State Champ Radio Chart Beat
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Sexyy Red gets her first top 10 in a lead role on Billboard’s Hot R&B/Hip-Hop Songs chart as “Get It Sexyy” walks 15-6 on the list dated April 13. The track, which continues to gain in streaming and radio airplay, likewise brings the rising rapper to a similar milestone on the Billboard Hot 100, where it jumps 28-20 to become her first lead top 20 hit.
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For the tracking week of March 29-April 4 on Hot R&B/Hip-Hop Songs, which combines streaming, radio airplay and sales data for its results, “Get It Sexyy,” released on Open Shift/gamma, pulled 17.2 million official U.S. streams, according to Luminate, up 11% from the prior week. The growth pushes “Sexyy” 11-5 on the R&B/Hip-Hop Streaming Songs chart and secures it the Greatest Gainer honor, given weekly to the song with the largest streaming increase. While streaming expands, the song’s sales suffer a slight hit: “Sexyy” sold 1,000 downloads in the same period, down 12% from the previous tracking period, and falls 6-9 on R&B/Hip-Hop Digital Song Sales.
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“Sexyy” gives its creator her second top 10 on Hot R&B/Hip-Hop Songs and first as a lead artist. She previously reached the tier with her and SZA’s featured roles on Drake’s “Rich Baby Daddy,” which peaked at No. 4 in November. As a lead, Sexyy Red’s prior best was the No. 17 result for “SkeeYee” in September.
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In the radio realm, “Sexyy” registered 6 million in total airplay audience in the same period, a 61% surge from the prior week’s 3.7 million count. “Sexyy” finds its strongest welcome on the Mainstream R&B/Hip-Hop Airplay format, where it rockets 32-23 on the radio ranking, with a 58% increase in plays for the latest tracking week compared with the previous one. The rhythmic format also contributes significant activity, as “Sexyy” debuts at No. 35 on Rhythmic Airplay through a 110% weekly spin improvement.
By reaching No. 6, “Sexyy” bests the peak position of its prominent sample track, Hurricane Chris’ “Halle Berry (She Fine),” featuring Supastaar, which achieved a No. 7 best in 2009.
Elsewhere, “Sexyy” rebounds 13-5 on the Hot Rap Songs chart and likewise rallies eight spots on the all-genre Hot 100 (28-20), for new peaks on each ranking.
Alek Olsen’s “Someday I’ll Get It” is No. 1 on the TikTok Billboard Top 50 chart for a third straight week, followed by G-Eazy’s “Lady Killers II” and Hozier’s “Too Sweet” on the ranking dated April 13.
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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 April 1-7. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50. As previously noted, titles that are part of Universal Music Group’s catalog are currently unavailable on TikTok.
Olsen’s “Someday I’ll Get It” enjoys its third week at No. 1 on the chart in as many weeks. It’s the third song to lead the TikTok Billboard Top 50 for at least three weeks since the list’s September 2023 inception, following Mitski’s “My Love Mine All Mine” (six weeks, October-December 2023) and Flo Milli’s “Never Lose Me” (four weeks, January-February).
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The track’s prime usage on TikTok was initially a trend remembering deceased pets – one that continues to this day, though other recent clips find creators reminiscing about other losses they’ve experienced.
The March 29-April 4 Billboard multimetric chart tracking week sees “Someday I’ll Get It” lift 20-18 on the Hot Rock & Alternative Songs list via 3.3 million official U.S. streams, according to Luminate.
G-Eazy’s “Lady Killers II,” billed as the Christoph Andersson remix, lifts to No. 2 on the TikTok Billboard Top 50, a new peak. Released as a follow-up to G-Eazy’s original from the 2012 album Must Be Nice, the tune premiered March 17 after the then-unreleased remix took off on TikTok via a trend in which users turn off a light illuminating them in sync with the “Make her disappear just like poof/ Then she’s gone” lyric, usually on a beach.
“Lady Killers II” concurrently enjoys a 12% boost in official U.S. streams to 4.8 million March 29-April 4. It appears at No. 49 on Billboard’s Hot R&B/Hip-Hop Songs chart (after debuting at No. 47 the previous week) and also bows on the Billboard Global 200 at No. 147.
Hozier’s “Too Sweet” leaps to No. 3 on the TikTok Billboard Top 50 from No. 31, also a new peak. After being teased on TikTok prior to its March 22 wide release, the song has vaulted up the chart via multiple viral usages on the platform, mostly lip-synching, covers and being attached to unrelated popular videos.
The song rises 10% in official U.S. streams toward the latest Billboard charts to a new high of 31.8 million, good enough for No. 2 on the all-format Streaming Songs list. It also ascends 5-4 on the multimetric Billboard Hot 100.
Ye (formerly known as Kanye West) and Ty Dolla $ign’s “Carnival,” a previous two-week No. 1 on the TikTok Billboard Top 50, dips 2-4, and Sexyy Red’s “Get It Sexyy” rounds out the top five.
Bakar’s “Hell N Back” returns to the chart at No. 6, its first time among the ranking since January. Originally released in 2019, the song has enjoyed multiple viral moments throughout its lifetime, both on TikTok and via its placement in the trailer for the 2023 Disney/Pixar film Elemental. This time, the track’s Summer Walker remix is driving the attention, with Walker’s vocals soundtracking a trend in which users talk about their significant others to the verse “I was over love, I had enough, then I found you.”
“Hell N Back” returns to the Alternative Streaming Songs chart at No. 15 with 4.6 million official U.S. streams, a boost of 69%.
Artemas’ “I Like the Way You Kiss Me” is one of three songs, like Hozier’s “Too Sweet,” to reach the TikTok Billboard Top 50’s top 10 for the first time, jumping 19-7. It’s joined by BossMan Dlow’s “Talk My Shit,” which debuts at No. 9. The latter, which was released as part of the rapper’s March 15 album Mr Beat the Road, is rising thanks to a dance trend using the song, while the former was teased on TikTok prior to release and is mostly being used in lip-synch clips.
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.
J-Hope notches his second top 10-charting effort on Billboard’s Top Album Sales chart (dated April 13), as Hope On the Street, Vol. 1 bows at No. 2. He previously visited the region with Jack in the Box in 2023, which debuted and peaked at No. 2.
Hope On the Street, Vol. 1 is one of five debuting titles in the top 10 on the latest chart, as it’s joined by Beyoncé’s Cowboy Carter (No. 1), Sum 41’s Heaven :X: Hell (No. 5), Aaron Lewis’ The Hill (No. 5) and mgk and Trippie Redd’s collaborative set Genre: Sadboy (No. 7).
Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album units and streaming equivalent album units. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
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Cowboy Carter gallops onto the chart with 168,000 copies sold in the U.S. in the week ending April 4, according to Luminate. Of that sum, physical sales comprise 125,500 (63,500 on CD and 62,000 on vinyl) and digital download sales comprise 42,500.
Cowboy Carter’s sales were supported by the album’s availability across a number of configurations, released on March 29. It was issued as standard 19-track edition on vinyl (across four variants, each pressed on different color vinyl [black, red, white and blue] with alternate back cover artwork), a CD with an additional song (“Flamenco”) and a digital download and streaming edition (both in clean and explicit versions, with three bonus songs “Flamenco,” “Spaghetti” and “Ya Ya,” plus two interludes). The CD edition was issued in four variants (each with different back cover art). Two of the variants were sold as stand-alone items, while two of the CDs were only available inside two deluxe boxed sets (each with a different branded T-shirt contained inside a branded box). All physical configurations of the album were sold exclusively through Beyoncé’s official webstore, while the digital download and streaming editions were widely available.
The vinyl edition of Cowboy Carter sold 62,000 copies (across its four variants combined), marking Beyoncé’s biggest week on vinyl and the largest week for any vinyl album in 2024.
J-Hope’s Hope On the Street, Vol. 1 debuts at No. 2 on Top Album Sales, scoring the second top 10-charting effort for the singer. The set bows with a little over 44,000 copies sold in the tracking week. Of that sum, a little more than 38,000 were driven by CD sales. The album’s sales were supported by eight collectible CD editions (including exclusive variants for Target, Walmart and the Weverse store), all containing branded paper merchandise.
A pair of former No. 1s from Taylor Swift follow J-Hope, as Lover rises 7-3 (10,000; up 8%) and 1989 (Taylor’s Version) bumps 5-4 (9,000; down 6%).
Sum 41’s Heaven :X: Hell starts at No. 5 with a little over 7,000 sold, marking the fifth top 10-charting set and highest-charting effort ever for the act. The set’s sales were bolstered by its availability across eight vinyl variants, which combined to sell nearly 4,000 copies – the act’s best sales week on vinyl.
Aaron Lewis’ The Hill debuts at No. 6 with just under 7,000 sold – mostly from sales of its digital download album (about 4,000). It was also available as a standard CD and in two vinyl variants. The Hill is the fifth top 10-charting set for Lewis.
The first collaborative album from mgk and Trippie Redd, Genre: Sadboy, starts at No. 7 with nearly 7,000 sold (largely from its digital download). It’s the seventh top 10 for mgk and sixth for Trippie Redd.
Closing out the top 10 on Top Album Sales are three former chart-toppers: Swift’s Folklore (13-8 with nearly 6,500; down less than 1%), Ariana Grande’s Eternal Sunshine (10-9 with just over 6,000; down 19%) and TWICE’s With YOU-th (12-10 with 6,000; down 15%).
In the week ending April 4, there were 1.343 million albums sold in the U.S. (up 11.9% compared to the previous week). Of that sum, physical albums (CDs, vinyl LPs, cassettes, etc.) comprised 997,000 (up 11.8%) and digital albums comprised 346,000 (up 12.1%).
There were 518,000 CD albums sold in the week ending April 4 (up 21.4% week-over-week) and 475,000 vinyl albums sold (up 2.9%). Year-to-date CD album sales stand at 6.173 million (down 32% compared to the same time frame a year ago) and year-to-date vinyl album sales total 6.425 million (down 48.9%).
Overall year-to-date album sales total 16.883 million (down 36.9% compared to the same year-to-date time frame a year ago). Year-to-date physical album sales stand at 12.661 million (down 41.9%) and digital album sales total 4.221 million (down 15.1%).
Welcome to Billboard Pro’s Trending Up newsletter, 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.
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This week: Solar eclipses, earthquakes and general bad weather lead to gains for related jams, while one of Olivia Rodrigo’s opening acts has her long-awaited streaming breakthrough and a fake artist has a real viral mashup.
Total Eclipse of the Streams: Sun & Moon Songs by Pink Floyd, Soundgarden, Bonnie Tyler & More All Way Up
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If you’re reading this week’s Trending Up newsletter, hopefully that means you took protective measures when checking out the total solar eclipse that swept up North America this Monday (Apr. 8) and managed to avoid any permanent ocular damage. And even if you did mess up your eyes, chances are your ears still managed to catch some thematically related jams on Monday, with numerous such songs exploding in streams as they found their way to eclipse soundtracks and party playlists nationwide.
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Among the most notable beneficiaries from the eclipse enhancement on Monday were LEN’s “Steal My Sunshine” (up 194% in on-demand U.S. audio streams from the previous Monday to 169,000, according to Lumiante), Pink Floyd’s “Eclipse” (up a whopping 1472% to 541,000), Creedence Clearwater Revival’s “Bad Moon Rising” (up 48% to 559,000), The Beatles’ “Here Comes the Sun” (up 58% to 656,000 – but actually sorta inappropriate for the occasion, no?), Bill Withers’ “Ain’t No Sunshine” (up 87% to 772,000) and Soundgarden’s “Black Hole Sun” (up 123% to 806,000). And for those jokers on social media during the event, don’t worry, everyone saw your Clipse puns – as evidenced by the rap duo’s catalog also being up 21% to 66,000 for the day.
But of course, the mother of all eclipse jams proved once again to be Bonnie Tyler’s 1983 Billboard Hot 100-topper “Total Eclipse of the Heart,” which was not only up 652% to nearly 1.3 million streams on Monday, but also sold nearly 4,000 digital copies on the day, an increase of 3,992%. It probably won’t be quite enough for “Total Eclipse” to make a Hot 100 return, but if the eclipse bump doesn’t totally pass by the end of this tracking week, it may end up making an appearance on some sales and/or streaming charts next week.
And that’s not all the freak phenomenon-related listening folks were doing in America the past week, of course – plenty of tri-state folks affected by the 4.8 magnitude earthquake on Friday (Apr. 5) were motivated to process their feelings on the core-shaking incident via streams of songs like Carole King’s “I Feel the Earth Move” (up 25% from the previous Friday to 65,000) and Tyler, the Creator’s “Earfquake” (up 13% to 459,000). Together, it was all enough to music listeners feeling downright apocalyptic – at least, as indicated by the Monday bump for R.E.M.’s end-times classic “It’s the End of the World as We Know It (And I Feel Fine)” (up 66% to 100,000). – ANDREW UNTERBERGER
Chappell Roan Goes “Supernova” Following Opening Run on Guts World Tour
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One of the biggest tours of 2024 so far has been Olivia Rodrigo’s debut global arena trek, which recently wrapped its opening North American leg with four dates at New York’s Madison Square Garden before Rodrigo heads overseas for the first time. While ‘90s alt-rock vets The Breeders were tabbed by Rodrigo for leading those NY shows, her dates prior to that point were opened by rising alt-pop phenom Chappell Roan – a longtime cult favorite among critics and pop obsessives who had yet to cross over to the kind of mainstream stardom the ambitious pop singer-songwriter was clearly aiming for.
Following her stretch of dates on the Guts World Tour, that last part may now be on its way. Roan’s streams have increased throughout her weeks touring with Rodrigo – also helped by a well-received performance on NPR’s Tiny Desk series on Mar. 21 – with her attention-grabbing opening set exposing new audiences to the songs from her acclaimed 2023 debut full-length The Rise and Fall of a Midwestern Princess (released on Amusement Records, the imprint launched by regular Rodrigo collaborator Dan Nigro). The album has even made its first appearance on the Billboard 200 as a result, debuting at No. 127 on the chart dated Apr. 6.
Over the past six weeks, total official on-demand U.S. streams of Roan’s catalog have spiked from 3.7 million to nearly 11.7 million, according to Luminate – a gain of 215% – with her Princess single “Red Wine Supernova” leading the way with over 2.3 million streams for the tracking week ending Apr. 4. It would seem like perfect timing for Roan to release a new single – and she did just that on Friday (Apr. 5) with “Good Luck, Babe!,” which is off to the hottest start for any Roan single to date, racking up 2.5 million official on-demand streams in its first three days of release and climbing into the top 30 on Spotify’s Daily Top Songs USA chart.
It would seem like Roan may be on track to be graduating from opener to headliner status in due time – and certainly, pop watchers will have their eyes on the numbers for fellow acclaimed up-and-comers Remi Wolf and PinkPantheress as they take their turns kicking off the remaining Guts World Tour dates from here. – AU
Lay Bankz Nets Another Streaming Smash With Bubbly “Tell Ur Girlfriend”
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Just a few months after Lay Bankz first landed on Trending Up with “Ick” — which peaked at No. 8 on the Billboard TikTok Top 50 (chart dated Oct. 7, 2023) — the Artist Partner-signed Philly rapper is back with a new joint titled “Tell Ur Girlfriend.”
Another bouncy dance track, “Tell Ur Girlfriend” pulls from ’90s R&B and synthpop, marking a departure from the stronger Jersey club bent of “Ick.” While the latter benefited from organic virality, “Tell Ur Girlfriend” is making impressive gains with a formal promotional campaign. During the period of March 29-April 4, “Tell Ur Girlfriend” collected over 2.9 million official on-demand U.S. streams, according to Luminate. That’s an eye-popping 587% increase from three weeks prior (March 8-14) when it pulled just under 425,000 streams.
“Tell Ur Girlfriend” owes a significant chunk of its traction to a dance trend sparked by a post shared by user @laurieluna13 on March 19. Choreographed by @who.is.ga6y, the trend has sparked tens of thousands of clips, including one from Lay Bankz herself on April 8, which earned 1.3 million views. The official “Tell Ur Girlfriend” sound boasts 10,200 posts, while a pair of unofficial sounds houses an additional 36,8000 and 81,700 posts, respectively. On YouTube, the official “Tell Ur Girlfriend” audio clip has pulled in nearly a million hits in less than two months, and a live “From the Block” performance video brought in nearly a quarter million views in a month.
Looks like Lay Bankz is two for two. – KYLE DENIS
“Aurbley” Bags Surprise Hit With Help From Tay-K, Jay-Z & Anime
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The thing about Aurbley is that Aurbley doesn’t actually seem to exist. There isn’t much available on the internet about the artist, save for an auto-generated YouTube topic page that houses just three audio clips and a Spotify bio that links to an Instagram account that’s been inactive since Nov. 2022.
During the period of March 29-April 4, Aurbley’s “Get Wid Lemonade” garnered just over 990,000 official on-demand U.S. streams, marking a 123% increase from the 445,000 streams it pulled the week prior (March 22-28).
“Get Wid Lemonade” is an unofficial mashup of Tay-K’s “Lemonade” and Jay-Z‘s “Who You Wit II.” Kyle Davis, a Brooklyn DJ and producer, created the mashup in 2022, and uploaded it to streaming services on March 24, 2024, under the title “Lemonade.” Somewhat inexplicably, a version of the mashup titled “Get Wid Lemonade” was uploaded to Spotify by Aurbley on Feb. 15. This version – which has already earned over three million streams on the platform – cuts the Derrick Rose buzzer-beater intro from Davis’ upload.
Of course, years of built-in hype and grassroots love for the mashup have resulted in its major streaming gains since landing on Spotify, but the TikTok anime community has also embraced the mashup. Just one post using “Get Wid Lemonade” to soundtrack a fancam of Samurai Champloo garnered over 1.3 million views and nearly 290,000 likes.
Although it’s been several years since Jay-Z’s last album and Tay-K is currently awaiting trial in his ongoing murder case, both rappers have a surprise hit on their hands thanks to the dexterity of their catalogs and the bright mind of a Dallas-bred DJ. – KD
Q&A: Matt McLernon, Senior Manager of YouTube Artist Partnerships, on What’s Trending Up in His World
What’s new this year with YouTube’s Coachella livestream?
In 2023, Coachella on YouTube took a huge step forward expanding to six livestream feeds across both weekends. With so many more shows to see, it created a new opportunity for us to help people easily find who’s playing right now and show people even more of the festival. This year, we are taking another big step forward where you can watch up to 4 stages live at the same time in multiview on your TV.
The dedicated feeds for each stage also give Coachella the chance to use stage turnovers to keep fans entertained with custom artist content, archived performances and more.
How will the YouTube team be coordinating behind-the-scenes content in the middle of the chaos?
With this as our 12th Coachella livestream we have a healthy momentum going into navigating the backstage energy, but every year brings its own magic. This time we have a content studio both weekends where artists film for Shorts and socials, Highsnobiety curating a portrait studio, a lounge to catch some shade between sets and of course our surprise popsicle drops. We’ll also be hosting incredible content creators onsite to give fans on YouTube all kinds of looks into the experience. Come through if you’re at the festival!
Festivals have taken varying approaches to livestreaming over the past decade. What is it about the Coachella brand that elevates interest and viewership each year?
Coachella’s decision to film the festival from the very beginning was as progressive of a move as their choice to start livestreaming on YouTube in 2011. Now we work year-round to keep that progressive vibe going with new features, more music and of course supporting the special moments.
Coachella has a super clear vision and is always open to considering new ideas, which is why our partnership is so unique. We’re also focused on the long game, so we have new things launching this year that have been in the works for a while and already have ideas in development for next year.
This adds up to Coachella translating their world-class festival experience into a world-class livestream, and the world keeps showing up for it. Global viewership now accounts for 65% of the live tune in, and Coachella keeps building on that by booking some of the most exciting artists from more and more countries.
Fill in the blank: one non-headliner that you think will draw a ton of livestream interest is ____.
Peso Pluma. Last year, during his first appearance at the festival, Peso Pluma was also the very first artist to come through our YouTube content studio. It was a sign of things to come for him as he became the #1 most viewed artist on YouTube in 2023, and another example of the expanding global presence of Coachella. I’ll either see you there or on the livestream. – JASON LIPSHUTZ
Season’s Gainings: ‘Sometimes It Snows in April’ – Or It’s Just Rainy and Miserable
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Happens every March: The clouds part, the sun comes out, the temperature rises and those of us in medium-climate areas declare winter to be at long last dead and buried. Then, the clouds return, the temperatures plummet, the skies dump all sorts of messiness on us and we realize how foolishly premature we were in our celebrations (again). In such cases, at least we have the perfect song to turn to on streaming: Prince’s eternally wise “Sometimes It Snows in April,” which soundtracked the lousy first few days of the month for many fans, as it collected 22,000 official on-demand U.S. streams from Apr. 2-5 – a gain of 119% from the prior four-day period, according to Luminate. – AU
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 Hot 100 dated April 20), things get tight at the top for Future, Metro Boomin and Kendrick Lamar, with lingering threats from Benson Boone and Hozier and a new direct response from J. Cole.
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Future, Metro Boomin & Kendrick Lamar, “Like That” (Boominati/Freebandz/Republic/Epic): After spending its first two weeks at No. 1, the excitement has finally started to settle down a bit over Future, Metro Boomin and Kendrick Lamar’s fiery hip-hop missive. The song is still a top performer, however, remaining in the top two on both Spotify’s Daily Top Songs USA chart and the Apple Music real-time listings. And the song saw revived interest over the weekend in the headlines, at least, as rap superstar J. Cole memorably responded to the song’s apparent callout as part of his own Might Delete Later mixtape, before expressing his regrets over doing so during the headlining set at his Dreamville Festival that Sunday.
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“Like That” is also starting to be embraced by radio, as the song leaps 34-21 as the Greatest Gainer on this week’s R&B/Hip-Hop Airplay chart (up 77% in audience), according to Luminate, and is trending towards a debut on the all-format Radio Songs chart. The big question for “Like That” may be on how it is able to maintain its performance beyond next week, however, as the sequel to its We Don’t Trust You parent set – aptly titled We Still Don’t Trust You – is scheduled to drop this Friday from Future and Metro Boomin, with who knows what kind of additional surprises in store. Will “Like That” remain top of mind for streamers and radio programmers through that release, or will its heat be swiped by an even newer, more exciting single?
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Benson Boone, “Beautiful Things” (Night Street/Warner): Will it ever be Benson Boone’s turn at the top? “Beautiful Things” has been hanging around the Hot 100’s top tier for nearly a couple months now but has still yet to get past the runner-up spot – lingering at No. 3 this week behind “Like That” and Beyoncé’s Cowboy Carter-revived “Texas Hold ‘Em.” Next week could provide another real chance for the singer-songwriter, though, as “Things” should see a boost from Boone’s full-length debut Fireworks & Rollerblades, which of course features the breakout hit within its 15-song tracklist.
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In the meantime, “Beautiful Things” continues to grow at radio, as the song jumps 9-4 on Radio Songs, rising another 15% in all-format airplay audience this week. It’s currently the only song to rank in the top five of Radio Songs, Digital Song Sales and Streaming Songs, so with the expected consumption lift from Fireworks (and the start of his accompanying headlining tour), it may be now or never for Boone’s breakout smash to finally grab the Hot 100’s top spot.
Hozier, “Too Sweet” (Rubyworks/Columbia): Few would’ve gone into 2024 expecting to involve Hozier in any discussions about the top of the Hot 100 – before last year’s comeback, he hadn’t even appeared on the chart since his No. 2-peaking “Take Me to Church” in 2015. But with 2023’s well-received Unreal Unearth and subsequent tour and an ever-growing TikTok presence, the Irish singer-songwriter is once again proving to be a real factor on the chart: He debuted three songs last week from the new Unheard EP, led by the No. 5-entering “Too Sweet.”
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“Sweet” climbs one spot to No. 4 this week, even outpacing any of the new debuts from Beyoncé’s blockbuster set Cowboy Carter. And there’s every indication that the song isn’t going to stop there: It’s climbed past “Like That” to the top of the Spotify Daily Top Songs USA chart, while also starting to find its footing on radio, trending towards debuts on the Adult Alternative Airplay, Pop Airplay and Adult Pop Airplay charts. If its trajectory continues, it might not be more than a week or two away from matching Hozier’s previous “Church” peak of No. 2 – if not even one-upping that enduring smash.
J. Cole, “7 Minute Drill” (Interscope/ICLG): While “Like That” has multiple challengers for Hot 100 supremacy next week, only one of them can claim to be a direct answer to it: J. Cole’s “7 Minute Drill” was written in response to Kendrick Lamar’s tough-talking verse on the No. 1 hit, with Cole taking aim at Lamar’s catalog spottiness and general lack of recent productivity. It didn’t quite detonate on impact the way “Like That” did, with many pundits taking issue with its more measured, perhaps less-committed tone, but it still shot up to near the top of the DSPs’ daily charts and remained the most-debated song on social media all weekend.
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Complicating the chances for “7 Minute Drill” to achieve maximum chart impact is Cole himself walking the song back a couple days later, apologizing at his Dreamville headlining set for letting himself be dragged into the muck of the beef and announcing his intention to remove the song from streaming services. As of Wednesday morning (April 10) “Drill” was still available for listening on DSPs, but Cole’s repudiation of a song that many fans were already somewhat conflicted about may have cost it any chance of being a real threat to “Like That” on the chart next week anyway.
On top of scoring her eighth No. 1 album on the Billboard 200 with Cowboy Carter, Beyoncé also reigns on Billboard’s Hot 100 Songwriters, Hot 100 Producers, Country Songwriters and Country Producers charts (dated April 13).
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Beyoncé rules the Hot 100 lists thanks to 23 total songs on the Billboard Hot 100. She’s credited as a co-writer on 20 and a co-producer on 21.
Here’s a look at all of Beyoncé’s songs on the latest Hot 100:
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No. 2, “Texas Hold ‘Em”
No. 6, “II Most Wanted,” with Miley Cyrus
No. 7, “Jolene”
No. 16, “Levii’s Jeans,” with Post Malone
No. 26, “Bodyguard”
No. 27, “Blackbiird,” with Tanner Adell, Brittney Spencer, Tiera Kennedy & Reyna Roberts
No. 30, “Ameriican Requiem”
No. 31, “Spaghettii,” with Linda Martell & Shaboozey
No. 37, “Daughter”
No. 38, “16 Carriages”
No. 39, “Ya Ya”
No. 42, “Protector,” with Rumi Carter
No. 44, “Tyrant,” with Dolly Parton
No. 51, “Riiverdance”
No. 52, “Alliigator Tears”
No. 54, “My Rose”
No. 59, “Just for Fun,” with Willie Jones
No. 60, “II Hands II Heaven”
No. 61, “Sweet * Honey * Buckiin’,” with Shaboozey
No. 63, “Flamenco”
No. 65, “Desert Eagle”
No. 70, “Oh Louisiana”
No. 87, “Amen”
Beyoncé is credited as a songwriter on all songs above except “Jolene,” “Blackbiird” and “Oh Louisiana” and as a producer on all except “Bodyguard” and “Tyrant.” Despite recording her version with added lyrics, Parton is credited as the sole songwriter of “Jolene.” John Lennon and Paul McCartney wrote “Blackbiird” (as “Blackbird,” released by The Beatles in 1968) and Chuck Berry penned “Oh Louisiana.”
For “Bodyguard,” Raphael Saadiq is credited as the sole producer and David Doman (aka D.A. Got That Dope) and Dave Hamelin produced “Tyrant.”
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While Beyoncé tops Hot 100 Songwriters for the first time, she returns to No. 1 on Hot 100 Producers, which she first led for a week in 2022 upon the chart start of her album Renaissance.
Beyoncé also leads both Country Songwriters and Country Producers for the first time, thanks to 16 entries on Hot Country Songs. She co-wrote 13 of those tracks and co-produced 15.
Further, Beyoncé returns to No. 1 for a third total week atop the Billboard Artist 100.
Here’s a look at every U.S.-based Billboard chart dated April 13 on which Beyoncé is No. 1:
Billboard Artist 100
Hot 100 Songwriters
Hot 100 Producers
Country Songwriters
Country Producers
Billboard 200, Cowboy Carter
Top Streaming Albums, Cowboy Carter
Top Album Sales, Cowboy Carter
Top Current Album Sales, Cowboy Carter
Top Country Albums, Cowboy Carter
Americana/Folk Albums, Cowboy Carter
Tastemakers Albums, Cowboy Carter
Vinyl Albums, Cowboy Carter
Top Dance/Electronic Albums, Renaissance
Digital Song Sales, “Texas Hold ‘Em”
Hot Country Songs, “Texas Hold ‘Em”
Country Digital Song Sales, “Texas Hold ‘Em”
Country Streaming Songs, “Texas Hold ‘Em”
Billboard’s weekly Hot 100 Songwriters and Hot 100 Producers charts are based on total points accrued by a songwriter and producer, respectively, for each attributed song that appears on the Hot 100. 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). Billboard launched its 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. Alternative and hard rock joined in 2020, along with seasonal holiday rankings in 2022.
By 2004, Usher had achieved a level of success that any artist would envy. Just shy of seven years since his commercial breakthrough, the star had become one of the leading R&B/pop crossover artists, his last two albums had collectively produced six top five Billboard Hot 100 hits, and he was fresh off a pair of Grammys — the two-time champ for best male R&B vocal performance. Yet for all the accolades, there was little intrigue about the man behind the music.
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“The media wasn’t completely sold on Usher and Usher’s interest inside and outside of the music,” Jermaine Dupri, the singer’s frequent collaborator, told Billboard in 2014. “‘How do we make him interesting?’ was the conversation.”
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From discussions with Dupri and other A-list creators — including Bryan-Michael Cox, Jimmy Jam and Terry Lewis, Just Blaze and Lil Jon — the creative hive found its answer: Confessions. Just 25 at the time, Usher broke new artistic ground with songs that explored the painful subject of infidelity that many speculated were references to his failed relationship with TLC’s Rozonda “Chilli” Thomas.
Dupri has since claimed that some of the songs — including perhaps the album’s central track, “Confessions Part II” — were inspired by his own personal drama, but whatever the case, Confessions‘ intimate tone unlocked a new public fascination with Usher. Its lead single, the crunk-laced club-banger “Yeah!” featuring Lil Jon and Ludacris, earned resounding approval from audiences and flew to No. 1 on the Hot 100, holding the spot for 12 consecutive weeks.
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The next two Confessions singles, torching breakup ballad “Burn” and the tell-all “Confessions Part II,” were also clear winners. “Burn” knocked “Yeah!” from the Hot 100’s apex in May and logged its own eight-week nonconsecutive reign (interrupted for one week by American Idol winner Fantasia’s “I Believe,”), but soon gave way to “Confessions Part II,” a two-week champ in June.
After a dominant spring and summer, Confessions didn’t relent for the autumn. An expanded special edition landed in stores that October, led by a new duet that united the reigning king and queen of R&B: Usher and Alicia Keys. With both artists on a hot streak, their collaboration “My Boo” was a no-brainer hit that landed a six-week Hot 100 domination from October to December.
Confessions-mania, of course, made the album a titan as well. The set debuted at No. 1 on the Billboard 200 with sales of 1.1 million in its first week, according to Luminate. Thanks to the parade of hit singles, Confessions ruled the albums chart for nine weeks and was the top-selling album of 2004.
Since that Confessions tidal wave, Usher kept churning out more hits in the ensuing years, with two more Hot 100 No. 1s. “Love in this Club,” featuring Young Jeezy (2008), and “OMG,” featuring Will.i.am (2010), and Hot R&B/Hip-Hop Songs leaders “There Goes My Baby” (2010) and Climax” (2012) were among the highlights.
While his output cooled in the 2010s, his momentum was reinvigorated to huge acclaim in the early 2020s. His Las Vegas residency, My Way, was a major commercial success and cultural discussion point, with several videos from the show translating into viral social media moments. That triumph set him up for the biggest stage of all: Usher headlined the Super Bowl LVIII Halftime Show, the highest-rated in U.S. history and, of course, featured tracks from his most successful album. Keys joined for a much-memed rendition of “My Boo,” while “Yeah!,” with Lil Jon and Ludacris in attendance, wrapped the set.
Singer-songwriter Seph Schlueter’s rookie single “Counting My Blessings” rises to No. 1 on Billboard’s Christian Airplay chart (dated April 13), becoming the first leader for the 24-year-old from Sunbury, Ohio. The song increased by 15% to 6.4 million audience impressions March 29-April 5, according to Luminate.
Concurrently, the track dominates Christian AC Airplay for a second week, up 3% in plays.
Schlueter — who signed with Sony Music’s Provident Entertainment in early 2023 — co-authored the song with Jonathan Gamble and Jordan Sapp, the latter of whom also produced it. It’s the lead track from Schlueter’s debut eight-song album of the same name, released in March.
“To see how much of an impact this song has had with people all over the world is so moving and inspiring,” Schlueter tells Billboard. “The whole reason I do this is so that people would come to know Jesus more, and hearing the stories of how God has used ‘Counting My Blessings’ to encourage, remind and touch listener’s hearts, particularly through radio, has been an incredible blessing beyond what I could have imagined.”
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Schlueter places the first freshman single atop Christian AC Airplay since Ben Fuller’s “Who I Am” led for a week last November. Meanwhile, “Counting My Blessings” ranks at No. 4 on the streaming-, airplay- and sales-based Hot Christian Songs list. It drew 1.6 million official U.S. streams and sold 1,000 during the tracking week.
Schlueter is currently touring with Matt Maher and Lizzie Morgan. They make their next stop in Naperville, Ill. on Thursday (April 11).
Brown Clark’s ‘Good’ Week
On Billboard’s Gospel Airplay tally, Maurette Brown Clark’s “I See Good” becomes her third No. 1. The song, which she solely wrote, increased by 8% in plays. It’s from her eight-song set He Loves Me, released last November.
Brown Clark last led as featured on James Grear & Company’s “I Wanna Say Thank You,” for a week last November. Before that, “It Ain’t Over (Until God Says It’s Over)” ruled for five frames in 2009. Her first of eight entries, and five top 10s, “One God,” hit No. 2 in 2007.
“La Cumbia Triste” is a cause for celebration for Los Ángeles Azules and Alejandro Fernández, who each bank a new No. 1 on Billboard’s Regional Mexican Airplay chart, as their first collaboration ascends 3-1 to rule the April 13-dated list.
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“La Cumbia Triste” rolls to No. 1 on Regional Mexican Airplay boosted by a 13% gain in audience impressions, to 7 million, earned in the U.S. in the week ending April 4, according to Luminate. The song sends Christian Nodal and Peso Pluma’s “La Intención” to No. 5, after two weeks in charge, with a 41% decrease in impressions, to 4.6 million.
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As “La Cumbia Triste” seizes the throne on Regional Mexican Airplay, Los Ángeles Azules adds their fourth career No. 1. Further, they extend its span of hits to 24 years, dating to the the cumbia sonidera group’s first week at No. 1 on Feb. 3, 2004, when “El Listón De Tu Pelo” commenced a seven-week reign. As Los Ángeles Azules collection of champs grows, here are their Regional Mexican Airplay chart-toppers:
Peak Date, Title, Artist, Weeks at No. 1Feb. 5, 2000, “El Listón De Tu Pelo,” sevenJan. 26, 2019, “Nunca Es Suficiente,” featuring Natalia Lafourcade, threeMay 20, 2023, “Tú Y Tú,”with Cazzu & Santa Fe Klan, oneApril 13, 2024, “La Cumbia Triste,” with Alejandro Fernández, one
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Fernández, meanwhile, collects his eighth No. 1, and first through a collaboration in almost two years, since “Nunca Dudes en Llamarme,” with La Arrolladora Banda El Limón de René Camacho, ruled for one week in Sept. 2022. In between, “No Es Que Me Quiera Ir” and “Difícil Tu Caso” led for one week each last August and November, respectively.
In total, two other co-billed songs from Fernández have topped Regional Mexican Airplay: “Decepciones,” with Calibre 50 (one week, Oct. 2020) and “Duele,” with Christian Nodal (one week, April 2021).
“La Cumbia Triste” will appear on Los Ángeles Azules’ forthcoming 30th studio album, Se Agradece, to be released April 12. Two other top 10-charting songs previewed the project: “Tú y Tú,” with Cazzu and Sant Fe Klan, an equal Regional Mexican Airplay winner, for one week in charge (May 2023) and “El Amor de Mi Vida,” with Maria Becerra, which nearly missed the penthouse, reaching No. 2 last October.
The news arrives in midst of Los Ángeles Azules’ 31-date El Amor De Mi Vida tour which kicked off in Nashville, TN. on Feb. 13 and will take the Mejía Avante family to a double booking on Napa County, CA on June 1-2.
Beyond its Regional Mexican Airplay coronation, “La Cumbia Triste” rebounds to its No. 5 high on the overall Latin Airplay chart (lifts 9-5) thanks to a 12% gain, to 8 million.
Alternative went mainstream in the mid-1990s, and No Doubt was at the forefront of pop radio’s segue to playing more modern rock.
The group, fronted by lead singer Gwen Stefani, first appeared on Billboard’s Pop Airplay chart dated March 23, 1996, with “Just a Girl.” The wry empowerment song — which builds from Stefani’s “little old me” coo to its exasperated closing shriek, “I’ve had it up to he-re!” — became the band’s first of three hits on the chart that year, reaching No. 24 in April.
The ska-infused “Spiderwebs” hit No. 11 on Pop Airplay that October. As that song peaked, programmers were already intrigued by the band’s ballad “Don’t Speak,” a more down-the-middle choice for the format. The song went on to rule the ranking for 10 weeks in 1996-97. (Only 4% of all No. 1s in the chart’s 31-year history have led for double-digit weeks.)
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All three hits were released on No Doubt’s third album, Tragic Kingdom, which dominated the Billboard 200 chart for nine weeks beginning in December 1996. To date, the set has earned 9.4 million equivalent album units in the United States, according to Luminate. In addition to their pop radio success, the three tracks all reached the top 10 on Billboard’s Alternative Airplay chart.
The band remained a chart force into the 2000s and beyond, upping its count to five Pop Airplay top 10s, including two more No. 1s in 2002: “Hey Baby,” featuring Bounty Killer, and “Underneath It All,” featuring Lady Saw. The group most recently reached the list with the top 20 entry “Settle Down” in 2012.
Ahead of No Doubt playing Coachella on April 13, count down the band’s top-charting songs on the Pop Airplay survey below.
“I already know what it’s going to feel like because we’re just so in sync when we’re onstage,” Stefani recently told Nylon of No Doubt’s Coachella appearance. “It’s going to feel like riding a bike again. We’re going to be laughing, and we’re going to look at each other and go, ‘Oh my gosh – there you are.’ ”
No Doubt’s Biggest Billboard Hits chart is based on actual performance on Billboard’s weekly Pop Airplay chart through April 13, 2024. Songs are ranked based on an inverse point system, with weeks at No. 1 earning the greatest value and weeks at No. 40 earning the least. Due to changes in chart methodology over the years, eras are weighted to account for different chart turnover rates over various periods.
“Sunday Morning”
