State Champ Radio Chart Beat
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Cage the Elephant notches its 11th No. 1 on Billboard’s Alternative Airplay chart as “Neon Pill” jumps to the top of the April 6-dated survey.
The song becomes the band’s first leader since “Skin and Bones” reigned for four weeks beginning in February 2021.
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Cage the Elephant first topped the Alternative Airplay chart in 2010 with “Back Against the Wall” — and their nine No. 1s during the 2010s marked the most among all acts in that span.
The group takes sole possession of the fifth-most leaders in the Alternative Airplay chart’s 35-and-a-half-year history, breaking out of a tie with twenty one pilots.
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Most No. 1s, Alternative Airplay:15, Red Hot Chili Peppers12, Foo Fighters12, Green Day12, Linkin Park11, Cage the Elephant10, twenty one pilots8, U28, Weezer7, The Black Keys7, Imagine Dragons
“Neon Pill” concurrently tops Adult Alternative Airplay for a third week, having become Cage the Elephant’s sixth No. 1 at the format. It also lifts 29-27 on Mainstream Rock Airplay.
On the all-rock-format, audience-based Rock & Alternative Airplay chart, the song bullets at No. 4, after reaching No. 3, with 6.3 million audience impressions, up 4%, March 22-28, according to Luminate.
On the most recently published, multimetric Hot Rock & Alternative Songs chart (dated March 30, reflecting consumption March 15-21), “Neon Pill” placed at No. 39. In addition to its radio airplay, the song earned 572,000 official U.S. streams.
The song is the lead single and title track from Cage the Elephant’s sixth studio album, due May 17 on RCA Records. It follows 2019’s Social Cues, which debuted at No. 3 on the Top Alternative Albums chart that May and has earned 471,000 equivalent album units to date.
All Billboard charts dated April 6 will update on Billboard.com Tuesday, April 2.
Chayce Beckham’s “23” flies from No. 6 to No. 1 on Billboard’sCountry Airplay chart (dated April 6), becoming his first leader on the list. The single gained by 22% to 28.2 million audience impressions during the March 22-28 tracking week, according to Luminate.
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“I’m so grateful for my family, my team and all the country music fans around the world who made this possible,” Beckham tells Billboard. “Thank you to country radio for embracing this song and making this all a dream come true for me.”
“23” makes the biggest jump to the Country Airplay summit since Thomas Rhett’s “Angels Don’t Always Have Wings” also soared 6-1 last September.
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Plus, as “23” hits No. 1 in its 60th week, it completes the longest trip to the pinnacle since Dylan Scott’s “Can’t Have Mine” did so in its 62nd frame last December.
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“23” (not the same composition as Sam Hunt’s song of the same name that topped Country Airplay for a week in April 2022) is Beckham’s second entry on the chart. His Lindsay Ell duet “Can’t Do Without Me” hit No. 46 in June 2022.
The 27-year-old Beckham, from Apple Valley, Calif., was crowned the winner of ABC’s American Idol in 2021 and performed “23” – which he solely penned – live on air during that season. He had written “23” a year before and became the first hopeful to win the competition performing an original song.
Beckham is the fourth Idol winner to top Country Airplay, joining Carrie Underwood (16 No. 1s, after she won in 2005), Scotty McCreery (five; 2011) and Kelly Clarkson (one; the inaugural winner in 2002).
Meanwhile, “23” is the first Country Airplay No. 1 written by a single person since Luke Combs’ cover of Tracy Chapman’s self-authored “Fast Car” ruled for five weeks beginning last July. The only other leaders written by one person in the last 10 years: Garth Brooks’ “Ask Me How I Know,” written by Mitch Rossell (No. 1 on Dec. 16, 2017); LANCO’s “Greatest Love Story” (frontman Brandon Lancaster; Dec. 2, 2017); Little Big Town’s “Better Man” (Taylor Swift; March 4, 2017); and Tim McGraw’s “Humble and Kind” (Lori McKenna; June 25, 2016). Of the 327 leaders in that span, only six – or 2% – have been solo-written.
Meanwhile, prior to “23,” the last Country Airplay No. 1 solely written by the soloist who also recorded it? Swift’s “Ours,” on the chart dated March 31, 2012.
‘Solo’ Hit
Scotty McCreery, meanwhile, posts his ninth Country Airplay top 10 as “Cab in a Solo” pushes 11-10 (19.1 million, up 5%). The song, which he co-penned, follows “It Matters to Her,” which hit No. 3 last June and “Damn Strait,” which became his fifth leader in July 2022.
McCreery’s latest single introduces his LP Rise & Fall, due May 10.
Sabrina Carpenter notches her first No. 1 on Billboard’s Pop Airplay chart — and on any radio-based ranking — with “Feather.” The song tops the April 6-dated survey with a 7% gain in plays March 22-28, according to Luminate. The single, released on Island/Republic Records, previously became Carpenter’s second Pop Airplay top 10, after “Nonsense” […]
Ariana Grande holds at No. 1 in Australia with Eternal Sunshine and, again, narrowly misses the chart double.
As Eternal Sunshine (via Universal) enters a third week atop the ARIA Albums Chart, Ariana’s album cut “We Can’t Be Friends (Wait For Your Love)” enters a second week at No. 2 on the national singles tally.
Coming in at No. 2 on the album list is Future and Metro Boomin’s We Don’t Trust You (Universal/Sony), their first collaborative collection. It’s Future’s 10th title on the albums chart, including a No. 1 with 2022’s I Never Liked You. Metro Boomin landed at No. 4 in 2020 with Savage Mode II, a collaboration with 21 Savage, and solo LP Heroes & Villains peaked at No. 5 in 2022. Three tracks from We Don’t Trust You appear on the ARIA Singles Chart, led by “Like That” at No .8.
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Closing out the top three on the ARIA Albums Chart, published Friday, March 29, is Olivia Rodrigo’s sophomore LP Guts (Geffen/Universal), which benefits from the release of the Spilled edition, which includes one new track and four songs that were previously only available on wax.
One of those new releases “Obsessed,” arrives at No. 16 on the singles chart, for her 16th top 20 appearance, ARIA reports. Three of those have climbed the chart mountain: “Drivers Licence,” “Good 4 U” and “Vampire.” Following its release in September 2023, Guts debuted at No. 1 in in Australia and logged two weeks at the summit.
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Meanwhile, Australian pop duo the Veronicas bag a top 10 debut with Gothic Summer (Virgin Music Australia/Universal). Produced by Goldfinger’s John Feldmann and featuring a cast of top-flight collaborators, including Travis Barker, Gothic Summer is new at No. 6. The Brisbane sisters (Jessica and Lisa Origliasso) have cracked the top 10 with all six of their studio albums, the first three of which peaked No. 2: The Secret Life Of… (2005), Hook Me Up (2007) and The Veronicas (2014).
Over on the ARIA Singles Chart, also published Friday, Benson Boone bags a fourth week at No. 1 with “Beautiful Things,” atop an unchanged top three.
Finally, Irish singer and songwriter Hozier returns to the top 10 with “Too Sweet” (Columbia/Sony), new at No. 10. That’s his first solo top 40 hit since 2015, when “Someone New” peaked at No. 24. His career best in these parts came with his 2013’s “Take Me To Church,” which sailed to No. 2.
After “Está Dañada” earned Ivan Cornejo his first top 10 on Billboard’s Hot Latin Songs in 2021, the Mexican-American singer-songwriter is back in the upper region as “Baby Please” debuts at No. 8 on the list dated March 30. “Baby Please” splashes into the top 10 on the multimetric Hot Latin Songs chart mainly on […]
Djo’s “End of Beginning” reaches top of Billboard’s Hot Alternative Songs chart dated March 30, rising from No. 2 to No. 1 in its sixth week on the list. “End of Beginning” drew 18.5 million official U.S. streams (up 11%) and 3.1 million radio audience impressions (up 69%) and sold 2,000 downloads (up 46%) March […]
Reflecting that the race to the top of the Billboard Hot 100 can sometimes be more a marathon than a sprint, 18 songs have debuted at No. 99 and eventually made their way to No. 1. Teddy Swims’ “Lose Control” is the latest such leader, reaching No. 1 on the chart dated March 30, 2024, after it arrived at No. 99 on the survey dated Aug. 26, 2023.
The song’s steady Hot 100 ascent – the longest to No. 1 ever for a song by a solo male – largely mirrors its rise at multiple radio formats. It likewise debuted on the Adult Pop Airplay chart last August and this week spends a second week atop the tally.
“Lose Control” is just the third Hot 100 hit to have traveled to the top after starting at No. 99 this century, after Camila Cabello’s “Havana,” featuring Young Thug (2017-18), and T.I.’s “Whatever You Like” (2008). Before that, Cher’s “Believe” completed such a climb (1998-99), after no song had done so since 1976.
Over the Hot 100’s history, which dates to the chart’s Aug. 4, 1958, inception, No. 1s have debuted at wildly varying average positions. From the list’s launch through late 1991, when self-reported airplay and sales data drove the chart, No. 1s debuted, on average, at No. 70. Upon the chart’s evolution to electronically monitored Luminate data in late 1991 to now, No. 1s have opened, on average, at No. 46.
This decade – with streaming central to Hot 100 hits, and high-profile releases often receiving prominent first-day placement on digital service providers – No. 1s have launched, on average, at No. 17. (Prior to “Lose Control,” all five songs to spend their first weeks at No. 1 in 2024 all debuted in the top three, including three at No. 1.)
Over the Hot 100’s entire history, No. 1 hits have debuted, on average, at No. 62.
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In honor of Teddy Swims’ Hot 100 win with “Lose Control,” below is a look at all 18 songs that have debuted at No. 99 and ultimately triumphed.
As for the Hot 100’s bookending positions, 76 singles have debuted at No. 1 – the most of any rank (and all since 1995) – and 12 have entered at No. 100.
(In case you were wondering, or only 99% sure: Nena’s “99 Luftballoons” debuted on the Hot 100 at No. 74 before hitting No. 2, and Jay-Z’s “99 Problems” at No. 94 before reaching No. 30. Plus, Drake’s “Started at the Bottom” began at No. 63 on its way to a No. 6 peak.)
“Venus,” Frankie Avalon
Creepy Nuts’ “Bling-Bang-Bang-Born” continues to rule the Billboard Japan Hot 100 on the chart dated March 27, logging its ninth consecutive week atop the tally. The MASHLE Season 2 opener is now the record-holder for second most consecutive weeks at No. 1 on the multi-metric Japan song chart, passing Official HIGE DANdism’s “Subtitle” and steadily […]
Saddle up, y’all! Cowboy Carter season is finally in full effect. Beyoncé‘s eighth solo studio album hits digital streaming platforms midnight local time on March 29, and if the success of “Texas Hold ‘Em” is anything to go by, the new LP will add several new hits to Queen Bey’s collection of Billboard smashes.
Beyoncé’s chart history doesn’t begin with “16 Carriages,” or even “Break My Soul.” From girl group anthems by way of Destiny’s Child to era-defining releases such as 2003’s “Crazy In Love” or 2016’s Lemonade, her storied career has impacted practically every Billboard ranking.
She first topped the Billboard Hot 100 with her Grammy-winning group Destiny’s Child. The group — which featured an ever-evolving lineup including Kelly Rowland, Michelle Williams, LeToya Luckett and LaTavia Roberson — reached the chart’s apex with four different songs: 1999’s “Bills, Bills, Bills” (one week), 1999’s “Say My Name” (three weeks), 2000’s “Independent Women, Part I” (11 weeks) and 2001’s “Bootylicious” (two weeks).
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With Dangerously In Love, her Billboard 200-topping debut solo studio album, Beyoncé collected her first few solo Hot 100 chart-toppers, including her Jay-Z-assisted “Crazy in Love,” which spent eight weeks at No. 1. That album, which also featured the Hot 100 No. 1 hit “Baby Boy” (with Sean Paul), became the first of Beyoncé’s seven solo studio albums to debut at No. 1 on the Billboard 200. Should Cowboy Carter also debut atop Billboard’s marquee albums chart, Beyoncé will have launched all of her solo studio albums at No. 1.
Throughout her career, Queen Bey has collected nine solo Hot 100 No. 1 hits, including 2008’s “Single Ladies (Put a Ring on It)” (four weeks), 2006’s “Irreplaceable” (10 weeks) and 2024’s “Texas Hold ‘Em” (two weeks). Upon release, “Texas” made history as the first song by a Black woman to top Hot Country Songs. Beyoncé has spent 46 cumulative weeks atop the Hot 100, the third-most amongst women behind Mariah Carey (93 weeks) and Rihanna (60 weeks).
Needless to say, Beyoncé’s Billboard chart history is one fit for a queen.
After the video, catch up on more Billboard Explains videos and learn about Peso Pluma and the Mexican music boom, the role record labels play, origins of hip-hop, how Beyoncé arrived at Renaissance, the evolution of girl groups, BBMAs, NFTs, SXSW, the magic of boy bands, American Music Awards, the Billboard Latin Music Awards, the Hot 100 chart, how R&B/hip-hop became the biggest genre in the U.S., how festivals book their lineups, Billie Eilish’s formula for success, the history of rap battles, nonbinary awareness in music, the Billboard Music Awards, the Free Britney movement, rise of K-pop in the U.S., why Taylor Swift is re-recording her first six albums, the boom of hit all-female collaborations, how Grammy nominees and winners are chosen, why songwriters are selling their publishing catalogs, how the Super Bowl halftime show is booked and more.
Alek Olsen’s “Someday I’ll Get It” becomes the latest song to top the TikTok Billboard Top 50, vaulting 19-1 on the March 30-dated survey.
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 18-24. 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.
The ascent of “Someday I’ll Get It” comes in just its second week on the TikTok Billboard Top 50, as it debuted at No. 19 on the March 23 list. The lo-fi acoustic track has exploded on TikTok due to a trend using the song with creators either reminiscing about deceased pets or showing some of said pets’ final days.
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As a result, much of the sound’s usage also shows people reacting to having seen the pet trend all over their For You Page, often taking photos or videos of themselves in tears.
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Concurrently, “Someday I’ll Get It” bows at No. 24 on Billboard’s multimetric Hot Rock & Alternative Songs chart, Olsen’s first appearance on a tally that isn’t populated by TikTok data. It starts via 2.6 million official U.S. streams March 15-21, up 126% from 1.2 million the previous frame, according to Luminate.
“Someday I’ll Get It” takes No. 1 on the TikTok Billboard Top 50 from Djo’s “End of Beginning,” which falls to No. 2 – though it continues to rise on other Billboard charts, nearing the Billboard Hot 100 top 10 by jumping 21-11. Beyonce’s “Texas Hold ‘Em” and Dasha’s “Austin,” a pair of country songs previously discussed due to their trends featuring line dances as the main driver for their activity, follow at Nos. 3 and 4, respectively, and Benson Boone’s “Beautiful Things” rounds out the top five.
The week’s top debut is G-Eazy’s “Lady Killers II (Christoph Andersson Remix),” which bows at No. 7.“Lady Killers” was initially released in 2012 as part of G-Eazy’s album Must Be Nice, while the new version premiered March 17.
The remix’s move onto streaming services was no coincidence; it was released after the Andersson remix went viral on TikTok in the past month. G-Eazy himself got in on the fun with a lip-synching clip announcing the song’s wide release while also adhering to the “Lady Killers II” general trend, which aligns with the “Make her disappear just like poof/ Then she’s gone” line, with the creator turning off the light illuminating them previously after the verse is said.
“Lady Killers II” snagged 758,000 official U.S. streams in its first week of release and will continue to rise during the April 6-dated Billboard tracking week (March 22-28). The original “Lady Killers” also sported a sizable bump: 1.5 million streams March 15-21, up 125%.
Madison Beer’s “Make You Mine” also reaches the TikTok Billboard Top 50 for the first time, launching 18-10 in its second week on the survey. The sound, which largely highlights the song’s opening “I wanna feel, feel, feel/ Wanna taste, taste, taste/ Wanna get you goin’” refrain, has been used a variety of ways, from lip synchs to hair tutorials to fancam edits.
“Make You Mine” is currently bubbling under the Hot 100. It earned 3.4 million official U.S. streams March 15-21, up 1%. It’s also Beer’s first Pop Airplay appearance since 2021 (“Reckless”), having reached No. 34 so far.
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.
