November 18th”
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Even with a total of 30 new Drake songs to feast on between new album For All the Dogs and its Scary Hours deluxe reissue, the Drizzy faithful can’t help but go a little retro around this time of year. “November 18th,” a DJ Screw-sampling fan favorite from the 6 God’s classic 2009 mixtape So Far Gone, sees the superstar rapper paying tribute to both Houston and the life-chanigng date he first flew to H-Town to meet eventual mentor Lil Wayne. With that date passing on the calendar on Saturday, streaming audiences were apparently interested in a little homage of their own: According to Luminate, the song racked up nearly 121,000 official on-demand U.S. streams that day – up 160% from the previous Saturday. – ANDREW UNTERBERGER
Bad Bunny makes history on the latest Latin Songwriters chart (dated Nov. 25), as he becomes the first person to spend 100 weeks at No. 1.
He continues his record-setting run thanks to 14 writing credits on the latest Hot Latin Songs chart, including “Monaco,” which tallies a fifth week at No. 1.
Here’s a look at all of Bad Bunny’s songwriting credits on the latest Nov. 25-dated Hot Latin Songs chart.
Rank, Artist Billing, Title:No. 1, Bad Bunny, “Monaco”No. 5, Bad Bunny & Feid, “Perro Negro”No. 11, Bad Bunny, “Un Preview”No. 12, Bad Bunny & Young Miko, “Fina”No. 16, Bad Bunny, “Where She Goes”No. 22, Drake ft. Bad Bunny, “Gently”No. 28, Bad Bunny, “Baby Nueva”No. 29, Bad Bunny, “Mr. October”No. 30, Bad Bunny & Mora, “Hibiki”No. 33, Bad Bunny, “Cybertruck”No. 38, Bad Bunny & Bryant Myers, “Seda”No. 40, Bad Bunny & Luar La L, “Telefono Nuevo”No. 43, Bad Bunny & YONVNGCHIMI, “Mercedes Carota”No. 47, Bad Bunny, “No Me Quiero Casar”
“Monaco” is Bad Bunny’s 14th career No. 1 on Hot Latin Songs (the fourth-most of all time), and his eighth to spend five-or-more weeks on top.
Across Billboard’s 13 weekly songwriter charts, Bad Bunny is just the second artist to spend 100 or more weeks at No. 1. Kirk Franklin, who has led Gospel Songwriters for 121 weeks, tallied his 100th week at No. 1 in March. “To have my music resonate with so many for 100 weeks is truly a humbling experience,” he told Billboard at the time. “I am grateful beyond words to those that love my music for their support and to everyone who has played a part in bringing my music to life.”
Reaching 100 weeks atop any of Billboard’s 13 producer charts is just as rare. Only two producers have achieved the feat: Joey Moi, with 122 weeks atop Country Producers, and Tainy, with 119 frames at No. 1 on Latin Producers.
Billboard launched the Hot 100 Songwriters and Hot 100 Producers charts, as well as genre-specific rankings for country, rock & alternative, R&B/hip-hop, R&B, rap, Latin, Christian, gospel and dance/electronic, in June 2019, while alternative and hard rock joined in 2020, along with seasonal holiday rankings in 2022. The charts are based on total points accrued by a songwriter and producer, respectively, for each attributed song that appears on the Billboard Hot 100. The genre-based songwriter and producer charts follow the same methodology based on corresponding “Hot”-named genre charts. As with Billboard’s yearly recaps, multiple writers or producers split points for each song equally (and the dividing of points will lead to occasional ties on rankings).
It’s Chris Brown’s time again on Billboard’s Top R&B Albums chart as his new project, 11:11, debuts at No. 1 on the list dated Nov. 25. The set, released on Nov. 10 through CBE/RCA Records, starts with 45,000 equivalent album units earned in the U.S. in the week ending Nov. 16, according to Luminate.
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The new champ also achieves a feat that had seemed nearly impossible in the last year, unseating his RCA labelmate SZA’s SOS blockbuster from the No. 1 spot on Top R&B Albums. Since SOS docked at No. 1 on the chart dated Dec. 24, 2022, the album had ranked at No. 1 every week since – a total of 48 frames.
Streaming contributes most of 11:11’s first-week activity. 38,000 units of the album’s 45,000 total are from streaming clicks, equaling 51 million official on-demand audio and video streams of the album’s songs. Traditional album units provide 6,000 units from the remaining sum, with the last 1,000 units from track-equivalent album units. (One unit equals the following levels of consumption: one album sale, 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams for a song on the album.)
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In all, 11:11 gives Brown his fifth No. 1 on the Top R&B Albums chart, which began in 2012.Elsewhere, 11:11 clocks a No. 2 entrance on Top R&B/Hip-Hop Albums and No. 9 on the all-genre Billboard 200. On both charts, the launch secures Brown’s 12th top 10 album – the entirety of his output, sans his collaborative mixtape with Young Thug, Slime & B, which peaked at No. 15 on the former and No. 24 on the latter list.
As 11:11 arrives, eight of its songs appear the Hot R&B Songs chart, including six debuts. The previously released singles “Sensational” jumps 21-7 in its third week on the list, while “Summer Too Hot” re-enters at No. 23 after having achieved a No. 6 peak in August. Here’s a look at the 11:11 placements on this week’s list:
No. 7, “Sensational,” featuring Davido & Lojay
No. 8, “Angel Numbers/Ten Toes”
No. 9, “That’s on You,” featuring Future
No. 11, “No One Else,” featuring Fridayy
No. 12, “Press Me”
No. 17, “Feel Something”
No. 22, “Nightmares,” featuring Bryson Messia
Brown also lands a ninth concurrent hit on this week’s chart. His collaboration with Ciara, “How We Roll,” slides 8-15, in part due to the 11:11 debuts, in its 14th chart week.
Mitski’s “My Love Mine All Mine” ranks atop the TikTok Billboard Top 50 yet again, while Jack Harlow’s viral hit “Lovin on Me” makes a major move into the Nov. 25-dated tally’s 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 Nov. 13-19. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50.
“My Love Mine All Mine” appears at No. 1 for the second straight week and fifth overall, extending its standing as the longest-running No. 1 in the TikTok Billboard Top 50’s two-month history. It concurrently lifts 3% to 12.5 million official U.S. streams in the U.S. on traditional streaming services, according to Luminate, begetting its new No. 14 peak on Billboard’s Streaming Songs chart.
Checking in on the sound nearly two months after its initial debut on the TikTok Billboard Top 50 (Sept. 30), “My Love Mine All Mine” continues to be utilized in largely the same way, with users uploading videos showcasing love or budding friendships.
Lil Mabu and Chrisean Rock’s “Mr. Take Ya B-tch” remains at No. 2, while Kanye West’s “Runaway” featuring Pusha T vaults onto the ranking at No. 3. The 2010 song, featured on West’s My Beautiful Dark Twisted Fantasy, sports a sizable bump on TikTok, led by an upload showing when West changed the lyrics of the song to address his divorce from Kim Kardashian.
Jack Harlow’s “Lovin on Me” jumps to No. 4 after debuting at No. 23 on the Nov. 18 survey, its first full week of tracking after being released Nov. 10. The viral tune, which was teased on TikTok prior to its release, concurrently debuts at No. 2 on the Hot 100, as previously reported, largely via 22.2 million streams across all streaming services that report to that chart.
Usages of the song on TikTok mostly center on its opening refrain of “I’m vanilla, baby,” with perhaps the most viral upload featuring user quinickle doing a Rubik’s cube while lip synching – with many subsequent videos referencing him, as well as other so-called “vanilla” men.
Rounding out the top five, Mariah Carey’s “All I Want for Christmas Is You” reaches a new peak of No. 5 after breaking into the top 10 the previous week at No. 6. It’s one of three holiday songs on the latest ranking, with Carey followed by Wham!’s “Last Christmas” at No. 17 and Brenda Lee’s “Rockin’ Around the Christmas Tree” at No. 25.
Outside of “Runaway,” the chart’s next highest debut of the week belongs to Colbie Caillat’s “Bubbly,” which bows at No. 12. The 2000s hit has taken off thanks in large part to uploads in which posters use the song to soundtrack other musicians dancing at their own concerts, from Lil Uzi Vert and Justin Bieber to Kiss and NLE Choppa.
“Bubbly,” which peaked at No. 5 on the Hot 100 in October 2007, sported a gain of 29% to 1.5 million streams.
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.
It’s been quite a past week for Tate McRae in the Billboard realm — in a span of about five days, she made her first-ever appearances on the cover of Billboard magazine, on stage as a Billboard Music Awards performer, and in the top 10 of the Billboard Hot 100.
The last two appearances come courtesy of McRae’s breakout hit “Greedy,” which takes a more pop-forward, triple-threat approach to top 40 domination than her moodier prior hits “You Broke Me First” and “She’s All I Wanna Be.” In addition to delivering the song at Sunday’s (Nov. 19) BBMAs, McRae also performed the song (along with ballad “Grave”) on Saturday Night Live the night before — another first for the 20-year-old rising star.
How did “Greedy” become the song to take McRae to the next level of stardom? And what chances does it have of becoming her first No. 1? Billboard staffers discuss these questions and more below.
1. “Greedy” moves from 11-8 on this week’s Hot 100, becoming her first top 10 hit on the chart in its ninth week. Did you expect the song becoming this kind of breakout hit for her?
Rania Aniftos: Yes, the second I saw tube girl take over TikTok lip syncing “Greedy,” I knew Tate had found her hit. Every other video on the platform had “Greedy” in it.
Kyle Denis: Yes. I covered this song for Billboard’s Trending Up column back in September; the success of “Greedy” has been the result of a coordinated promotional effort beginning with a TikTok snippet strategy and adding several show-stealing live performances along the way.
Lyndsey Havens: Oh yes. Tate has been developing as an artist and building the foundation for her career since 2018 — and even before that, if you count her teenage YouTube series Create With Tate. She’s already had a taste of success with breakout hit “You Broke Me First,” so the stage was set. And with a song like “Greedy” — with its endearing swagger and nostalgic production — the pieces finally fell into place.
Jason Lipshutz: No on the first listen, yes on the fifth listen. After a few plays, “Greedy” fully won me over, both from the standpoint of being insanely catchy and as a subtle showcase of the snappy rhythmic-pop sound in which Tate McRae has created a pocket. McRae is no stranger to top 40 radio — “She’s All I Wanna Be” and “You Broke Me First” both performed well in recent years — but “Greedy” is more immediate, charismatic, and downright memorable than those prior hits. As soon as it clicked into place for me, I expected “Greedy” to become her first top 10 hit.
Andrew Unterberger: I dunno if I could’ve ID’d at it as a sure top 10 hit in a blind taste test, but certainly once the TikTok hype of the song led to a top 40 bow for it on the Hot 100, clearly big things were in the works here — especially after the debut of its hockey rink-set music video, as star-making a moment for McRae as the song itself.
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2. What do you think the biggest reason is that “Greedy” has been the single to bring McRae to a higher tier of hitmaking?
Rania Aniftos: We’re still in this interesting time in music in which Gen Z is super nostalgic. They wish they got to experience the height of the Y2K pop star era with Britney Spears, Christina Aguilera, Jessica Simpson, etc. So, when Tate came out with “Greedy” and it’s sassy and flirty and feels fresh out of 2002, it’s exactly what her demographic has been looking for.
Kyle Denis: It’s probably her most singular offering yet. Tate McRae is clearly a talented performer, but despite her previous success, a lot of her those singles felt faceless and nondescript. While “Greedy” isn’t the most innovative pop song of the year by any means, its undeniable chorus and connection to the “It Girl” aesthetic allowed it to unlock a new level of hitmaking for McRae.
More specifically, however, the TikTok snippet campaign is what really sewed up the success of “Greedy.” Thanks to the campaign, McRae has been prepping consumers’ ears and stoking their interest for “Greedy” since the beginning of August. Couple that with two back-to-back live performances that flaunt her impressive dance skills and you’re left with a good old fashioned pure pop smash.
Lyndsey Havens: I think there are two main drivers here. The first is that she’s sort of talking her s—t a bit… It’s clear she’s coming at the song from a place of confidence and matured sass, two traits that are an easy sell for most pop fans. That self-assuredness is not only heard but also seen in the steamy music video, in which McRae flexes the fact that she is also a professionally trained dancer. I think the combination of a catchy pop hit and eyebrow-raising choreography is fueling this moment.
Jason Lipshutz: The hook here works across formats — from isolated TikTok clips to pop radio to streaming playlists — in a way that makes “Greedy” fit into a ton of different listening scenarios. Scrolling through social media and stumbling across choreo routines? Rolling through a new pop playlist on Spotify, or top music videos on YouTube? “Greedy” is malleable, and can entertain within a variety of pop contexts, which is why it’s caught on with such force over the past few weeks.
Andrew Unterberger: May or may not be the biggest factor, but I think “Greedy” is one of a few singles to benefit from the (relative) absence of Ariana Grande in the pop landscape. Grande was such a mighty top 40 fixture from 2018 to early 2021 that these past couple years without her doing much has left an unoccupied lane on radio and in the culture when it comes to flirty, quippy, swaggering pop&B — one that McRae was more than ready to swerve into here.
3. McRae released her follow-up single “Exes” last Friday — do you think the song will follow “Greedy” to hit status, or does it feel like “Greedy” will be tough for her to match?
Rania Aniftos: While “Exes” is equally as catchy to me, it’s going to be tricky to grab onto the viral success of “Greedy.” It really found the balance of having a TikTok trend attached to it, as well as it being marketable for radio, TV and other mainstream channels. I am rooting for “Exes,” though! It’s such a good song.
Kyle Denis: “Greedy” still has plenty of room to grow, so I’m not sure “Exes” will even get to half of what “Greedy” can achieve. “Exes” is fine. It’s less instant that “Greedy,” which could delay how quickly it takes off. Nonetheless, McRae is already growing into an artist who can really move the needle for her singles through live performances. Perhaps with the right stage, “Exes” will explode into its full potential.
Lyndsey Havens: I think “Greedy” will be tough to match. I think instead of trying to compete, “Exes” — and her entire forthcoming album Think Later — will only help “Greedy” sustain. If anything, “Exes” proves that “Greedy” wasn’t a lucky one-off or contrived — it’s Tate fully loaded.
Jason Lipshutz: “Greedy” is still going strong, so if “Exes” is going to have a moment, I’d guess that such a moment is still a couple months away. That said, I do like “Exes” quite a bit: the bruising confidence and deep percussion of “Greedy” is carried over, and McRae’s personality is even more on display on the follow-up track. I could foresee a world in which “Ohh, I’m sorry / Sorry that you love me,” followed by that indelible cackle, becomes a quick-spreading meme at the top of 2024, and McRae continues her recent hot streak.
Andrew Unterberger: “Exes” has its moments and is off to a pretty strong start on streaming, so it’s probably going to be a factor on the charts in the weeks (months?) to come — but it will have to shine while remaining in the shadow of “Greedy,” which is certainly not going anywhere anytime soon.
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4. The last week has represented a major moment for McRae, not only with the top 10 ascent of “Greedy” and the release of “Exes,” but also a Billboard cover story, a BBMAs performance and a musical guest turn on Saturday Night Live. Do you think having so much Tate McRae in pop culture at once will ultimately have a positive or negative effect on her career momentum?
Rania Aniftos: Positive, for sure. People who had never heard about her before or aren’t on TikTok are now getting introduced to her via more mainstream platforms like SNL or awards shows. This is exactly the exposure she needs to transcend from social media star to full-fledged pop star.
Kyle Denis: Definitely positive. For the past few years, Tate McRae has been floating around the ever-revolving cast of mid-tier pop stars that aren’t necessarily popular by measure of celebrity or name recognition. This level of exposure both helps consumers visually differentiate her from her peers, and showcases why she’s a pop star who people should bother caring about beyond whatever radio hit they may have in rotation at a given moment. Not to mention, she has an album due before the year’s end – this is all great for her!
Lyndsey Havens: I think this succession of major wins will only have a positive impact overall, simply because these things are not happening to her right out of the gate. These things are happening as she’s promoting her second album. They are happening after years of development and key internal changes (like new management) that are finally paying off. I think this moment is happening because of the momentum she already had — and not necessarily because of the momentum from this moment.
Jason Lipshutz: Positive, for sure. McRae has had hits in the past, but has not had the wider name recognition to turn those hits into sustained pop stardom; “Greedy” has functioned as a best-case breakthrough scenario, though, by not only becoming her highest-charting hit to date, but concurrently introducing McRae, the artist, to a mainstream audience. We’ll see how far that introduction takes her in the coming months and years, but she has her foot in the door now, and that’s all that matters.
Andrew Unterberger: Honestly, flooding the zone is rarely a bad move for pop artists in 2023. There’ll be some backlash, sure, but being at the center of discussion is something precious few artists can manage for any (not career-killing) reason in 2023 — so if you have the opportunity, may as well grab it.
5. Now that the song has reached No. 8 on the Hot 100, how much higher do you think it can still climb — will it get to the top five? How realistic a goal would a No. 1 be?
Rania Aniftos: Top five seems doable to me, but as long as Taylor Swift keeps releasing re-recordings and as long as “Cruel Summer” still exists, No. 1 is tough for anyone to reach.
Kyle Denis: I think the sky is the limit for “Greedy.” I can definitely see this growing into one of those songs that holds throughout the holidays season and enters the new year as one of the most dominant songs in popular music. She still has ample opportunities for live performances, the built-in boost of album release week and potential remixes. The song just hit the top five on Billboard‘s Pop Airplay chart this week, so its journey is far from over – especially as older 2022 hits and Taylor Swift’s vault tracks continue to free up space in the Hot 100’s uppermost regions.
Lyndsey Havens: I would love to see “Greedy” enter the chart’s top five — and I do think once Think Later arrives in a few weeks that could happen. And hey, call me crazy but… historically, songs that end one year near the top can often begin a new year with even more attention as a result of how slow January can be. So, while a No. 1 spot seems a bit unlikely, I wouldn’t say it’s impossible.
Jason Lipshutz: Top five is realistic for sure, although No. 1 will be difficult with a flood of holiday music about to return to the top of the chart. Who knows, though? It’s not like Burl Ives is performing intricate choreography in hockey pads!
Andrew Unterberger: Top five should definitely be in Mcrae’s sights for “Greedy,” which is still clearly on its way up, and if she and her RCA label have a remix in reserve — maybe even one featuring AG herself? — it could absolutely have a shot at No. 1. The key will be timing, and in fact it may be best for McRae & crew to wait out the Holiday crush and go for the gusto in early 2022.
Morgan Wallen tops Billboard’s 2023 year-end Hot 100 Artists list, while “Last Night” leads the year’s Hot 100 Songs recap. Rania Aniftos:Morgan Wallen had a big year on the Billboard Hot 100, and as the year wraps up, it looks like the country star is at the top of a few year-end lists. Morgan Wallen […]
Anthony Brown & Group Therapy reach No. 1 on Billboard’s Gospel Airplay chart (dated Nov. 25) with “Speak Your Name.” The single increased by 2% in plays during the Nov. 10-16 tracking week, according to Luminate. Brown solely wrote the song and co-produced it with Justin Savage. “Every artist creates music with the hope that […]
In 2020, Jessie Murph began regularly posting covers to YouTube and TikTok. They quickly gained a following, and ever since she’s been scoring one win after the next. She parlayed her early success with covers of Ariana Grande, Fleetwood Mac, Post Malone and others into a label deal with Columbia Records the following year. By the end of 2021, “Always Been You” — the lead single from her debut mixtape — became her first hit on the Billboard Hot 100.
Since then, the 19-year-old singer-songwriter has tallied three more entries on the chart: “Pray”; her Diplo and Polo G collaboration, “Heartbroken”; and most recently “Wild Ones” with Jelly Roll. The latest has already become her biggest hit to date, reaching a No. 42 high in six weeks on the ranking.
Over an inescapable country-driven groove, Murph and Jelly Roll romanticize risk-taking, rule-breaking daredevils with an affinity for fast cars and lifting their middle fingers high in the air. “Say you wanna get dangerous/ Now you’re speaking my language,” Murph sings.
The two musicians share a connection in more ways than one. Both are Nashville-area natives — though Murph’s family moved to Alabama when she was a child, she recently moved back to the Music City — and have continued to explore different genres throughout their careers, including country, hip-hop, pop and rock. For Jelly Roll (real name: Jason DeFord), “Need a Favor” and “Son of a Sinner” have been genre-fluid mainstays over the past year and have helped fuel a best new artist Grammy nomination and a win as new artist of the year at the recent CMA Awards.
“I think something that’s so special about him is he’s so always just so grateful,” Murph says of Jelly Roll. “You can tell he’s such a gratitude-based person and it’s beautiful. Jelly Roll has just been so positive and every time I’m around him I leave feeling so happy.”
How did this song come together?
It was such a long process. I feel like I made it months before it came out, and I never planned on having a feature on it. I was just going to put it out. But [at the] last minute, Jelly heard it and he was like, “I have a verse for this,” and I’m a huge fan of him. I went to one of his shows and sang a cover of “Simple Man” with him. Then I guess he heard “Wild Ones” and I was like, “Oh my God, please be on this.”
What inspired the song?
I’ve always been attracted to crazy things or chaos. That’s where the song came from. I don’t normally write fun songs, so it’s one of my first songs like that — really cool and different. I had been in a session all day and we had gotten nothing. In the last 30 minutes, I remember Gitty [producer/co-writer Jeff Gitelman] played this guitar lick and we ended up writing it super fast.
Once you were in the studio, were there any big changes made to the song?
We might’ve sped it up during the process to make it a little bit more groovy. But I really wanted country elements for this song — that was the palette I wanted to stay with. Stylistically, especially lately, I’ve been a little bit country leaning. I’m really inspired by country music, and I feel like it has found its way into my sound.
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How did you first hear Jelly Roll’s music?
My older brother is really into country [music], so he listens to a lot of that kind of stuff. I feel like we were just in the car and he had it on. I was like, “Whoa, this is insane.” But the craziest thing was seeing Jelly live. I was just blown away.
It feels like country music is everywhere this year, in different variations. Genres keep melding together in different ways. What is your take on that?
I think it’s beautiful. That has always been my thing as an artist: I don’t ever want to have a genre because I feel that boxes you in. As you get older and grow as a person, you listen to different types of music, and I think it’s beautiful when those things mix and intertwine. It creates a whole new vibe that people haven’t even heard. But I agree, country is exploding right now.
Who else would you want to collaborate with?
My dream collaboration is Lil Baby. I’ve always wanted to [make a song with him], and it’s going to happen at some point. I’m manifesting it. I’ve been obsessed with his music since I can remember. He’s just such a real person. I feel like he sings about real sh-t. I love his melodies, his flows.
A version of this story originally appeared in the Nov. 18, 2023, issue of Billboard.
Multi-genre superstar Kanye West is Billboard’s Top Gospel Artist of 2023, marking three straight years that he claims the top honor. He’s the first act to be the year-end Top Gospel Artist in three years since 2017, when Tamela Mann claimed her third triumph.
On the Billboard charts dated Sept. 11, 2021, Donda started with a bang. It debuted in the penthouse on the all-genre weekly Billboard 200 plus Top Gospel Albums and Top Christian Albums with 309,000 equivalent album units earned in the U.S., according to Luminate.
Explore All of Billboard’s 2023 Year-End Charts
It marked West’s 10th Billboard 200 leader and his second No. 1 on Top Gospel Albums (as well as Top Christian Albums).
Donda followed his first spiritual LP, Jesus Is King, which crowned both lists as well, plus the Billboard 200. King started with 264,000 weekly units in November 2019, which was a record at the time on the two faith-based lists.
On the Top Gospel Albums year-end tallies, Donda is No. 1 and Jesus Is King is No. 5.
Also, Donda has ranked at either No. 1 or No. 2 on the weekly Top Gospel Albums chart so far this year. Jesus Is King has also remained strong, holding in the Top Gospel Albums top 10 throughout 2023.
Since Top Gospel Albums launched in 1983, Donda is the longest running No. 1 (over 100 weeks), and Jesus Is King is second (over 65 frames).
Billboard’s top duo/group of 2023 and No. 2 among all acts is the Atlanta-based worship collective Maverick City Music. The popular act repeats from 2022 in the rankings.
Old Church Basement, the collaborative project with Christian act Elevation Worship, ranks as the Top Gospel Albums No. 2 LP of 2023. The set, which opened at No. 1 on Top Gospel Albums in May 2021 with 19,000 units and spent 17 frames at the summit, has been in the top five for all of 2023.
The Nos. 4, 6 and 10 albums of 2023 are also from Maverick City Music. At No. 4 is Kingdom: Book One, a collaboration with gospel star Kirk Franklin. The LP opened at its No. 2 peak in July 2022 with 8,000 units. Maverick City, Vol. 3: Part One is the No. 6 set of 2023; and No. 8 is Move Your Heart with Upperroom.
Maverick City Music finished 2023 with the release of The Maverick Way Complete: Complete Vol. 2 with Chandler Moore and Naomi Raine. It arrived atop the weekly Top Gospel Albums list dated Nov. 11 (which places it within the 2024 chart year) with 11,000 equivalent album units. Concurrently, it also crowned the weekly Top Christian Albums chart.
Also, the year-end No. 1 on Hot Gospel Songs is “Jireh,” a collaboration from Elevation Worship and Maverick City Music featuring Chandler Moore and Naomi Raine. The song debuted at No. 1 in April 2021 and has spent the sum of 2023 in the top three.
Gospel icon CeCe Winans is the leading woman of 2023, ruling the year-end Top Gospel Artists – Female tally, and No. 3 on the overall Top Gospel Artists recap. Her hit “Goodness of God” led Gospel Airplay for four weeks starting on the Feb. 18-dated tally, giving Winans her fourth leader. It’s No. 5 on the year-end Gospel Airplay Songs roundup. Plus, it’s the leading track of the year on Gospel Digital Song Sales.
The No. 1 Gospel Airplay Song of 2023 is Erica Campbell’s “Feel Alright (Blessed),” which dominated the weekly version of the chart for two frames beginning July 29, 2023. Campbell, who has tallied three Gospel Airplay chart-toppers so far, comes in as the that chart’s leading artist of the year. In the top female category, Campbell finishes fourth. Billboard’s Top New Gospel artist of the year is the Hampton Roads, Va.-based choir Voices of Fire, which is led by Bishop Ezekiel Williams, who is Pharrell Williams’ uncle. Voices of Fire’s “Joy (Unspeakable)” featuring Pharrell Williams peaked at No. 7 on Hot Gospel Songs in July.
Billboard’s year-end music recaps represent aggregated metrics for each artist, title, label and music contributor on the weekly charts from Nov. 19, 2022, through Oct. 21, 2023. Rankings for Luminate-based recaps reflect equivalent album units, airplay, sales or streaming during the weeks that the titles appeared on a respective chart during the tracking year. Any activity registered before or after a title’s chart run isn’t considered in these rankings. That methodology detail, and the November-October time period, account for some of the difference between these lists and the calendar-year recaps that are independently compiled by Luminate.