State Champ Radio Chart Beat
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Morgan Wallen’s One Thing at a Time returns to No. 1 on the Billboard 200 (dated March 16), rising 2-1, and captures a 19th nonconsecutive week atop the list, breaking the record for the most weeks at No. 1 by a country album. It surpasses Garth Brooks’ Ropin the Wind, which held the record with 18 weeks, earned nonconsecutively, during its run atop the list in 1991-92. (Country albums are defined as those that have appeared on Billboard’s Top Country Albums chart. The list began in 1964.)
One Thing at a Time earned 68,000 equivalent album units in the U.S. in the week ending March 7 (up less than 1%), according to Luminate.
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One Thing at a Time continues to have the most weeks at No. 1 among all albums since Adele’s 21 logged 24 nonconsecutive weeks atop the tally in 2011-12. One Thing at a Time debuted atop the chart dated March 18, 2023, and spent its first 12 weeks at No. 1 through early June. It revisited the summit for three weeks in a row last June and July, and then posted single-week runs at No. 1 in October, January and February. In the album’s 53 weeks on the list, it has never dipped below No. 6. One Thing at a Time finished 2023 as both the No. 1 year-end Billboard 200 album and Luminate’s year-end top album.
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 March 16, 2024-dated chart will be posted in full on Billboard‘s website on March 12. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of One Thing at a Time’s 68,000 equivalent album units earned in the week ending March 7, SEA units comprise 65,000 (down less than 1%, equaling 89.63 million on-demand official streams of the set’s songs), album sales comprise 2,000 (up 15%), and TEA units comprise 1,000 (up 24%).
Since the Billboard 200 began publishing on a regular, weekly basis in March 1956, only 12 albums have spent at least 19 weeks at No. 1 on the Billboard 200. Here’s a recap.
Most Weeks at No. 1 on the Billboard 200:Weeks at No. 1, Title, Artist, Year(s)54, West Side Story, soundtrack, 1962-63)37, Thriller, Michael Jackson, 1983-8431, Rumours, Fleetwood Mac, 197731, South Pacific, soundtrack, 1958-5931, Calypso, Harry Belafonte, 1956-5724, 21, Adele, 2011-1224, Purple Rain, soundtrack, Prince and The Revolution, 1984-8524, Saturday Night Fever, soundtrack, 197821, Please Hammer Don’t Hurt ‘Em, M.C. Hammer, 199020, The Bodyguard, Whitney Houston/soundtrack, 1992-9320, Blue Hawaii, Elvis Presley/soundtrack, 1961-6219, One Thing at a Time, Morgan Wallen, 2023-24
At No. 2 on the new Billboard 200, Noah Kahan’s Stick Season hits a new peak, rising 4-2 with 53,000 equivalent album units earned (down 8%). The album previously topped out at No. 3 on the June 24, 2023-dated list, and returned to that rank on the Feb. 24, 2024, tally.
The rest of the top 10 consists of former No. 1s. Ye (formerly known as Kanye West) and Ty Dolla $ign’s Vultures 1 is a non-mover at No. 3 with nearly 53,000 equivalent album units earned (down 18%), SZA’s SOS rises 5-4 (50,000 units; down 1%) and Drake’s For All the Dogs rounds out the top five, climbing 6-5 (42,000; down 4%).
Taylor Swift’s 1989 (Taylor’s Version) steps 7-6 (39,000 equivalent album units earned; down 5%), Swift’s Lover bumps 9-7 (38,000; down 3%) and Zach Bryan’s self-titled set rallies 12-8 (38,000; up 3%). Wallen’s Dangerous: The Double Album ascends 11-9 with nearly 38,000 units (up 1%), for its 138th nonconsecutive week in the top 10. It extends its record for the most weeks in the top 10 among albums by a singular artist. The only album with more weeks in the top 10 is the original cast recording of My Fair Lady, with 173 weeks in the region, beginning in 1956.
Closing out the top 10 on the new Billboard 200 is Travis Scott’s Utopia, which jumps 17-10 with 36,000 equivalent album units earned (up 12%).
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.
TWICE and LE SSERAFIM make history on Billboard’s 32-year-old Top Album Sales chart (dated March 9), as the South Korean female pop groups debut at Nos. 1 and 2 — marking the first time two all-women groups have been in the top two positions at the same time.
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Top Album Sales’ chart history dates to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate.
TWICE’s With YOU-th launches at No. 1 with 90,000 copies sold in the U.S. in the week ending Feb. 29, according to Luminate. LE SSERAFIM’s Easy starts at No. 2 with 34,000 copies sold. The majority of each album’s sales come from CD purchases in assorted collectible editions, as is usual with major K-pop releases
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Also in the top 10 of the new Top Album Sales chart, the latest albums from French Montana and Ace Frehley arrive, while BTS’ former No. 1 Love Yourself: Tear re-enters the chart in the top 10 following its release on vinyl.
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.
For TWICE, With YOU-th marks the fourth No. 1 on Top Album Sales and fifth top 10 overall. For LE SSERAFIM, Easy is the act’s third top 10 set.
At No. 3 on Top Album Sales, French Montana’s Mac & Cheese 5 debuts with 22,500 copies sold. Of that sum, physical sales comprise 19,000 (9,000 on vinyl — his best week on the configuration, 10,000 on CD) and digital sales comprise about 3,500. Sales were boosted by the album’s availability across six CD variants (three alternative covers, and three signed editions each with a different cover) and three vinyl variants (all with alternative covers) — and all were sold through the artist’s webstore. The physical albums were deeply discounted to $5 for standard vinyl and CD editions, and $10 for the signed CD editions. The digital album was also issued in three variants: a standard album (clean and explicit), a deluxe edition (with one bonus track, clean and explicit) and a super deluxe edition, dubbed the “Versions” variant (with all of the album’s standard explicit tracks, plus versions of each song in clean, sped-up, slowed-down, instrumental and acapella mixes).
Mac & Cheese 5 is French Montana’s fourth top 10-charting effort on Top Album Sales and his highest-charting set yet, surpassing the No. 4 peak of his three earlier top 10 sets.
Ace Frehley logs his highest-charting album ever on Top Album Sales, as his latest release, 10,000 Volts, charges in at No. 4 with 13,000 copies sold. Of that sum, vinyl sales comprise 5,500, marking the former KISS guitarist’s biggest sales week on vinyl since Luminate began tracking sales in 1991. In total, 10,000 Volts is Frehley’s fifth top 10-charting set on Top Album Sales.
BTS’ former No. 1 Love Yourself: Tear re-enters Top Album Sales at No. 5 with about 9,500 sold — nearly all from vinyl sales, as the album was released on the configuration for the first time during the tracking week. With nearly 9,500 copies sold on vinyl, the album also bows at No. 1 on the Vinyl Albums chart, BTS’ second leader on that list, following Love Yourself: Her in 2023.
Four former No. 1s, all from Taylor Swift, are next on Top Album Sales. 1989 (Taylor’s Version) falls 3-6 (9,000; down 19%); Lover dips 4-7 (7,000; down 22%); Midnights slips 7-8 (6,000; down 19%); and Folklore descends 8-9 (nearly 6,000; down 21%). Bob Marley and The Wailers’ Legend: The Best of Bob Marley and The Wailers, rises 11-10 (nearly 6,000; though down 17%), marking the set’s first week in the top 10 since April 17, 2021, when it ranked at No. 9. (The album earlier peaked at No. 5 on the Sept. 20, 2014-dated chart.) The hits album returns to the top 10 on the latest chart following publicity and promotion generated by the release and success of the Marley biopic film Bob Marley: One Love.
In the week ending Feb. 29, there were 1.276 million albums sold in the U.S. (up 9.4% compared to the previous week). Of that sum, physical albums (CDs, vinyl LPs, cassettes, etc.) comprised 976,000 (up 13.8%) and digital albums comprised 300,000 (down 2.9%).
There were 533,000 CD albums sold in the week ending Feb. 29 (up 30.6% week-over-week) and 438,000 vinyl albums sold (down 1.7%). Year-to-date CD album sales stand at 3.875 million (down 29.9% compared to the same time frame a year ago) and year-to-date vinyl album sales total 4.197 million (down 47.3%).
Overall year-to-date album sales total 10.783 million (down 35.3% compared to the same year-to-date time frame a year ago). Year-to-date physical album sales stand at 8.113 million (down 40.2%) and digital album sales total 2.669 million (down 13.7%).
Pearl Jam returns to No. 1 on Billboard’s Mainstream Rock Airplay chart for the first time in 26 years and two weeks, reigning with “Dark Matter” on the March 16-dated survey.
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The song becomes Pearl Jam’s first No. 1 on the chart since “Given To Fly” led for six weeks in January-February 1998.
That lengthy break between No. 1s is the longest in the Mainstream Rock Airplay chart’s 43-year history. The record was previously held by Kenny Wayne Shepherd, who went 20 years and 11 months between the six-week reign of “Blue on Black” (credited to The Kenny Wayne Shepherd Band) in 1998 and his featured turn on Five Finger Death Punch’s cover of the song (alongside Brantley Gilbert and Brian May) in 2009.
In terms of distance between No. 1s by lead acts, the record prior to Pearl Jam belonged to The Offspring, via its nearly 18-year respite between the rules of “Gone Away” in 1997 and “Coming for You” in 2015.
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Pearl Jam now boasts four total Mainstream Rock Airplay No. 1s. In addition to “Given To Fly” and “Dark Matter,” “Daughter” reigned for eight weeks beginning in December 1993 and “Better Man” led for eight frames starting in January 1995. “Dark Matter” ties “Given To Fly” for the group’s fastest flight to No. 1: four weeks each.
In between “Given To Fly” and “Dark Matter,” Pearl Jam charted 20 Mainstream Rock Airplay 20 entries, paced by the No. 2-peaking “World Wide Suicide” in 2006 and “Mind Your Manners” in 2013. Of those 20 tracks, 11 hit the top 10.
Concurrently, “Dark Matter” holds at its No. 10 high on Alternative Airplay and jumps 26-22 on Adult Alternative Airplay. On the all-rock-format, audience-based Rock & Alternative Airplay chart, the song returns to No. 1 for a second week (after leading the March 2 survey) with 6.9 million audience impressions, up 8%, March 1-7, according to Luminate.
On the most recently published Hot Hard Rock Songs chart (dated March 9), “Dark Matter” ranked at No. 2. In addition to its radio airplay, the song earned 876,000 official U.S. streams and sold 1,000 downloads Feb. 23-29.
“Dark Matter” is the lead single and title track from Pearl Jam’s 12th studio album, due April 19.
All Billboard charts dated March 16 will update on Billboard.com on Tuesday, March 12.
Kane Brown earns his 11th No. 1 on Billboard’s Country Airplay chart as “I Can Feel It” rises from No. 4 on the list dated March 16. During the March 1-7 tracking week, the song increased by 23% to TK million impressions, according to Luminate.
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Brown co-authored “Feel” with Gabe Foust and Jaxson Free, and Dann Huff produced it.
The track interpolates Phil Collins’ 1981 classic “In the Air Tonight,” via its trademark drum solo and Brown’s reprisal of its chorus. Collins, who solely penned “Air,” is credited as a writer on “Feel.”
“I just got the news here in London after playing C2C that ‘I Can Feel It’ went No. 1 – this means so much to me,” Brown tells Billboard. “And it’s amazing to have a No. 1 with a huge legend like Phil Collins.”
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Notably, Collins logs his first No. 1 on a Billboard chart as a songwriter since “Air” topped Rock Digital Song Sales for a week in August 2020. (It hit No. 19 on the Billboard Hot 100 in August 1981.) Prior to “Feel,” he last led any chart as a writer of a new song when he ruled Adult Contemporary for a frame in November 2002 with his own single “Can’t Stop Loving You” (which Keith Urban covered on his 2006 album Love, Pain & The Whole Crazy Thing, as did Taylor Swift for a BBC Radio 1 Live Lounge performance in 2019).
With the first single from Brown’s upcoming LP, he earns his sixth consecutive Country Airplay No. 1, the longest active run among all artists. (The overall record streak belongs to Luke Combs, who rattled off a record 14 successive career-opening No. 1s in 2017-22.)
Prior to “Feel,” Brown topped Country Airplay, for one week each, with “Bury Me in Georgia” (September 2023); “Thank God,” with his wife, Katelyn Brown (February 2023); “Like I Love Country Music” (August 2022); “One Mississippi” (March 2022); and “Famous Friends,” with Chris Young (July 2021). Brown first led with “What Ifs,” featuring Lauren Alaina, for a week in October 2017.
Brown kicks off his In the Air Tonight Tour March 28 at John Paul Jones Arena in Charlottesville, Va., with featured acts Tyler Hubbard and Parmalee.
Additional reporting by Gary Trust.
Taylor Swift’s favorite number – 13 – now doubles as the amount of No. 1s that she has achieved on Billboard’s Pop Airplay chart. She tallies her record-extending 13th leader on the list as “Is It Over Now? (Taylor’s Version) [From the Vault]” ascends to the top of the March 16-dated ranking.
Following Swift, Maroon 5, Katy Perry and Rihanna each boast 11 Pop Airplay No. 1s.
Notably, the song, on Swift’s album 1989 (Taylor’s Version), on Republic Records, marks her first track that has topped a Billboard airplay chart from a “Taylor’s Version” album, among the four rerecorded sets that she has released so far.
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Here’s a recap of Swift’s 13 No. 1s on Pop Airplay, which measures songs’ weekly plays, as tabulated by Mediabase and provided to Billboard by Luminate, on over 150 U.S. mainstream top 40 radio stations. (The chart began in October 1992.)
Title, Weeks at No. 1, Year(s):
“Is It Over Now? (Taylor’s Version) [From the Vault],” one (to-date), 2024
“Cruel Summer,” 10, 2023
“Karma,” one, 2023
“Anti-Hero,” three, 2022-23
“Delicate,” one, 2018
“Look What You Made Me Do,” one, 2017
“Wildest Dreams,” two, 2015
“Bad Blood” (feat. Kendrick Lamar), five, 2015
“Style,” three, 2015
“Blank Space,” six, 2014-15
“Shake It Off,” two, 2014
“I Knew You Were Trouble.,” seven, 2013
“Love Story,” one, 2009
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Swift, meanwhile, links her third consecutive Pop Airplay No. 1, as “Is It Over Now?” follows the rules of “Cruel Summer” and “Karma.” She notches her second streak of at least three straight leaders on the chart, after she reigned with the first five singles from 1989 in 2014-15: “Shake It Off,” “Blank Space,” “Style,” “Bad Blood” and “Wildest Dreams.”
1989 (Taylor’s Version) launched atop the Billboard 200 chart in November, becoming her 13th No. 1 album – the most among women. The same week, the song soared in at No. 1 on the all-genre, multimetric Billboard Hot 100, becoming her 11th and most recent leader.
Concurrently, the track takes over at No. 1 on Adult Pop Airplay (which reflects plays on adult top 40 stations). It becomes Swift’s 12th No. 1, the most among soloists and second overall only to Maroon 5’s 15 (dating to the chart’s March 1996 start in Billboard’s pages).
All charts dated March 16 will update on Billboard.com Tuesday, March 12.
It’s a beautiful week for Benson Boone, as the U.S. singer and songwriter scores his first No. 1 in Australia, while Taylor Swift continues to dominate the national albums survey.
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Boone, the Monroe, Washington native, tops the latest ARIA Singles Chart, published Friday, March 8, with “Beautiful Things” (via Warner Music), up 3-1 in its seventh week on the tally.
“Beautiful Things” leads a top three ahead of Beyonce’s “Texas Hold ‘Em” (Columbia/Sony), holding at No. 2, and Swift’s “Cruel Summer” (Universal), down 1-3.
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Meanwhile, Stranger Things star Joe Keery has his very first Australian top 10 with “End Of Beginning” (AWAL), released through his music project Djo. Released back in 2022, “End Of Beginning” is enjoying a global resurgence thanks to a TikTok trend, lifting 14-9 on the ARIA Chart.
Fred Again tends to create hysteria in Australia, and he’s doing that (again). The British singer and songwriter performed a pop-up concert at the Sydney Opera House last month, setting a ticketing record en route to an immediate sell out. Then, the surprise announcement of six arena shows and an outdoor pop-up concert, which shifted 100,000 combined tickets in the blink of an eye. Off the back of that frenzy, several Fred Again tunes surge up the Australian tally, led by “Leavemealone” with Baby Keem, up 56-13 for a new peak position. His seven-date east coast run started Monday (March 4) at Rod Laver Arena, Melbourne and wraps next Thursday, March 14 at Qudos Bank Arena, Sydney.
Homegrown electronic producer Cyril lands his first top 40 hit with “Stumblin’ In” (Spinnin’ Records /Warner), his reimaged house version of Suzi Quatro and Chris Norman’s ‘70s song, up 45-19. The original peaked at No. 2 back in 1979, and was co-produced and co-written by another Australian, Mike Chapman.
Meanwhile, Taylor Swift locks up the top 5 on the ARIA Albums Chart for the third consecutive week, with Lover (Universal) claiming the title for the first time in more than four years, up 2-1.
The Swift Sweep continues with 1989 (Taylor’s Version) (via Universal), Folklore (Republic/Universal), Midnights (Universal) and Reputation (Big Machine/Universal) respectively completing the top 5.
A handful of homegrown recording enter the ARIA Top 50 on debut, including Mildlife’s Chorus (at No. 36 via PIAS/Inertia), Donny Benét’s Infinite Desires (No. 46 via Donnyland Records/Orchard) and San Cisco’s Under The Light (No. 47 via ICR/MGM).
Creepy Nuts’ “Bling-Bang-Bang-Born” stays atop the Billboard Japan Hot 100 for the sixth week on the chart dated March 6.
The MASHLE Season 2 opener slips to No. 2 for downloads with 16,031 units, down by about 17.8% from the previous week, while streaming remains almost unchanged at 21,256,220 streams (No. 1), down by about 1.8%. The track comes in at No.11 for radio airplay and No. 3 for karaoke, maintaining a strong lead on the Japan Hot 100.
A number of new releases have entered the top 10 for the first time this week. Debuting on the list at No. 2 is SKE48’s “Ai no Hologram,” launching with 399,984 CDs — the second highest first-week record for the group after their previous release — to hit No. 1 for sales. The group’s 32nd single also comes in at No. 4 for radio.
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Bowing at No. 3 is NCT WISH’s “WISH.” The global boy band’s first single in Japan sold 93,186 copies in its first week to come in at No. 3 for sales. The track rules radio and comes in at No. 68 for video views, which helped overturn the difference in CD sales between the track debuting at No. 4 on the Japan Hot 100 this week, ATEEZ’s “NOT OKAY,” which launched with 307,329 CDs (No. 2 for the metric). This figure for the eight-member K-pop group’s third single in Japan (and the first in about a year) is a career high. It also comes in at No. 48 for downloads with 1,011 weekly units.
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Vaundy’s “Time Paradox” moves 25-9. The “Kaiju no hanauta” hitmaker’s latest release is the theme song for the latest animated Doraemon feature film called Doraemon the Movie: Nobita’s Earth Symphony that hit domestic theaters Mar. 1. After first charting at No. 39 on Jan. 17, the track gradually climbed the tally and broke into the top 10 this week after the CD dropped Feb. 28. First-week sales for the track totaled 5,286 copies to hit No. 13 for the metric, while also coming in at No. 13 for downloads with 2,625 units and No. 11 for streaming with 5,532,741 weekly streams. It also hits No. 3 for radio and No. 23 for video with 530,108 views.
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While still outside the top 10 on the Japan Hot 100 at No. 12, BE:FIRST’s “Set Sail” is this week’s No. 1 song for downloads. The latest release by the seven-member J-pop boy band was written as a collaborative effort with ONE PIECE CARD GAME, and is the lead track off the group’s upcoming concept single called “Masterplan,” due Apr. 24. The track debuts on the charts after being released Feb. 26, coming in at No. 24 for streaming, No. 53 for radio, and No. 37 for video.
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 Feb. 26 to March 3, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
A week after debuting at No. 5 on the TikTok Billboard Top 50 chart, “Carnival,” from Ye (formerly Kanye West) and Ty Dolla $ign’s collaborative album Vultures 1, jumps to No. 1 on the tally dated March 9.
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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 Feb. 26-March 3. 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.
“Carnival,” which also features Rich the Kid and Playboi Carti, becomes the first No. 1 on the TikTok Billboard Top 50 for Ye, Ty Dolla $ign and Rich the Kid since the list’s September 2023 inception. Playboi Carti, meanwhile, has ruled twice before with “Sky,” which reigned on the Oct. 7, 2023, ranking and again Dec. 9, 2023.
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The main trend for “Carnival” on TikTok involves lip-synching to the song’s opening refrain and chorus, usually done in front of a mirror.
Concurrently, “Carnival” rises back to No. 1 on Billboard’s Streaming Songs chart for a second week, via 32.2 million official U.S. streams Feb. 23-29, up 31%, according to Luminate. The track also jumps 4-2 on the multi-metric Billboard Hot 100.
The success of “Carnival” comes despite Ye’s various controversies, including recent and continued hate speech and antisemitic remarks that have caused some listeners to shy away from his material past and present.
“Carnival” reigns over Bobby Caldwell’s “What You Won’t Do for Love,” which holds at No. 2 for a second week, and Djo’s “End of Beginning,” which ranks at No. 3 after spending its first week at No. 1 on the March 2 tally.
“Back It Up and Dump It (Dump Truck),” from Kinfolk Thugs, GC Eternal and Tyme Bomb, breaks into the top five for the first time, lifting 7-4. Originally released in 2013, the song benefits from a choreographed dance trend, as well as other general, often jokey posts including its lyrics. Another more recent trend shows creators using an app showing celebrities with whom they share a birthday.
Cat Janice’s “Dance You Outta My Head,” a former No. 1 on the chart, rounds out the top five with a one-position lift to No. 5. The rise follows Janice’s death on Feb. 28 at age 31 after a bout with cancer; she released “Dance You Outta My Head” as her final song while in hospice care.
One song reaches the chart’s top 10 for the first time: 21 Savage’s “Redrum,” which jumps 19-8. The tune initially premiered at No. 39 on the Feb. 10 survey but has found new life on TikTok in recent weeks, with sizable gains coming after the song’s Feb. 24 performance on Saturday Night Live. “Redrum” concurrently appears at No. 8 on Streaming Songs via 18 million listens, up 11%. It also rises 16-13 on the Hot 100.
The week’s top debut belongs to Xakei, whose “Merry Go Round of Life (Old Piano)” bows at No. 13. The rendition is a version of an instrumental track from the Studio Ghibli film Howl’s Moving Castle, and a viral usage of the song in the latest tracking week soundtracks an Austin City Council meeting in which workers learn they were relieved of duties in real time by Google.
DeJ Loaf’s “No Fear” also sports a strong debut, starting at No. 16. The song was released in 2017 and sports a trend of people showing off relationship texts while the song’s chorus plays.
See the full TikTok Billboard Top 50 here. You can also tune in each Friday to SiriusXM’s TikTok Radio (channel 4) to hear the premiere of the chart’s top 10 countdown at 3 p.m. ET, with reruns heard throughout the week.
It’s truly SZA’s universe on Billboard’s Hot R&B Songs chart as the singer-songwriter captures her sixth No. 1 on the chart with “Saturn.” The new leader debuts atop the list dated March 9 and replaces her own “Snooze” at the summit. With the exchange, SZA extends her unyielding domination of the chart’s top slot for the past year.
“Saturn,” released on Top Dawg/RCA Records, lands at No. 1 on the multi-metric Hot R&B Songs chart, which combines streaming, airplay and sales data for its rankings, chiefly through 25 million official U.S. streams in the tracking week of Feb. 23 – 29, according to Luminate. From that sum, the song blasts in at No. 1 on the R&B Streaming Songs, where it becomes SZA’s 10th champ. “Saturn” also rings up a No. 2 entrance on R&B Digital Song Sales, with 2,000 copies sold and 960,000 in airplay audience for the tracking period.
Beyond a new No. 1, the “Saturn” arrival occurs just as SZA completes an entire year at No. 1 on Hot R&B Songs. Since the chart dated March 11, 2023, when The Weeknd and Ariana Grande’s “Die for You” managed to dislodge SZA’s “Kill Bill” for one week, the superstar has held the No. 1 rank with either “Kill Bill,” which resumed its run for another 19 weeks (for 30 total frames in charge), “Snooze,” on its own 30-week nonconsecutive No. 1 streak, her featured turn on Drake’s “Slime You Out,” a two-week champ, and now, “Saturn.”
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Notably, with “Saturn” eclipsing “Snooze,” the latter loses out on a chance this week for what would have been a record-breaking 31st week at No. 1.
As “Saturn” joins the chart-topping club, here’s a look at SZA’s No. 1s on Hot R&B Songs:
Song Title, Artist (if other than SZA), Weeks at No. 1, Date Reached No. 1“The Weeknd,” one, Jan. 3, 2018“I Hate U,” one, Dec. 18, 2021“Kill Bill,” 30, Dec. 24, 2022“Snooze,” 30, July 29, 2023“Slime You Out,” Drake featuring SZA, two, Sept. 29, 2023“Saturn,” one (to date), March 9, 2024
“Saturn” was officially released to digital retailers and streaming services on Feb. 22, weeks after it was first widely heard during a Mastercard commercial during the 66th Grammy Awards telecast on Feb. 4. The song is expected to appear on Lana, a possible deluxe edition of SZA’s 2022 album, SOS. The original SOS was a blockbuster, spending 10 weeks at No. 1 on the Billboard 200 albums chart and being named the No. 1 Top R&B/Hip-Hop Album on the 2023 year-end recap.
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.
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This week: A much-shared fan reaction to a Taylor Swift Eras performance results in big gains for the ballad in question, an unusual pop artist goes viral in an even more unusual way and we may have the first post-Beyoncé hoedown hit.
Taylor Swift’s ‘Exile’ Sees Uptick Following Swiftie’s Viral Reaction Video
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For nearly a year, the surprise songs performed each night on Taylor Swift’s Eras Tour have provoked a wide spectrum of reactions — from elation from those in attendance who happened to hear their favorite song performed during their tour stop, to heartache from those who missed an unforgettable moment. Madison Blackband, a 20-year-old Australian Swiftie, ended up producing an unforgettable moment herself last week, when she took video of herself and two friends outside of Swift’s performance in Sydney on Feb. 25.
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The Brisbane native posted a TikTok of herself hearing the opening notes of the Folklore track “Exile,” which caused her to double over into her friend’s arms and collapse in sobs; the caption read, “My reaction to Taylor singing Exile (also known as the song that saved my life).” The overwhelming emotion in the clip went viral, with over 10 million TikTok views and countless memes re-creating the drama. And in the week that followed, “Exile” experienced an increase in streams, as fans just had to hear what exactly was in that Bon Iver duet that made that Swiftie crumple in tears.
In the three days before the video posted (Feb. 22-24), “Exile” earned 1.12 million official on-demand U.S. streams — but the following three days (Feb. 25-27), that number rose to 1.30 million streams, an increase of 16%, according to Luminate. As for Blackband, she’s taking the viral moment in stride: “There’s no point letting it upset me,” she told Rolling Stone last week. “I reacted the way I reacted.” – JASON LIPSHUTZ
Viral X Ad Transforms Julie Ragbeer from Unknown to Rising Streaming Phenom
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Most people are aware of the power and reach of platforms like X (formerly Twitter) or Instagram. Most people are also aware of how influential advertising can be. Few can say they would have predicted that a paid ad on a sizable pop culture X account would transform a New Jersey college student from bedroom crooner to certified streaming star.
On Feb. 22, Pop Tingz – an X account focused on covering pop culture that boasts over 166,000 followers – shared a promotional post for Julie Ragbeer with the caption, “[Julie Ragbeer] reminisces with her 19-year-old experiences in her new debut album.” At press time, the tweet has garnered over 13,000 likes and 11.4 million views on the platform. While these kinds of X accounts have shared promotional posts for little-known independent artists in the past, the bizarreness of the Ragbeer ad (at the time her account was private and followed by just 100 people) coupled with the undeniable, tongue-in-cheek allure of songs like the funky “Older Guys” resulted in genuine streaming gains for the nascent social media star.
According to Luminate, Ragbeer’s independently released catalog – which consists of one LP, two EPs and two standalone singles – received a negligible number of official on-demand U.S. streams during the week of Feb. 16-22. In the week immediately following the X post (Feb. 23-29), streaming activity for Ragbeer’s catalog ballooned by a whopping 34,630% to over 80,000 streams. On Spotify, “Mary Whiton Calkins” — a tribute to the early 1900s American philosopher and psychologist whose worked focused on researching memories and dreams — ranks as Ragbeer’s most popular track, with over 50,000 streams on the platform.
While it remains to be seen whether she can bottle up her virality and create a lasting career, the Pop Tingz-spurred phenomenon of Julie Ragbeer is just the latest example of the power of the Internet. — KYLE DENIS
Dasha Scores the Year’s Second Boot-Stomping Texas-Themed Country-Pop Hit
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The rising wave from Beyoncé’s country crossover smash “Texas Hold ‘Em” keeps lifting boats from all over — and the latest beneficiary might be San Luis Obispo, Calif.-born singer/songwriter Dasha. Now based out of Nashville, Dasha has been trying to make it in country music, and last year released the lovelorn single “Austin,” sounding a little like a more honky-tonk-ready spin on Halsey’s 2020 hit “You Should Be Sad.” But its stomp-clapping giddy-up groove also shares more than a little DNA with “Hold ‘Em” — and with that song becoming one of the early year’s defining hits, “Austin” has begun to take off as well.
The song of course has done exceptionally well on TikTok — where Dasha now has nearly 300,000 followers and calls herself country-without-the-“o” on her bio page — particularly as part of a line dance trend started by the singer-songwriter. For the tracking week ending Feb. 15, which Beyoncé released “Hold ‘Em” midway through, “Austin” had exploded from 82,000 official on-demand U.S. streams the week before to over 830,000, according to Luminate, a gain of 916%. The next week, which also included the Feb. 16 release of Dasha’s independently released full-length country debut album What Happens Now? the song kept rocketing upwards, growing another 182% to over 2.3 million streams. For the most recent week, ending Feb. 29, the song has slowed a little but is still climbing, now up another 32% to over 3.1 million streams.
Will “Austin” also become a Lone Star State-sized pop hit in the months to come? We’ll see, but it’s clear that even with Beyoncé’s sizeable presence understandably commanding the most attention, there’s still plenty of room for other artists on the honky-tonk dancefloor in 2024. — ANDREW UNTERBERGER
