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Luck Ra and Khea add a new No. 1 to their Billboard Argentina Hot 100 career as “Hola Perdida” lifts 2-1 on the chart dated March 2.
Luck Ra also holds strong in the top 10 with two other songs: “Que Me Falte Todo,” with Abel Pintos, which holds at No. 3 for a third week, and nine-week leader “La Morocha,” featuring BM, which drops 7-9. In total, the trap and freestyler places a total of seven songs on the current ranking, the most for a male act this week, behind Emilia’s 10 and Maria Becerra’s eight simultaneous songs, respectively.
As “Hola Perdida” lands at the summit, it sends Mesita, Nicki Nicole, Emilia and Tiago PZK’s “Una Foto” to No. 2 after a six-week domination.
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Elsewhere, Tiago PZK and Ke Personajes add a top 10 to their Billboard Argentina account as “Piel” rallies from No. 17 to No. 6. While Tiago scores his sixth top 10, Ke Personajes collect their 12th top 10.
Meanwhile, Chilean Floyymenor earns his first top 10 as “Gata Only,” with Cris MJ, surges 22-8 in its third week.
The week’s Greatest Gainer goes to Trueno and Nicki Nicole’s “Mamichula,” featuring Bizarrap, Taiu and Tatool, which flies from No. 82 to No. 20.
Further, Gino Mella, Jairo Vera, Yandel, Lenny Tavárez and Best take the Hot Shot Debut of the week as “El Amor De Tu Vida” starts at No. 40.
Seven other songs enter the chart this week, starting with KHEA and Emilia’s “Tú y Yo” at No. 42. Dua Lipa follows with “Training Season” at No. 55, while El Turko’s “30 Grados,” featuring Mandale Flow, joins at No. 71.
Dominican Engel Montaz follows as he nabs his first chart entry with “Cupido” at No. 80, while Pablo Chill-E and Oro600’s “Nena Sad (Orodembow)” opens at No. 81.
Lastly, La K’Onga, Emanero and David Bisbal’s first team-up, “Fama de Diabla” bows at No. 82, while Tiesto & Karol G’s “Contigo” arrives at No. 88.
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Creepy Nuts’ “Bling-Bang-Bang-Born” extends its reign over the Billboard Japan Hot 100 to five weeks on the chart dated Feb. 28.
While slowing down slightly in streams and downloads, the MASHLE Season 2 opener remains almost stationary and adds another week at No. 1 to both metrics. Streaming is down by about 0.6% (21,661,077 streams) and downloads by about 2.3% (19,520 units). The viral hit is at No. 19 for video views and rises 9-7 for karaoke, while slipping slightly in radio (7-10) this week, leading the Japan Hot 100 by a huge margin.
Sakurazaka46’s “Nansai no koro ni modoritai no ka?” rises 15-2 after launching with 531,917 CDs in its first week (released Feb. 21). The eighth single by the J-pop girl group features Ten Yamasaki in center position of the choreography, and follows the first-week sales of its previous single, “Shoninyokkyu” (545,944 copies). The track gained points in other metrics as well, coming in at No. 4 for streaming with 7,808,921 streams, No. 11 for downloads with 3,758 units, No. 74 for radio, and No. 67 for video.
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OCTPATH’s “OCTAVE” debuts at No. 4 this week. The eight-member boy band’s fifth single sold 99,413 CDs in its first week — 14.3% more than its predecessor “Sweet” —to come in at No. 2 for sales, while also hitting No. 2 for radio.
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Omoinotake’s “IKUOKU KONEN” rises a notch to No. 7. The track is steadily on the rise figure-wise as well, moving 10-8 for downloads (4,913 units, up 10.6%), 7-6 for streaming, (7,323,028 streams, up 20.8%), and 25-22 for video.
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SPYAIR’s “Orange” jumps 19-8 this week, debuting in the top 10. The second release by the four-man band featuring new vocalist YOSUKE is being featured as the theme song for the animated feature film Haikyuu!! the Movie: Decisive Battle at the Garbage Dump, which opened in Japanese theaters on Feb. 16. According to Kogyo Tsushinsha, the movie drew 2.9 million viewers and grossed over 4.18 billion yen during its first ten days. “Orange” comes in at No. 3 for downloads with 7,168 units, No. 8 for streaming with 6,492,428 streams, No. 21 for radio, and No. 13 for video.
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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 Feb. 19 to 25, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Beyoncé’s fourth No. 1 on Billboard’s Streaming Songs chart – and first completely solo – comes with “Texas Hold ‘Em,” which rises to the top of the March 2-dated tally. “Texas Hold ‘Em,” which debuted at No. 4 on the Feb. 24 ranking, vaults to No. 1 via 29 million official U.S. streams Feb. 16-22, […]
Scores of new artists snag hits in a given year, but few truly break through and create a lasting impact on the global music scene and popular culture. Tems is one of those artists. The Nigerian singer-songwriter has used her lush amalgamation of Afrobeats, soul and hip-hop to become one of the leading female artists in the global Afrobeats boom of the early 2020s.
As the 2024 Billboard Women in Music Breakthrough Artist honoree, Tems joins an exclusive list of movers and shakers that includes Idina Menzel, Maren Morris, Camila Cabello, TWICE and Tori Kelly. To illustrate why the Grammy winner is a true breakthrough artist, Billboard Explains has put together a brief overview of Tems’ impressive chart success.
Tems made her Billboard Hot 100 debut back in 2021 with “Essence,” a collaboration with fellow Afrobeats star Wizkid and Justin Bieber that reached No. 9 on the ranking. The following year, she translated that momentum into her first Hot 100 No. 1 single — “Wait for U” (with Future and Drake), which spent one week atop the chart. Her other Hot 100 hits include “Fountains” (No. 26, with Drake), “Move” (No. 55, with Beyoncé and Grace Jones) and “Free Mind” (No. 46), a single from her debut EP For Broken Ears, which reached No. 28 on Independent Albums.
“Free Mind” and “Essence” are also Tems’ two chart-toppers on Billboard U.S. Afrobeats Songs, where she boasts 15 career entries. “Higher,” which was sampled on Future’s “Wait for U,” reached No. 5 on the chart in 2022.
With a debut studio album set for release in 2024, Tems is poised to own the coming year and further solidify her breakthrough.
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.
A week after scoring a splashy debut at No. 11 on the TikTok Billboard Top 50 chart, Djo’s “End of Beginning” vaults to No. 1 on the March 2-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 Feb. 19-25. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50. Titles that are part of Universal Music Group’s catalog are currently unavailable on TikTok.
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“End of Beginning,” as previously reported, encompasses a TikTok trend that largely centers on Chicago, which is mentioned prominently in the 2022 song’s lyrics. The line “And when I’m back in Chicago, I feel it/ Another version of me, I was in it” soundtracks footage of the city, people discussing their time there or even users pining for similar experiences in other cities.
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A more recent trend featuring “End of Beginning” is a photo montage with the prompt “If I won the lottery I wouldn’t tell anyone, but there’d be signs,” showing off how their life would change after winning the cash. While the Chicago-specific trend kicked off the song’s TikTok rise, the latest theme helped drive the track to an explosion on the platform – and subsequently on audio and video streaming services – that begets its jump to No. 1.
Concurrently, “End of Beginning” becomes Djo’s (real name Joe Keery, known also as an actor on Stranger Things, Fargo and more) first appearance on the Billboard Hot 100, bowing at No. 51. It accumulated 8.4 million official U.S. streams Feb. 16-22, a 194% jump, according to Luminate. Those streams also drive it to No. 2 on Alternative Streaming Songs.
“End of Beginning” takes over No. 1 on the TikTok Billboard Top 50 from Bobby Caldwell’s “What You Won’t Do for Love,” which falls to No. 2 after one week atop the tally. The trend for the 1978 song, which peaked at No. 9 on the Hot 100 in its time, continues, though; as noted toward the Feb. 24 ranking, creators are most often using the song to supplement footage of different food items and dishes, including chocolate-covered strawberries, while others zoom in on pets or significant others. The song jumped another 15% in official U.S. streams Feb. 16-22 to 1.8 million.
The week’s top debut is one spot below at No. 3: Glee cast’s version of “Rose’s Turn,” a song originally written for the musical Gypsy. The tune’s opening line “All that work and what did it get me? Why did I do it?” is used as creators lament trying hard to accomplish something, only for it to be all for naught.
Beyonce’s “Texas Hold ‘Em,” concurrently the week’s No. 1 song on the Hot 100, continues its ascent on the TikTok Billboard Top 50, leaping from No. 13 to No. 4, while one of its closest competitors on the Hot 100, Ye (formerly Kanye West) and Ty Dolla $ign’s “Carnival,” starts at No. 5.
While uploads for “Texas Hold ‘Em” remain largely rooted in a dance trend to the country tune, “Carnival” is being used in a variety of ways, from usages in general viral clips to creators reacting to the track, considered to be the runaway hit from Ye and Ty Dolla $ign’s No. 1 album Vultures 1.
Both “Texas Hold ‘Em” and “Carnival” rise in official U.S. streams Feb. 16-22, the former up 51% to 29 million streams and the latter jumping 5% to 24.6 million.
Cat Janice‘s “Dance You Outta My Head” ranks at No. 6; the chart’s latest tracking week came prior to the 31-year-old singer’s Feb. 28 death from sarcoma; she debuted the song while in hospice as her final release.
One other song debuts in the TikTok Billboard Top 50’s top 10: Armando Trovajoli’s “L’amore Dice Ciao,” the “slow take” version of which bows at No. 8. The instrumental track from the Italian pianist and composer is mostly utilized in a trend soundtracking animation to the prompt “Do you think you would be my [fill in the blank] in every universe?” – often friend, mother, sibling, etc. – with the response “I hope we are,” showing the users in multiple forms.
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.
Kicking off the new year in style, Coldplay leads Billboard’s Top Tours chart for January. According to figures reported to Billboard Boxscore, Chris Martin and company grossed $58.8 million and sold 417,000 tickets during the month, essentially doubling its closest competition.
January is traditionally the slowest month of the year, with Elton John and Tool crowning lists in 2020 and 2022, respectively, with less than $20 million each. John himself set a high mark in 2023 with $40.9 million, and now Coldplay improves upon that by 44%. This year’s top 30 tours grossed a collective $271 million, up 75% from last January’s total.
This marks the third time that Coldplay has been No. 1 on Top Tours, having crowned lists in March 2023 and July 2022. The band achieved its hat-trick with eight shows in Asia. Including another two dates in early February and eight shows in November, the latest leg of the Music of the Spheres tour earned $143.3 million.
Coldplay’s January shows break down to two at the Philippine Arena in Manila and six at Singapore’s National Stadium. The latter batch grossed $43.4 million and sold 321,000 tickets, leading Top Boxscores by a margin of 2.8-to-1.
While the phrase “world tour” often translates to the U.S., Canada and western Europe, Coldplay has taken its time to travel the globe. The Music of the Spheres Tour launched in March 2022 and has included three legs in Latin America, two in the U.S. and Canada, two in Europe, and now 18 shows in Asia. More dates in Europe and Oceania await in 2024.
In all, Coldplay’s massive global trek has sold 7.7 million tickets. Only Ed Sheeran’s Divide (÷) tour (2017-19) has sold more, at 8.9 million. With 43 shows scheduled between June and September, Coldplay would need to average about 28,000 tickets per show — less than half of the tour’s global average so far — to close the gap and become the bestselling tour in Boxscore history.
Speaking of Sheeran, he sits at No. 2 on January’s Top Tours chart with Asian concerts of his own. He grossed $31.7 million and sold 194,000 tickets over six dates, with five more in February to count toward next month’s recap.
Sheeran grossed $11.6 million over two nights in Osaka and another $10.6 million from a double-header in Dubai. Similar to Coldplay, his dates in Asia are part of a global endeavor, following legs in Europe, Oceania and North America.
Not only do both acts rub shoulders atop the all-time tally, they wrestle on the opposite end of the top 10. Sheeran’s The Mathematics Tour has now grossed $556.4 million and sold 5.8 million tickets since its April 2022 debut, squeezing into the top 10 highest grossing tours of all time. Collateral damage, Coldplay’s Music of the Spheres tour (2016-17) dips to No. 11, just as the British rock band encroaches on Sheeran’s prior tour at the all-time summit.
At No. 3 on Top Tours, Madonna brought in $31.2 million from a string of arena dates in January. That leaves her just $500,000 away from Sheeran’s runner-up spot, held back by a margin of less than 2%. All of Madonna’s 11 January dates appear on Top Boxscores, spotlighted by her three shows at Madison Square Garden. Those grossed $10.3 million from 41,200 tickets sold.
Now at $121 million, The Celebration Tour is Madonna’s sixth to cross the nine-digit threshold. Only The Rolling Stones (nine) and U2 (seven) have more. Bruce Springsteen and the Eagles also have six $100 million tours to their names.
Madonna has 32 shows left to report in the U.S., plus five in Mexico City. When all is said and done, The Celebration Tour will likely become her third to gross $200 million or more, behind stadium runs Sticky & Sweet Tour ($407.7 million; 2008-09) and the MDNA tour ($305.2 million; 2012).
K-pop offers bright spots in the top 10, with SEVENTEEN at No. 4 with $19.6 million and ENHYPEN at No. 7 with $13 million. Each group played batches of shows in Asia, just like Coldplay and Sheeran. With restrictive weather in the U.S. and Europe, stadiums in southern Asia and Australia are often pillars of early-in-the-year box office.
Comedians make their mark on Top Tours as well, with Tina Fey and Amy Poehler, Peter Kay, Kevin Hart, Jo Koy and Brett Goldstein all ranking between Nos. 14-20.
Though not without significant highlights, the Top Tours chart embraces the winter doldrums of years past, delivering the lowest top-30 gross since last January. John Mulaney and NieR Orchestra close out the top 30 under $1 million, matching 2023’s two sub-million earners. February marks the stage returns of Blink-182, Karol G and P!nk, while introducing new tours from Bad Bunny and Olivia Rodrigo.
A version of this story will appear in the March 2, 2024, issue of Billboard.
Eladio Carrión may have scored multiple top 10s across the Billboard charts, but he can now cross off a new milestone as he attains his first No. 1 on any ranking with “TQMQA,” a song outside of his usual rhythmic realm.
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“TQMQA,” a Latin pop-tinged song — short for “Te Quiero Más Que Ayer” — rises 2-1 on the Latin Pop Airplay chart (dated March 2) with 5.4 million audience impressions, up 9%, earned in the U.S. during the Feb. 16-22 tracking week, according to Luminate.
The song is the first single from Carrión’s fifth studio album, Sol María, which debuted and peaked at No. 6 on Top Latin Albums and at No. 3 on Latin Rhythm Albums charts (Feb. 3).
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“TQMQA,” released and promoted via Rimas Entertainment, yields the Puerto Rican-American rapper and Latin trap singer his first Latin Pop Airplay No. 1 with his third chart appearance. His breakthrough Latin Pop Airplay song, “Alejarme De Ti” with Jay Wheeler, earned Carrión his first top 10 there, peaking at No. 9 in March 2022, while “No Puede Ser,” with Mau y Ricky, reached No. 22 a month later, in April 2022.
Prior to its radio impact, “TQMQA” debuted and peaked at No. 39 on the multimetric Hot Latin Songs chart, which blends airplay, digital sales, and streaming activity.
Elsewhere, the song climbs 22-19 on the overall Latin Airplay chart, Carrión’s highest entry since “Nunca y Pico,” with Yandel and Maluma, earned him his first top 10, peaking at No. 6 in Nov. 2022.
With Feb. 29 a leap day, let’s celebrate by looking at the songs that have made the biggest leaps on the Billboard Hot 100 over the chart’s history.
Taylor Swift’s “Me!,” featuring Brendon Urie, holds the distinction of having made the greatest vault on the Hot 100: 98 spots, from No. 100 to No. 2, on the chart dated May 11, 2019. The song debuted from initial radio exposure before its full first-week airplay, streaming and sales totals propelled it to the runner-up spot (below Lil Nas X’s Billy Ray Cyrus-featuring “Old Town Road,” which logged the fifth of its eventual record 19 weeks at No. 1).
“Me!” was released as the lead single from Swift’s album Lover – which currently boasts its latest Hot 100 top 10: the revived “Cruel Summer,” at No. 7 on the March 2, 2024-dated chart following four weeks at No. 1 beginning last October.
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The 98-position flight for “Me!” on the Hot 100 surpassed Kelly Clarkson’s 96-spot surge with “My Life Would Suck Without You.” The latter leapt 97-1 on the Feb. 9, 2009, chart – the biggest jump ever to No. 1.
Giant steps up the Hot 100 have become fairly common since the chart adopted electronically-derived Luminate data in 1991, often sparked since the 2000s by the likes of video premieres, award show spotlights and the arrival of releases, including remixes, for purchase, along with, as with “Me!,” songs’ complete first weeks of tracking.
Meanwhile, on the Billboard 200 albums chart, the biggest bound (since the survey became a combined stereo and mono listing in August 1963) belongs to Eminem’s Music To Be Murdered By. The set soared 196 spots, from No. 199 to No. 3, on the Jan. 2, 2021-dated chart following the surprise release of its deluxe edition; the album had debuted at No. 1 nearly a year earlier.
(As for another leap day feat, only one song has risen to No. 1 for a first week atop the Hot 100 dated Feb. 29: Mr. Big’s “To Be With You,” which began a three-week command on the chart dated Feb. 29, 1992.)
Below, leap into a list of the songs that have jumped the highest in a single week on the Hot 100.
98 spots: “Me!,” Taylor Swift feat. Brendon Urie
Image Credit: Ethan Miller/Getty Images
For the first time in 122 weeks, hip-hop albums seize both the No. 1 and No. 2 spots on the Billboard 200 albums chart. On the list dated Feb. 24, Kanye West and Ty Dolla $ign’s Vultures 1 reigns, while Yeat’s 2093 debuts at No. 2. The pair makes for the first time that hip-hop has twin titles atop the chart since Oct. 30, 2021, when Young Thug’s Punk and Drake’s Certified Lover Boy, nabbed the top two spots.
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The Punk–Certified Lover Boy moment was the ninth such double for hip-hop on the Billboard 200 in 2021, capping a year that saw additional chart-toppers from Moneybagg Yo, DJ Khaled, J. Cole, Lil Baby, Lil Durk, Tyler the Creator, and YoungBoy Never Broke Again. But, despite no one-two lockdown in 2022 or 2023, hip-hop still maintained top standing among listeners, with R&B/hip-hop as both years’ most-streamed genre by total album consumption, according to Luminate. (R&B/hip-hop is an umbrella genre for Luminate that contains most titles categorized as R&B and/or rap. Individual statistics for R&B or rap are not available for the purposes of such research.)
While hip-hop’s 122-week break between holding both the gold and silver medal is certainly rare for this era, it doesn’t quite touch the record gap of just under four years in the early 1990s. On the chart dated Jan. 19, 1991, Vanilla Ice’s To The Extreme and MC Hammer’s Please Hammer Don’t Hurt ‘Em ranked at Nos. 1 and 2, respectively, marking the 12th consecutive week that the blockbuster albums had locked up the top two spots. After those titans surrendered the summit, hip-hop needed until Nov. 5, 1994, to recapture the top pair, with the Murder Was the Case soundtrack (No. 1) and Scarface’s The Diary (No. 2) becoming the magic combination.
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As hip-hop scores its winning week, two different hip-hop No. 1 albums – Vultures 1 and 21 Savage’s American Dream – in the first two months of the year already prevents a repeat of a discussion point that piqued interest in 2023. Last year, the genre didn’t find a No. 1 album in the first half of the year – the longest wait of any calendar year since 1993. Largely due to the dominance of albums such as SZA’s R&B set SOS and Morgan Wallen’s country collection One Thing at a Time, hip-hop couldn’t capture the flag until July, when Lil Uzi Vert’s Pink Tape finally ended the shutout.
After several R&B chart hits to his name, Bryson Tiller switches gears and lands his first top 10 on Billboard’s Hot Rap Songs chart as “Whatever She Wants” debuts at No. 8 on the list dated March 2. Explore Explore See latest videos, charts and news See latest videos, charts and news In the tracking […]
