State Champ Radio Chart Beat
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Future, Metro Boomin and Kendrick Lamar reign on Billboard’s Streaming Songs chart dated April 6 with “Like That,” which blasts in at No. 1. In the March 22-28 tracking week (the song’s first, after premiering March 22), “Like That” earned 59.6 million official U.S. streams, according to Luminate.
It’s the biggest week for any song in the U.S. in 2024 and the most streams in a single week since the second week of release for Miley Cyrus’ “Flowers” (as reflected on the Feb. 4, 2023, chart), which accrued 59.8 million listens.
As “Flowers” opened with 52.6 million streams (Jan. 28, 2023), “Like That” boasts the biggest opening week for a track since Taylor Swift’s “Anti-Hero,” which began with 59.7 million streams (Nov. 5, 2022).
Among R&B/hip-hop titles (defined as those that have hit Billboard’s Hot R&B/Hip-Hop Songs chart), “Like That” sports the most weekly streams since Drake’s “Way 2 Sexy,” featuring current leader Future and Young Thug, soared in with 67.3 million (Sept. 18, 2021).
“Like That” is Future’s third Streaming Songs No. 1, following “Way 2 Sexy” and his own “Wait for U,” featuring Drake and Tems (2022).
Metro Boomin earns his first Streaming Songs ruler (as a billed recording artist), eclipsing a pair of No. 2 peaks with “Runnin,” a co-bill with 21 Savage (2020), and “Creepin’,” a triple bill alongside The Weeknd and 21 Savage (2023).
Lamar nabs his fourth Streaming Songs No. 1, following “Humble.” (2017), Lil Wayne’s “Mona Lisa,” on which he’s featured (2018), and “N95” (2022).
“Like That” leads an onslaught of titles from Future and Metro Boomin’s new collaborative album We Don’t Trust You on Streaming Songs — 17 in total, the LP’s entire tracklist. That includes five of the chart’s top six, with “Like That” followed directly by “Type Shit,” by Future, Metro Boomin, Travis Scott and Playboi Carti, at No. 2 (34.9 million streams). The only non-Future and -Metro Boomin song in the top six: Hozier’s “Too Sweet,” which debuts at No. 3 via 28.9 million streams.
Concurrently, as previously reported, “Like That” debuts at No. 1 on the multimetric Billboard Hot 100 with 5.6 million radio audience impressions and 9,000 downloads in addition to its streams. We Don’t Trust You bounds in atop the Billboard 200 with 251,000 equivalent album units earned.
Creepy Nuts’ domination of the Billboard Japan Hot 100 continues as “Bling-Bang-Bang-Born” marks its 10th week atop the Japan Hot 100, on the chart released April 3.
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The MASHLE Season 2 opener is back at No. 1 for downloads this week, though figures dropped slightly by about 9.8% from last week to 17,122 units. The hip-hop hit also continues to rule streaming for the tenth consecutive week with 22,797,748 streams, down by about 1%, and video views and karaoke for the third straight week. The song also rises 12-6 for radio airplay this week.
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Omoinotake’s “IKUOKU KONEN” rises 4-2, the highest position yet on the Japan Hot 100 for the three-man band. The theme of the drama series Eye Love You holds at No. 2 for streaming for the fourth week in a row, second only to “Bling-Bang-Bang-Born” with 12,482,594 streams. Downloads for the love song rises 4-3 with 6,818 units, increasing by 7.6%, and video moves 9-7 with 1,359,223 views, up 28%. The track also climbs in other metrics, including radio (36-18) and karaoke (56-30), possibly influenced by the airing of the final episode of the fantasy love story the song serves as the theme.
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“EDEN” by Knight A, a group produced by SutoPuri’s Nanamori, debuts at No. 5. The song is at No. 1 for sales with 124,876 copies sold in its first week, which is about 2.8 times more than the track at No. 2 for the metric.
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ILLIT’s “Magnetic” bows at No. 8. ILLIT, pronounced “I’ll-it,” is a brand-new girl group assembled from HYBE’s audition program R U Next? The group consisting of three South Korean and two Japanese members released its debut mini-album called SUPER REAL ME on Mar. 25, and “Magnetic” is the lead single off the set. The song made a spectacular debut, coming in at No. 7 for streaming with 7,308,883 streams, No. 23 for downloads with 1,973 units, No. 12 for video with 1,085,090 views, and No. 84 for radio.
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The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from Mar. 25 to Mar. 31, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Shakira soars in at No. 1 on Billboard’s Top Latin Albums chart (dated April 6) while the set’s “Puntería,” with Cardi B, bounds in at No. 3 on Hot Latin Songs. Plus, two other tracks launch in the latter list’s top 10.
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First up is “La People II” by Peso Pluma, Tito Double P and Joel De La P, new at No. 2 on the multi-metric chart. The tripartite collab, released March 21 through Double P Records, traces its high entrance to strong streaming activity. During the March 22-28 tracking week, it generated 9.1 million official streams in the U.S., according to Luminate. The sum yields a No. 2 debut on Latin Streaming Songs, notably becoming Peso Pluma’s 18th top 10, the most for any core regional Mexican music act.
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Tito Double P and Joel De La P each score their first Hot Latin Songs top 10. Both regional Mexican newcomers notched their first entry on the tally with the No. 35-peaking “Dembow Bélico,” with Luis R Conriquez, in July 2023. Tito Double P previously came closest to the top 10 through the new single’s prequel — likewise with Peso Pluma, as “La People” reached a No. 12 high last December.
Further, “La People II” captures the highest Hot Latin Songs debut in 2024 for a regional Mexican song by artists who primarily record in the genre, and the topmost such start since Eslabon Armado and Peso Pluma’s “Ella Baila Sola” also premiered at No. 2 in April 2023. In between, last August, Karol G’s “Mi Ex Tenía Razón” became her first regional Mexican-focused No. 1, among eight total.
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At No. 4 on Hot Latin Songs, Xavi snags his third top 10 with “Corazón de Piedra.” The romantic sierreño, released March 22, also arrives at No. 3 on Latin Streaming Songs with 8.3 million official U.S. streams. Xavi totals three installments in the Hot Latin Songs top 10, as “La Diabla” holds strong for a 13th week No. 1 – the most this year and the seventh-most this decade – and “La Víctima” dips 3-7, after reaching No. 2.
All three debuts in the Hot Latin Songs top 10 also enter the all-genre Billboard Hot 100: “La People II” at No. 69, becoming the first entry on the chart for Tito Double P and Joel De La P; “Puntería,” at No. 72, as Shakira has now debuted songs on the Hot 100 in four consecutive years (eight tracks since 2021) for the first time, dating to her first appearance in 2001; and “Corazón de Piedra” at No. 73, giving Xavi his third and highest start.
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“I was going through a lot when I wrote it, and I just sat down and then scribbled down those thoughts,” Chayce Beckham told American Songwriter of crafting his breakthrough country radio hit, “23,” in 2020. “I wrote that song in about 15, 20 minutes. There’s no magic formula to that. It’s just my thoughts in the structure of a song, and people connected with it.”
“23” ascends to No. 1 on Billboard’s Country Airplay chart dated April 6 – marking the list’s first leader by an artist that solely wrote it and recorded it in over 11 years, since Taylor Swift’s “Ours” topped the March 31, 2012, tally.
Since Country Airplay began with the chart dated Jan. 20, 1990 (as Billboard’s first airplay survey based on electronically-monitored data, which is now provided to Billboard by Luminate, as measured by Mediabase), 938 songs have hit No. 1. Only 38 – or 4% – have been solely written by the soloists who recorded them. When including eight more No. 1s by duos or groups penned by one member of those acts, the share bumps to a still exclusive 5%.
Comparatively, of the five songs other than “23” to spend their first weeks at No. 1 on Country Airplay in 2024, an average of 3.8 writers have authored them.
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Only five solo acts have notched multiple such No. 1s, while one duo or group has done so via one its members. Another 12 soloists have earned one each and three other groups have led with one song apiece written by one of their members.
Breaking down the stat by decade, 24 of the 46 Country Airplay No.1s solely written by acts that performed them ruled in the 1990s; 17, in the 2000s; four, in the ‘10s; and now, one, in the ‘20s.
“That song has changed my life in so many ways,” Beckham mused further of “23” to American Songwriter. “It’s such a cool thing. I need to get back to that scribble, scribble songwriting sometimes and just put my thoughts down. Sometimes the best stuff comes when you’re not trying too hard.”
Which artists boast the most solely self-written Country Airplay No. 1s over the chart’s 34-year history? Browse the list below, spanning from the ranking’s first leader, Clint Black’s “Nobody’s Home,” through the latest.
11, Alan Jackson
Alek Olsen’s “Someday I’ll Get It” lands its second week atop the TikTok Billboard Top 50, while G-Eazy’s “Lady Killers II” vaults into the top three on the April 6-dated survey.
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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 March 25-31. 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.
“Someday I’ll Get It” soared to No. 1 on the March 30 chart a week after debuting at No. 19. The track continues to be used in a trend remembering deceased pets, although other recent clips find creators reminiscing about relatives who have passed away, broken relationships and more.
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In the March 22-28 Billboard multimetric chart tracking week, the song jumped 62% to 4.2 million official U.S. streams, according to Luminate. It lifts 24-20 on the Hot Rock & Alternative Songs list dated April 6 as the chart’s top Streaming Gainer and bows at No. 12 on the all-genre Billboard Hot 100’s Bubbling Under chart.
Ye (formerly known as Kanye West) and Ty Dolla $ign’s “Carnival,” featuring Rich the Kid and Playboi Carti, a former two-week No. 1 on the TikTok Billboard Top 50, rebounds 7-2, while G-Eazy’s “Lady Killers II (Christoph Andersson Remix)” makes its first appearance in the top three, jumping 8-3.
The trend for “Lady Killers II,” the original version of which was released in 2012 on G-Eazy’s album Must Be Nice, while the Andersson remix arrived on streaming services March 17, remains one in which users turn the light illuminating them on and off in sync with the song’s “make her disappear just like poof/ Then she’s gone” verse, often while on a beach.
“Lady Killers II” bows at No. 47 on the Hot R&B/Hip-Hop Songs chart with 4.3 million streams in the first full week for the remix (March 22-28).
Djo’s “End of Beginning,” also a former two-week No. 1 on the TikTok Billboard Top 50, falls 2-4, while Sexyy Red’s “Get It Sexyy” is one of three songs in the top 10 for the first time, blasting 12-5 in its third week on the list. The song is largely carried by a dance and lip sync trend and is Sexyy Red’s third top 10 and highest charting since “SkeeYee” was the ranking’s inaugural No. 1 last September.
Adrianne Lenker’s “Anything” jumps to a new No. 8 high and FloyyMenor and Cris Mj’s “Gata Only” rounds out the group of new top 10s, leaping 16-9. The latter’s rise is also spurred by a dance trend, while the former benefits from a theme usually captioned “that’s so pretty I’m gonna take a picture,” with the user usually then showing a significant other, pet or a pretty scene.
The week’s top debut belongs to Above & Beyond, whose rendition of New Order’s “Blue Monday” starts at No. 14. The rise of the track, originally released in 2020, comprises two similar trends: one dance-focused with creators rocking side to side, while another, with similar motions, features users squaring off as if they’re fighters in an arcade game.
Next among debuts, Artemas’ “I Like the Way You Kiss Me” arrives at No. 19. The song was teased on TikTok for weeks prior to its March 19 release, helping spark its debut on multiple charts, including the Hot 100, where it’s Artemas’ first entry (No. 70).
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.
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: With the Cowboy Carter rodeo officially underway, artists new and old take their turn in the Beyoncé-shined spotlight, while a couple old West Coast hip-hop songs lifted for the current biggest song in the country also see big gains.
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Beyoncé’s ‘Jolene’ Boosts Dolly P’s Classic Version on Streaming
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Beyoncé’s “Jolene,” a centerpiece of her new album Cowboy Carter, not only re-creates Dolly Parton’s classic 1973 single, but actively includes Parton in that revival by having the country icon introduce Bey’s new take on the song. The new “Jolene” is off to a hot start at streaming, and could make a splashy Hot 100 debut next week — but Parton’s “Jolene” is also experiencing an uptick, as both unfamiliar fans and longtime listeners have searched it out on streaming services to make an A-to-Bey comparison.
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Last weekend (Mar. 29-31), Parton’s version of “Jolene” earned 1.24 million official on-demand U.S. streams — a 43% gain from the previous weekend (871,000 streams from Mar. 22-24), according to Luminate. Of course, “Jolene” wasn’t the only timeless track that Beyoncé hoisted back up on Cowboy Carter: “Blackbird,” the Beatles’ White Album classic that Bey covers in the second slot of the album as “Blackbiird,” also experienced a 13% weekend-to-weekend gain, up to 710,000 streams this past weekend. And “Oh Louisiana,” which lifts Chuck Berry’s song of the same name for 52 seconds, helped Berry’s 1971 original more than double its streams from to weekend to weekend, up 138% to 12,000 streams.
Meanwhile, some of the older tracks that Beyoncé either sampled or interpolated on Cowboy Carter also had fans searching for source material on streaming services. “Ya Ya” contains elements of Beach Boys’ “Good Vibrations” and Nancy Sinatra’s “These Boots Are Made For Walkin’,” which were up 13% and 14% compared to the previous weekend’s respective streaming totals. And “Maybelline,” another Berry track that gets a nod in “Smoke Hour / Willie Nelson,” also earned a nice bump, up 11% to 38,000 streams last weekend. – JASON LIPSHUTZ
‘Cowboy Carter’ Collaborators See Their Catalogs Skyrocket
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Whether you’re a legacy artist or a relatively unknown performer, popping up on a Beyoncé album track list is a good way to earn a healthy boost in streaming activity. Case in point: the mix of country pioneers and promising newcomers featured on Bey’s Cowboy Carter are already enjoying streaming bumps in the first few days following the album’s release — none bigger than that of Linda Martell, the pioneering singer-songwriter whose voice is featured in a spoken-word section of “Spaghetti.” Martell’s catalog registered a little under 5,000 streams during the weekend of Mar. 22-24, according to Luminate — but following the Cowboy Carter release, that number ballooned to 61,000 streams from Mar. 29-31, for a whopping 1,100% increase.
Meanwhile, Brittney Spencer, Reyna Roberts, Tanner Adell and Tiera Kennedy all benefited from appearing on Beyoncé’s version of “Blackbird,” with their catalogs up 41%, 59%, 58% and 56% in streams from weekend to weekend, respectively. And while Shaboozey’s catalog jumped 16% thanks to his pair of featured turns on the album, Willie Jones, the former X Factor contestant who duets with Bey on “Just for Fun,” saw even greater catalog gains, leaping 31% in streams in the weekend following the Cowboy Carter release. – JL
An “Everlasting” Love for “Like That” West Coast Sample Sources
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In case you’ve been living under a rock with very spotty internet access, Future, Metro Boomin and Kendrick Lamar set the hip-hop world ablaze two Fridays ago with the release of their incendiary “Like That,” breakout hit from Future and Metro’s Billboard 200-topping We Don’t Trust You set. While the song largely made waves for Lamar’s pot-stirring verse seemingly calling out fellow rap superstars J. Cole and Drake, it also racked up a 2024-best first-week stream total largely by being an undeniable banger — as evidenced by the fact that listeners have even been flocking to two of the older songs that provide its secondhand musical backbone.
“Everlasting Bass,” the enduring 1986 West Coast rap anthem from Rodney-O & Joe Cooley that gives “Like That” its bleating synth hook and groaning beat backdrop, was up 230% in official on-demand U.S. streams for the tracking week ending March 28, according to Luminate, soaring to 119,000 streams from 36,000 the week before. And Eazy-E’s “Eazy-Duz-It,” another Cali classic whose sing-song “He once was a thug from around the way” intro graced hits from Three 6 Mafia and Ye before also upping the musical ante for “Like That,” was up 41% over that same period, from 247,000 to 349,000. Neither Drake nor Cole have yet responded to Lamar’s missive, but if either decides to, these returns show that maybe sampling something off The Chronic or Doggystyle might be a good place to start. — ANDREW UNTERBERGER
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 April 13), it’s pretty much all Cowboy Carter, as Beyoncé’s eighth official studio LP sets its six-shooter’s sights on the top of the charts.
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Beyoncé, Cowboy Carter (Parkwood/Columbia): Even in a first quarter that’s seen full-length releases from some pretty massive artists — including Kanye West & Ty Dolla $ign, Ariana Grande and Future & Metro Boomin — Beyoncé albums remain a next-level event in the pop sphere. Cowboy Carter rode onto the scene last Friday (March 29) with more buzz and anticipation than any other LP of 2024 thus far, and the results have not disappointed: The album currently boasts a 92 score on review-aggregating website Metacritic, making it the second-best-reviewed set from any artist this year, and has also started receiving some serious Grammy buzz as the set to finally earn her long-overdue first album of the year trophy.
Unsurprisingly, the release is expected to make an eye-popping debut — helped by a number of physical versions of Cowboy Carter that Beyoncé is currently selling exclusively via her webstore. (Vinyl and CD are scheduled to go wide to all retail on April 12, which should give it a nice sales bump in its third chart week.) The set’s vinyl release includes four different-colored variants, each with a different back cover image of Beyoncé. The CD version includes an extra song, “Flamenco,” and is available in four variants (each also with a different Beyoncé back cover), while two of the CDs are exclusively available inside the boxed sets she’s selling — three versions of which are currently for sale, each with a T-shirt and a copy of the album on CD inside a branded box. And of course, there is a digital version for sale and streaming, which includes five tracks not featured on the physical release (“Flamenco,” “Spaghettii,” “The Linda Martell Show,” “Ya Ya” and “Oh Louisiana”).
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All of this should add up to a lofty sales total for Beyoncé, who has become a reliable performer in terms of physical sales, moving 190,000 such copies of Cowboy Carter’s 2022 predecessor Renaissance in its U.S. debut frame, according to Luminate. The new album is also streaming very well — at 27 tracks, it’s the longest album of Bey’s career to date, which will certainly help boost those totals — and Spotify even confirmed that it was the service’s most-streamed album in a single day of 2024 so far upon its release last Friday. That said, outside of previously-released lead single (and former Billboard Hot 100 No. 1) “Texas Hold ‘Em,” the album has no breakout hit yet on streaming akin to Grande’s “We Can’t Be Friends” or Future and Metro Boomin’s “Like That” — as of Tuesday (April 2), the only new song from the set in Spotify’s Daily US Top Songs chart was the Miley Cyrus duet “II Most Wanted,” at No. 10. (Both “II Most Wanted” and Bey’s redo of Dolly Parton’s “Jolene” were top 10 on Apple Music, at Nos. 10 and 8, respectively.)
Nonetheless, the high-volume combination of sales and streams should still result in a massive first week for Cowboy Carter — likely setting a new high-water mark for 2024 by passing Future and Metro Boomin’s We Don’t Trust You, which entered with 251,000 units on this week’s chart. It may also be in line to pass the 332,000 units Renaissance moved in its debut frame two years ago, becoming Beyoncé’s best-debuting album since her universally-beloved Lemonade bowed with 653,000 units back in 2016.
IN THE MIX
J-Hope, Hope on the Street, Vol. 1 (BigHit Music/Geffen/ICLG): J-Hope‘s latest is the musical accompaniment to his new Amazon Prime docuseries of the same name, in which the BTS alum hits the streets to meet dancers around the world and reconnect with his dancing roots. The six-track set features guest appearances from his bandmate Jung Kook as well as club legend Nile Rodgers, and is available in eight collectible CD editions, including exclusives for Target, Walmart and the Weverse store, all boasting branded paper merchandise (like posters, photo cards and stickers).
mgk & Trippie Redd, Genre : Sadboy (10K Projects/EST 19XX/Interscope/ICLG): The artist formerly known as Machine Gun Kelly’s first full-length release since officially rebranding as mgk is a 10-track team-up with longtime collaborator Trippie Redd. The resulting set is closer to the former’s hip-hop roots than his last few pop-punk-oriented albums, one of which (2020’s Tickets to My Downfall) debuted atop the Billboard 200. Genre : Sadboy is not yet available for vinyl purchase, but can be bought on CD via mgk’s official website.
Aaron Lewis, The Hill (Valory/BMLG): Longtime Staind frontman Aaron Lewis has found success in the country world since making a career pivot over a decade ago, particularly with conservative-courting right-wing anthems like 2021’s surprise top 20 Hot 100 hit “Am I the Only One.” His latest country-leaning effort The Hill is a 10-track acoustic affair, and is available on both CD and clear vinyl.
It’s Tyla’s turn at No. 1 on Billboard’s Hot R&B Songs chart as the singer-songwriter’s “Water” springs from No. 4 to rule the list dated April 6. The song, which reached a prior No. 2 best as far back as November, pools enough activity to claim the throne on the heels of its parent album’s release March 22.
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In the March 22-28 tracking week, “Water” recorded 10.3 million official U.S. streams, a 17% surge from 8.8 million in the previous frame, according to Luminate. The boost pushes the single 5-4 on R&B Streaming Songs, where it previously peaked at No. 2, and wins Greatest Gainer honors, given each week to the song with the largest improvement among the chart’s 15 titles. Plus, the latest haul gives “Water” its best streaming week since Jan. 5-11, when it accrued 10.9 million clicks.
For the two remaining metrics that funnel into the Hot R&B Songs chart – song sales and radio airplay – “Water” sold 2,000 downloads in the same period, a 17% bump from the prior week, and registered 51.7 million in airplay audience across all formats, down 4%.
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“Water” was already a proven smash on Rhythmic Airplay and Mainstream R&B/Hip-Hop Airplay, ruling the charts for one and eight weeks, respectively, over the winter, helping explain the current audience decline. It remains active, however, at pop radio, holding at its No. 6 high on the Pop Airplay chart. The crossover appeal reflects the singer-songwriter’s “popiano” sound — a hybrid of pop, R&B and Afrobeats characteristics, as detailed in Tyla’s March Billboard cover story.
The song’s streaming and sales growth aligns with the release of Tyla’s self-titled debut album March 22. The set, released via FAX Records/Epic Records, opens at No. 2 on the Top R&B Albums chart with 24,000 equivalent album units earned in its first week. The arrival makes the set only the second of 2024 to debut in the top two, following the No. 1 launch of Usher’s Coming Home in February.
Beyond “Water,” Tyla finds five more tunes on Hot R&B Songs: “Truth or Dare” rises 8-7 in its eighth chart week, while four tracks – “Art” (No. 8), “No. 1,” featuring Tems (No. 13), “Jump,” with Gunna and Skillabeng, and “Safer” (No. 22) – all debut.
Notably, Tyla tops Hot R&B Songs after SZA had reigned for 66 of the past 68 weeks, via four No. 1s.
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Elsewhere, Tyla floods the Billboard U.S. Afrobeats Songs chart, as 12 of the album’s cuts land on the 50-position list. “Water” retains the top rank for a 25th consecutive and total week, while a familiar set of titles shows in the top 10: “Truth or Dare” (No. 3), “Art” (No. 4), “No. 1” (No. 5), “Jump” (No. 6) and “Safer” (No. 8), while the Becky G collaboration “On My Body” begins at No. 10. With the tidal wave, Tyla becomes the first act to occupy seven of the top 10 spots on the two-year-old chart.
The “Water” triumphs add to a spate of honors of late for the single. In addition to the Afrobeats Songs and radio crowns, the track won the singer, age 22, the first-ever Grammy Award presented for best African music performance, on Feb. 4. “It’s something that a lot of people strive toward and want to win at least once in their lifetime,” she said in the cover profile. “And I’m so blessed to have received one so early in my career.”
Kenny Chesney banks his 22nd top 10 on Billboard’s Top Country Albums chart as Born opens at No. 5 on the survey dated April 6.
In the week ending March 28, the set, released March 22, earned 27,000 equivalent album units in the U.S., according to Luminate. With 18,000 sold, the LP also starts at No. 1 on Billboard’s all-genre Top Albums Sales chart, where it’s Chesney’s 12th leader.
On the all-genre Billboard 200, Born enters at No. 20, marking the Tennessee native’s 18th top 20 title.
Chesney co-produced the 15-song album with longtime collaborator Buddy Cannon.
Born follows Chesney’s Here and Now, which arrived as his 17th No. 1 on Top Country Albums in May 2020. He’s tied with Garth Brooks for the third-most leaders on the 1964-launched tally. George Strait has notched a record 27 No. 1s, followed by Willie Nelson with 18.
Meanwhile, Born lead single “Take Her Home” bounds 32-19 for a new high on the streaming-, airplay- and sales-based Hot Country Songs chart, up 99% to 2.6 million official U.S. streams. On Country Airplay, it lifts 13-12 (16.8 million in audience, up 8%).
New Top 10s
Chayce Beckham’s debut Hot Country Songs entry, “23,” hops 12-8 with 6.4 million streams (up 2%). The 2021 American Idol winner also scores his first Country Airplay leader with the song (6-1; 28.2 million, up 22%). It’s the latter list’s first No. 1 solely written by the act that recorded it since Taylor Swift’s “Ours” in 2012.
Plus, Parker McCollum earns his fourth Hot Country Songs top 10 as “Burn It Down” climbs 11-10. The track, which the singer-songwriter from Conroe, Texas, co-authored, drew 6.3 million streams and sold 1,000. On Country Airplay, it bumps 7-6 for a new best (23.5 million, up 2%).
Singer-songwriter Patrick Mayberry notches his first No. 1 on Billboard’s Christian Airplay chart as “Lead on Good Shepherd” rises to the top of the survey (dated April 6). The single, released on Centricity Music, increased by 7% to 5.9 million airplay audience impressions in the March 22-28 tracking week, according to Luminate. Mayberry co-authored the […]
