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Canadian singer-songwriter Allison Russell has been releasing music for over two decades, but she’s now, officially, a Billboard Hot 100-charting hitmaker, thanks to her new song with Hozier, “Wildflower and Barley.”
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Released March 22 on Hozier’s new four-song EP Unheard (via Rubyworks/Columbia Records), the song debuts at No. 88 on the Hot 100 with 6 million U.S. streams earned in its first week of release, according to Luminate. The EP debuts at No. 10 on the Billboard 200 with 38,000 equivalent album units.
Russell, from Montreal, has had a longstanding career in numerous forms: as a member of the bands Birds of Chicago, Our Native Daughters, Po’ Girl, Tim Readman & Fear of Drinking, Sankofa and Sisters of the Strawberry Moon, as well as a solo recording artist.
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Birds of Chicago, of which Russell is a member with her husband, JT Nero, has charted one title on the Americana/Folk Albums chart: Real Midnight reached No. 22 in 2016. The pair has released two additional LPs: Birds of Chicago in 2016 and Love in Wartime in 2018.
Our Native Daughters comprise Russell, Rhiannon Giddens, Amythyst Kiah and Leyla McCalla. The quartet’s only studio album, Songs of Our Native Daughters (released on Smithsonian Folkways), reached No. 23 on Independent Albums in 2019.
Plus, Sisters of the Strawberry Moon’s album with Luther Dickinson, Solstice, reached No. 23 on Heatseekers Albums in 2019. The project also includes Amy Helm, Amy LaVere, Coco Mamas and Sharde Thomas.
Russell has also released two solo LPs: Outside Child in 2021 and The Returner last September, both on Fantasy Records. The sets were nominated for best Americana album at the 2022 and 2024 Grammy Awards, respectively. She has earned seven additional Grammy nominations and took home her first trophy at the latest ceremony, for best American roots performance (for “Eve Was Black”).
Following her Grammy win, Russell made headlines when Tennessee House Republican Caucus Chair Jeremy Faison blocked a resolution to honor her, despite allowing a similar resolution to pass for Paramore after the group won its first Grammy. The resolution was presented by Tennessee Democratic Rep. Justin Jones, who aired his grievances on X following the decision. “Tonight my Republican colleagues blocked a resolution honoring Black American Roots artist Allison Russell for her first Grammy win,” he wrote. “[She] has worked tirelessly to foster an inclusive Nashville through her music and continues to make Black History here in Tennessee.”
Russell has long been an outspoken activist outside of music. In March 2023, she teamed with Jason Isbell and LGBTQ non-profit organizations to organize Love Rising, an all-star benefit concert in Nashville in response to the state passing laws banning gender-affirming care for minors and banning drag shows in public spaces. The show featured performances from Brothers Osborne, Sheryl Crow, Hozier and Maren Morris, among others.
“The ideas are my favorite part of everything I do. That moment where you’re like, ‘Oh, I know what it’s called,’ or ‘I know what the hook is now.’ ”
Taylor Swift mused about her creative process upon the release of her 2020 documentary, Miss Americana.
“I remember when I used to get an idea when I was 12 years old in my room,” Swift continued. “I used to get an idea and I’d be like, ‘Yes, idea!’ And then I’d get this fear and almost sorrow that no one was ever going to hear it. ‘I’m never going to get to make this into something. It’s just mine.’
“There’s something cute about that … ‘but I want to make something.’ ”
Swift has tallied 232 hits on the Billboard Hot 100, including 138 top 40 entries and 49 top 10s (all of which she has written or co-written, and the bulk of which she has co-produced) – all the most among women in the chart’s history (through the survey dated April 6, 2024). Of those, 11 have hit No. 1.
After arriving on the Hot 100 dated Sept, 23, 2006 with her debut single, “Tim McGraw,” Swift first reached the top 10 on the chart dated Aug. 30, 2008, with “Change”; five weeks later, she returned to the region with “Love Story,” with both songs from her sophomore album, Fearless. In 2022, she became the first artist to infuse the Hot 100’s entire top 10 in a single week with 10 tracks from her most recent album of all original material, Midnights.
How has Swift’s songwriting and production evolved over the decade-and-a-half-plus since she first hit the Hot 100’s top 10? What stands out as unique in her craft? And, what techniques has she employed that have helped make her The Eras Tour groundbreaking?
Hit Songs Deconstructed, which provides compositional analytics for top 10 Hot 100 hits, recently held a masterclass, studying Swift’s top 10s from Fearless through Midnights, followed by the April 2 release of its complimentary 93-page report, “The Taylor Swift Evolution.”
Via insights from David Penn, who co-founded Hit Songs Deconstructed with Yael Penn, here is a look at 13 secrets to Swift’s historic Hot 100 success.
Differences Between Swift’s Earlier and Recent Eras
Sean “Diddy” Combs has maintained a steady presence on Billboard’s charts since the mid-1990s, when he founded Bad Boy Records and began charting with his own smash singles “Can’t Nobody Hold Me Down,” “I’ll Be Missing You” and more. These songs and others from his catalog have continued to rack up millions of streams and are radio classics, still earning hundreds of plays every week. But due to a string of sexual misconduct allegations and, most recently, two raids of his homes on March 25 by the Department of Homeland Security in connection with an ongoing sex-trafficking investigation, his familiar presence on radio and top streaming playlists may be in jeopardy.
Diddy’s music catalog* (see below) has been consistently dropping on radio since Cassie, the mogul’s former girlfriend, filed a lawsuit on Nov. 16, 2023, accusing Combs of years of abuse and one accusation of rape. The lawsuit alleged that she had “endured over a decade of his violent behavior and disturbed demands,” including repeated beatings and forcing her to “engage in sex acts with male sex workers.”
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From Nov. 3 to 16, 2023 – the two tracking weeks preceding Cassie’s filing – Diddy’s catalog generated 11,000 radio spins, which translated to 23.3 million radio airplay audience impressions, according to Luminate. In the two tracking weeks after (Nov. 17-30), his catalog raked in 8,000 spins (down 28%), equaling 17.3 million impressions (down 26%).
In almost every week since then, Diddy’s catalog has seen decreases in radio play. In the most recent two-week span (March 15-28), his catalog tallied 1,000 spins that garnered 4 million impressions. Compared with the two weeks leading up to Cassie’s filing in November, that’s an 88% drop in radio spins and an 83% plummet in radio audience.
The most drastic single-week drop in radio occurred between Nov. 24-30 and Dec. 1-7. Diddy’s music saw a 41% plunge in radio spins in that span (from 3,000 to 2,000) and a 31% fall in audience (6.9 million to 4.7 million). The drop came as Diddy was hit with another pair of lawsuits on Nov. 23: One, filed by Joi Dickerson-Neal, claimed that the superstar drugged and sexually assaulted her in 1991, while a second – from an anonymous accuser – alleged that the music mogul sexually assaulted and beat her. Also contributing to the plunge, many radio stations (though not primarily R&B/hip-hop formats) start playing holiday music after Thanksgiving. Thus, non-holiday fare could see a decline in activity to make way for holiday music.
While Diddy’s radio presence has been decreasing, his streaming totals don’t tell the same story. Excluding his latest LP The Love Album: Off the Grid (released Sept. 15; making for a fairer catalog comparison), Diddy’s catalog garnered 6.7 million on-demand U.S. streams** (see below) Nov. 3-16 – the two weeks preceding Cassie’s filing – and 4.5 million in the two most recent tracking weeks (March 15-28), down 31%.
Last week, Diddy’s day-to-day streams increased after the raids of his homes on Monday (March 25). On Saturday and Sunday (March 23-24) Diddy’s catalog earned 930,000 streams. In the two days following the home raids (March 26-27), it earned 1.28 million, a 38% increase.
On March 26, the day after the raids of Diddy’s L.A. and Miami homes, his attorney Aaron Dyer spoke out against the “gross overuse of military-level force” in the raids of the musician’s residences, and vowed to end the “witch-hunt” against his client. While the results of that have yet to be seen, Diddy’s decline on the airwaves shows that many stations have already made up their minds.
*Diddy’s music catalog encompasses all titles billed to Diddy, P. Diddy, Puff Daddy, Puff Daddy & The Family, and Diddy Dirty Money. This excludes featured credits, like The Notorious B.I.G.’s “Mo Money Mo Problems,” on which Diddy is featured.
**Diddy’s streaming sum includes user-generated content, or UGC, streams, which don’t count towards Billboard’s charts.
–Kevin Rutherford and Trevor Anderson contributed to this report
Future, Metro Boomin and Kendrick Lamar’s “Like That” leaps in at No. 1 on the Billboard Global 200 chart.
The track is one of three from Future and Metro Boomin’s album We Don’t Trust You that debut in the Global 200’s top 10, as the set opens at No. 1 on the U.S.-based Billboard 200 chart.
Plus, Hozier’s “Too Sweet” begins at No. 7 on the Global 200.
Meanwhile, Benson Boone’s “Beautiful Things” adds a sixth week at No. 1 on the Billboard Global Excl. U.S. survey.
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The Billboard Global 200 and Billboard Global Excl. U.S. charts, which began in September 2020, rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.
Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.
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Future, Kendrick Lamar & Metro Boomin’s First Global 200 No. 1
Future, Metro Boomin and Kendrick Lamar’s “Like That,” on Boominati/Wilburn Holding Co./Republic/Epic Records, premieres at No. 1 on the Billboard Global 200, with 91 million streams and 10,000 sold worldwide in its first week of release (March 22-28).
Also debuting in the Global 200’s top 10 from Future and Metro Boomin’s LP We Don’t Trust You are “Type Shit,” with Travis Scott and Playboi Carti (No. 6; 56.1 million streams worldwide), and “Cinderella,” with Scott (No. 8; 43.2 million).
Future, Metro Boomin and Lamar all top the Global 200 for the first time. Scott now boasts 10 top 10s on the tally; Future, eight; Lamar, four; Playboi Carti, three; and Metro Boomin, one.
Benson Boone’s “Beautiful Things” drops to No. 2 after five weeks at No. 1 on the Global 200; Ariana Grande’s “We Can’t Be Friends (Wait for Your Love)” slips 2-3, two weeks after debuting at No. 1; Djo’s “End of Beginning” backtracks to No. 4 from its No. 3 high; and Teddy Swims’ “Lose Control” descends to No. 5 from its No. 4 best.
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Hozier’s “Too Sweet” debuts at No. 7 on the Global 200, with 43 million streams and 5,000 sold worldwide. The Irish singer-songwriter’s first top 10 since the chart began was first widely heard via a teaser snippet during his March 6 appearance on the How Long Gone podcast, ahead of its proper release March 22 on his four-track EP Unheard.
Boone No. 1 on Global Excl. U.S. for Sixth Week
Benson Boone’s “Beautiful Things,” on Night Street/Warner Records, notches a sixth nonconsecutive week atop the Billboard Global Excl. U.S. chart, with 64.1 million streams (essentially even week-over-week) and 8,000 sold (up 18%) outside the U.S. March 22-28.
Ariana Grande’s “We Can’t Be Friends (Wait for Your Love)” holds at No. 2 on Global Excl. U.S., two weeks after it debuted at No. 1; Djo’s “End of Beginning” rises 5-3 for a new high; Creepy Nuts’ “Bling-Bang-Bang-Born” is steady at No. 4, after hitting No. 2; and Teddy Swims’ “Lose Control” rebounds 6-5, after reaching No. 3.
Plus, Future, Metro Boomin and Kendrick Lamar’s “Like That” debuts at No. 6 on Global Excl. U.S., led by 31.9 million streams outside the U.S. The song is the second top 10 for each act.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated April 6, 2024) will update on Billboard.com tomorrow, April 2. For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard’s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
With the shots fired by Kendrick Lamar on Future and Metro Boomin’s “Like That” helping the song debut atop the Hot 100, a rundown of all its spite-filled predecessors at the chart’s apex.
Future, Metro Boomin and Kendrick Lamar’s “Like That” soars in at No. 1 on the Billboard Hot 100 songs chart. Future and Lamar each land their third Hot 100 leader, while Metro Boomin earns his first as a billed recording artist, following two as a writer and producer. The track is one of five from […]
Elbow pushes its way to the top of the U.K albums chart with Audio Vertigo (via Polydor).
The Bury band blasts to No. 1 on debut with Audio Vertigo, their 10th studio album and the market’s best-seller on wax.
The leader at the midweek stage, Audio Vertigo is Elbow’s fourth leader on the all-genres survey – joining previous No. 1s The Take Off And Landing Of Everything (from 2014), Little Fictions (2017) and Giants Of All Sizes (2019).
The veteran British alternative rock act beats Future and Metro Boomin‘s first collaborative album We Don’t Trust You (Epic/Freebandz), new at No. 2. That effort matches Future’s previous chart peak, set with 2022’s I Never Liked You; and gives Metro Boomin a new career best, eclipsing the No. 3 peak for 2022’s Heroes & Villains. Three tracks from We Don’t Trust You crack the top 40 on the national singles survey, led by “Like That” at No. 6.
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Completing the podium on the latest Official U.K. Albums Chart, published Friday, March 29, is Olivia Rodrigo’s former leader GUTS (Geffen), which rebounds 15-3 following the release of the deluxe “Spilled” edition. The reissue includes one brand-new track, “So American,” which debuts in the U.K. top 40, at No. 24; plus a further four songs previously available across vinyl releases, including the track “Obsessed,” new at No. 10 on the singles tally.
Scottish alternative rock favorites The Jesus and Mary Chain bag their highest-charting album in 37 years this week with Glasgow Eyes (Fuzz Club), new at No. 7 on the Official Albums Chart. It’s the band’s third U.K. top 10 after 1987’s Darklands (No. 5) and 1988’s Barbed Wire Kisses (No. 9).
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Johannesburg, South Africa breakout star Tyla ties up her first U.K. top 20 album with her eponymously titled debut. Tyla (Since 93/RCA) starts at No. 19. The Billboard cover star won the 2024 Grammy Award for best African music performance, for her amapiano hit “Water.”
British indie rock act Starsailor glides into the chart with Where The Wild Things Grow (Starsailor), their first full-length release in seven years. It’s new at No. 25 for the Warrington, England formed band’s and sixth U.K. top 40.
Finally, new releases from FLETCHER (In Search Of The Antidote at No. 26 via Capitol), The Staves (All Now at No. 32 via Communion) and Big Thief band member Adrianne Lenker (Bright Future at No. 35 via 4AD) and Waxahatchee (Tigers Blood at No. 38 via Anti) enter the top 40 on debut.
It’s another beautiful week for Benson Boone, as the U.S. singer and songwriter enters a second week at the chart summit with “Beautiful Things”. The 21-year-old Monroe, Washington native had the most-streamed song in the U.K., as “Beautiful Things” (via Warner Records) clocked up 5.4 million plays over the seven-day chart cycle. Explore See latest […]
Future and Metro Boomin’s collaborative album We Don’t Trust You debuts at No. 1 on the Billboard 200 chart (dated April 6) with 2024’s largest week by equivalent album units earned, as well as streams generated by a set’s songs. It lands Future his ninth No. 1 and Metro Boomin his fourth.
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The set launches with 251,000 equivalent album units earned in the U.S. in the week ending March 28, according to Luminate, nearly entirely driven by streaming activity. That marks the biggest week of 2024 by any album, Future’s second-largest week ever and Metro Boomin’s biggest week.
Also in the top 10 of the new Billboard 200, Olivia Rodrigo’s chart-topping Guts zooms 18-2 following a deluxe reissue with additional tracks, and Hozier’s new four-song EP Unheard starts at No. 10, largely powered by its streaming-driven hit “Too Sweet.”
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The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new April 6, 2024-dated chart will be posted in full on Billboard‘s website on April 2. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of We Don’t Trust You’s first-week unit sum of 251,000, SEA units comprise 245,000 (equaling 324.31 million on-demand official streams of the set’s 17 songs), traditional album sales comprise 4,500 (the album was only available to purchase as a digital download through traditional digital retailers including iTunes and the Amazon Digital Music Store) and TEA units comprise 1,500.
With 251,000 units earned, the album yields the largest week of 2024, Metro Boomin’s biggest week ever, and Future’s second-largest week ever. For the latter, he logged a bigger week only with another joint effort, when his team-up with Drake on What a Time to Be Alive scored 375,000 units in its opening week (Oct. 10, 2015-dated chart), largely powered by traditional album sales.
Further, We Don’t Trust You’s SEA sum of 245,000 translates to 324.31 million on-demand official streams for the set’s songs — the biggest streaming week for any album since Taylor Swift’s 1989 (Taylor’s Version) racked up 375.49 million clicks for its 21 songs on the Nov. 11, 2023 chart. We Don’t Trust You also claims the biggest streaming week for any album by Future or Metro Boomin.
We Don’t Trust You was announced on March 8 as the first of a two-album project, with its sequel, We Still Don’t Trust You, due April 12.
We Don’t Trust You boasts featured artists Kendrick Lamar, Playboi Carti, Rick Ross, Travis Scott and The Weeknd. However, the set was initially unveiled on March 22 through digital platforms without revealing the featured artists. A few days later, the set’s tracklist was updated to display the guest stars.
The album’s most-streamed song of the week is “Like That,” a co-billed track with Future, Metro Boomin and Kendrick Lamar, which sent “social media into an absolute tizzy.” On the track, Lamar “throws several volleys, suggestively targeting Drake and J. Cole.”
Olivia Rodrigo’s chart-topping Guts flies 18-2 on the Billboard 200 with 73,000 equivalent album units earned (up 155%). The set surges back up the list following its deluxe reissue on March 22 (dubbed the Guts [Spilled] edition) with five additional tracks. The Spilled edition of Guts was issued as a digital download album and via streaming services. It’s not available as a deluxe physical album presently, but will be issued on vinyl on July 19.
Of the five added songs, four of them (“Obsessed,” “Girl I’ve Always Been,” “Scared of My Guitar” and “Stranger”) were previously issued as bonus tracks on vinyl editions of the original Guts release last year, and then collected for a four-song vinyl EP, Guts: The Secret Tracks, that was issued for Record Store Day Black Friday last November. The fifth added song to the new Guts deluxe is “So American,” a previously unreleased track.
On the Billboard 200, Guts vaults to its highest rank since the Oct. 7, 2023-dated list, when it also placed at No. 2 in its third week on the chart.
A pair of former No. 1s is next up on the Billboard 200, as Ariana Grande’s Eternal Sunshine falls 1-3 in its third week (72,000 equivalent album units; down 29%) and Morgan Wallen’s One Thing at a Time dips 3-4 (68,000; down 3%). Noah Kahan’s Stick Season is steady at No. 5 with 44,000 (down 3%).
Former chart-toppers populate Nos. 6-9 on the latest chart, and all are non-movers from the previous week. SZA’s SOS is No. 6 (41,000; down 6%), Taylor Swift’s Lover is No. 7 (40,000; down 1%), Zach Bryan’s self-titled album is No. 8 (39,000; down 3%) and Swift’s 1989 (Taylor’s Version) is No. 9 (38,000; down 4%).
Hozier rounds out the top 10 on the new Billboard 200 as his four-song EP Unheard debuts at No. 10. The set earned nearly 38,000 equivalent album units, mostly from streaming activity. Of that starting sum, SEA units comprise 34,000 (equaling 44.15 million on-demand official streams of the set’s four songs), album sales comprise 3,000 and TEA units comprise a negligible sum. Unheard marks Hozier’s fourth top 10-charting effort, following Unreal Unearth (No. 3, 2023), Wasteland, Baby! (No. 1, 2019) and his self-titled set (No. 2, 2014).
Unheard collects four songs that were recorded for, but not included on, Unreal Unearth. Among the four tracks is the gone-viral “Too Sweet,” which drives much of the streaming activity of Unheard. The song was first heard through a teaser snippet during Hozier’s March 6 appearance on the How Long Gone podcast. The clip swiftly went viral through the artist’s fanbase, followed by popularity on TikTok and then a warm embrace on streaming services.
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
Green Day’s “Dilemma” becomes the band’s eighth leader on Billboard’s Rock & Alternative Airplay chart, shooting from No. 4 to No. 1 on the tally dated April 6.
The song reigns with 6.7 million audience impressions, a boost of 15%, March 22-28, according to Luminate.
Green Day pads its position for the second-most toppers in the Rock & Alternative Airplay chart’s nearly 15-year history. Foo Fighters lead all acts with 11 No. 1s.
Most No. 1s, Rock & Alternative Airplay:11, Foo Fighters8, Green Day6, Cage the Elephant6, twenty one pilots5, The Black Keys5, Imagine Dragons5, Linkin Park4, Red Hot Chili Peppers3, Weezer
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Green Day claimed the first No. 1 on Rock & Alternative Airplay, as “Know Your Enemy” led the inaugural list dated June 20, 2009. Prior to “Dilemma,” the trio last led, for seven weeks, with “The American Dream Is Killing Me” beginning in November 2023.
Concurrently, “Dilemma” bullets at its No. 2 best on Mainstream Rock Airplay and lifts 6-5 on Alternative Airplay.
On the most recently published, multimetric Hot Rock & Alternative Songs ranking (dated March 30, reflecting activity March 15-21), “Dilemma” debuted at No. 50. In addition to its radio airplay, the song earned 376,000 official U.S. streams.
“Dilemma” is the second single, following “The American Dream Is Killing Me,” from Saviors, Green Day’s 14th studio album. The set debuted at No. 1 on the Top Rock & Alternative Albums chart dated Feb. 3 and has earned 100,000 equivalent album units to date.
All Billboard charts dated April 6 will update on Billboard.com Tuesday, April 2.
