Chart Beat

23 Feb 2024

Blink-182’s ‘One More Time’ Ties Record for Longest Alternative Airplay No. 1 Run

A seven-year-old record on Billboard’s Alternative Airplay chart has finally been tied: blink-182’s “One More Time” spends its 20th week at No. 1 as of the March 2-dated survey, tying the mark for the longest reign in the tally’s 36-year history.

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It equals Portugal. The Man’s “Feel It Still,” which ruled for 20 nonconsecutive weeks between July and December 2017.

“One More Time” has remained at No. 1 on Alternative Airplay every week since its initial rule (Oct. 21, 2023) – the longest streak in the chart’s history, having exceeded the 18 straight frames (of 19 total) for Muse’s “Madness” in October 2012-February 2013 and Foo Fighters’ “The Pretender” (encompassing its reign) in September-December 2007.

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Most Weeks at No. 1, Alternative Airplay
20, “One More Time,” blink-182 (2023-24)
20, “Feel It Still,” Portugal. The Man (2017)
19, “Madness,” Muse (2012-13)
18, “Monsters,” All Time Low feat. Blackbear (2020-21)
18, “The Pretender,” Foo Fighters (2007)
17, “Uprising,” Muse (2009-10)
16, “High Hopes,” Panic! at the Disco (2018-19)
16, “Boulevard of Broken Dreams,” Green Day (2004-05)
16, “It’s Been Awhile,” Staind (2001)
16, “Scar Tissue,” Red Hot Chili Peppers (1999)

Blink-182 ties for the longest Alternative Airplay command over a quarter-century after the band first hit the chart with “Dammit (Growing Up)” in October 1997. “What’s My Age Again?” reached No. 2 in July 1999, becoming the group’s first of 16 top 10s, while follow-up “All the Small Things” became the first of the band’s five No. 1s in December 1999.

“One More Time” has led Alternative Airplay since its fourth week on the chart; it debuted at No. 29 on the Sept. 30, 2023, list, followed by a rise to No. 3 and then No. 2 before beginning its reign. In that time, two songs have hit No. 2 highs: Green Day’s “The American Dream Is Killing Me” for 11 weeks and, most recently, Cannons “Loving You” for the last five frames.

Concurrently, “One More Time” falls from its nine-week run atop Rock & Alternative Airplay to No. 4 with 5.2 million audience impressions Feb. 16-22, according to Luminate. The song peaked at No. 2 on Mainstream Rock Airplay in November 2023 and No. 36 on Adult Alternative Airplay in December.

The song has crossed over to pop radio formats, as well. It peaked at No. 13 on Adult Pop Airplay, the band’s highest rank in its career, surpassing the No. 24 best of “I Miss You” in July 2004. It’s also the trio’s first-ever Adult Contemporary entry, having reached No. 27.

“One More Time” is the second single and title cut from blink-182’s 2023 ninth studio album, following “Edging,” which ruled both Alternative Airplay and Rock & Alternative Airplay beginning in 2022. The set debuted at No. 1 on the Top Rock & Alternative Albums chart dated Nov. 4, 2023, and has earned 247,000 equivalent album units to date.

All Billboard charts dated March 2 will update on Billboard.com on Tuesday, Feb. 27.

23 Feb 2024

Warren Zeiders Notches His First Country Airplay No. 1 With ‘Pretty Little Poison’: ‘Lord Willing, It Ain’t My Last’

Warren Zeiders’ first entry on Billboard’s Country Airplay chart, “Pretty Little Poison,” ascends to the top of the tally dated March 2. The single advanced by 15% to 33.1 million audience impressions during the Feb. 16-22 tracking week, according to Luminate.

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The song is any act’s first Country Airplay hit to reign since Nate Smith’s “Whiskey on You” in February 2023.

“I am so honored to have my first No. 1 at country radio,” Zeiders tells Billboard. “I’m just a dude from Pennsylvania who started singing in his childhood bedroom. I never thought I’d have a song on country radio, much less it’d be No. 1 just a couple years into making music. I put everything I had into this song and I’ll never be able to thank the fans, my team and country radio enough for its success. This is my first No. 1 … Lord willing, it ain’t my last.”

Zeiders, 24, initially received traction by posting covers on TikTok, where he boasts 2.6 million followers. He co-authored his new leader with Ryan Beaver and Jared Keim; Ross Copperman produced it. The song is the title cut from his LP that arrived at its No. 12 high on Top Country Albums last September.

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Meanwhile, “Pretty Little Poison” halts the record-tying 10-week Country Airplay command of Smith’s “World on Fire.”

‘Bar’ Walks Into Top 10

Morgan Wallen’s “Man Made a Bar,” featuring Eric Church, climbs into the Country Airplay top 10 (12-9; 18 million, up 9%). Wallen earns his 14th top 10 – and one of two on the latest list: Thomas Rhett’s “Mamaw’s House,” on which he’s featured, hops 8-6 (23.5 million, up 6%).

Church notches his 18th Country Airplay top 10 and his first since “Heart on Fire,” which hit No. 5 in April 2022.

Top 40 ‘Texas’

Beyoncé makes her first appearance in the Country Airplay top 40 as “Texas Hold ‘Em” surges 54-34 (2.8 million in audience at the format, up 156%) in its second week. The single became the superstar’s first entry on the chart, as well as her historic first No. 1 on the multimetric Hot Country Songs survey.

The track also jumps 38-25 on Pop Airplay and debuts on Adult Pop Airplay (No. 28), Adult R&B Airplay (No. 28), Rhythmic Airplay (No. 36), R&B/Hip-Hop Airplay (No. 36) and Mainstream R&B/Hip-Hop Airplay (No. 40).

All charts dated March 2 will update on Billboard.com Tuesday, Feb. 27.

23 Feb 2024

Billboard Explains: Kylie Minogue Dancing Up the Charts

True icons know a thing or two about longevity — just look at Kylie Minogue. At the 2024 Billboard Women in Music Awards, the global superstar will be honored with the Icon Award in recognition of her hit-packed decades-long career.

Across a whopping 16 studio albums, Minogue has cemented herself as both a style chameleon and a master of musical reinvention. From bubble dance pop (1988’s Kylie) to a brave stab at country music (2018’s Golden) to last year’s disco-inflected synth-pop opus (Tension), Minogue has moved throughout her career with a special level of fearlessness.

The Australian juggernaut first hit the Billboard Hot 100 back in 1988 with the No. 3-peaking “The Loco-Motion,” a cover of Little Eva’s 1962 hit. She would once again hit the top 10 14 years later with the classic “Can’t Get You Out of My Head” (No. 7), the lead single from her Grammy-winning album Fever. With Fever, Minogue flew to No. 3 on the Billboard 200, her highest career peak yet on the ranking; she has landed 11 total titles on the chart, including 2010’s Aphrodite (No. 19).

In addition to her success on Billboard’s marquee albums and singles charts, Minogue has also proven herself to be a dominant force on Hot Dance/Electronic Songs. On that ranking, she’s earned 18 overall entries so far, including the top 10 hits “Dance Alone” (No. 8, with Sia) and “Padam Padam” (No. 7), the first song to win the newly formed Grammy for best pop dance recording. “Padam Padam” also peaked at No. 32 on Pop Airplay, marking her first appearance on the ranking in nearly two decades.

With a career like this, it’s no wonder that Kylie Minogue is the Icon Award recipient for the 2024 Billboard Women in Music Awards.

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.

23 Feb 2024

Taylor Swift Sets Records, Sweeps Australia’s Charts

It’s a long, sweet southern summer for Taylor Swift, as the U.S. pop superstar dominates the Australian albums chart and her sleeper hit “Cruel Summer” climbs to No. 1 for the first time.

The newly-crowned IFPI Global Recording Artist, earning plaudits for a record fourth time, Swift now sweeps the ARIA Charts like no artist has before her.

For the third time in her career, Swift occupies the entire top 5 on the ARIA Albums charts, a feat no other artist has achieved even once (Michael Jackson came closest, when he posthumously nabbed the top 3 spots in 2009).

On the latest tally, published Friday, Feb. 23, Swift rules with Midnights, 1989 (Taylor’s Version), Lover, folklore (all via Universal), and reputation (Big Machine/Universal), respectively. Midnights becomes her longest-reigning No. 1 on the ARIA Chart, at 15 non-consecutive weeks.

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All told, TayTay bags seven of the top 10, breaking the record for most titles by one artist in the top 10, beating her old mark of six.

When Swift was confirmed by the IFPI Wednesday (Feb. 21) as the biggest-selling global recording artist of the 2023, the trade body pointed to the “phenomenon” by which her record-busting The Eras Tour increases engagement with her entire catalog on streaming platforms around the world.

Lover track “Cruel Summer” is the IFPI’s case study, a song “initially released in 2019 but which topped charts around the world four years later.”

It’s a good point, well made. Last week, Swift completing a three-night stand at the Melbourne Cricket Ground, and tonight enters the final straight of her The Eras Tour of Australia, produced by Frontier Touring, with the first of her four consecutive concerts at Sydney’s Accord Stadium.

Those dates at the MCG, totaled over 288,000 — the most tickets sold by one artist at the towering venue, according to Universal Music Australia.

Too much Taylor Swift isn’t enough for her Swifties, as “Cruel Summer” lifts 4-1 for its first stint at the top of the ARIA Singles Chart, her 11th leader. That places her in a tie with Madonna as the artist with the third most No. 1 singles in Australia, behind the Beatles (26) and Elvis Presley (14), respectively.

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It’s the seventh time Swift has notched the ARIA Chart double, extending her own record.

Also noteworthy on the latest ARIA Singles Chart is the trajectory of Beyonce’s country-leaning “Texas Hold ‘Em” (Columbia/Sony). A record-setter in the U.S., Bey’s new hit flies 38-3 for her 16th top 10 solo or duet appearance in Australia.

Also, Dua Lipa bows at No. 12 on the ARIA Chart with “Training Season” (Warner Records), lifted from the British pop artist’s forthcoming third album.

The top debut on the ARIA Albums Chart belongs Sydney indie duo Royel Otis, with Pratts & Pain (Ourness), new at No. 10. That’s a new career best for the pair, Royel Maddell and Otis Pavlovic, following the No. 43 peak for their 2023 EP Sofa Kings. Nominated for the Michael Gudinski breakthrough artist award at the 2023 ARIAs, Royel Otis are currently touring Australia in support of the new LP.

22 Feb 2024

Beyoncé’s New Era Is Giving Other Black Women in Country a Big Boost, Too

Welcome to Billboard Pro’s Trending Up column, where we take a closer look at the songs, artists, curiosities and trends that have caught the music industry’s attention. Some have come out of nowhere, others have taken months to catch on, and all of them could become ubiquitous in the blink of a TikTok clip. 
 
This week: Beyoncé’s country crossover drives extra attention (and streams) to other Black female country artists, a Stranger Things star is on the verge of a major pop hit and a smash biopic results in a booming Bob Marley catalog.

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Beyoncé’s New Country Era Is Already Lifting Up Other Black Women in the Genre 



When Queen Bey bet that she could break the internet (again) in her hilarious Verizon commercial during the 2024 Super Bowl on Feb. 11, that was a promise. Although Beyoncé has been in her country era for barely a week and a half, she’s already making history – and uplifting other Black women in the genre along the way. 

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The music icons two new songs — “Texas Hold ‘Em” (No. 1) and “16 Carriages” (No. 9) — concurrently debuted in the top 10 on Hot Country Songs, making Beyoncé the first Black woman in history to top that chart. While those two songs continue to rack in streams and sales, they’re also serving as gateways for audiences to explore the catalogs of other Black women in country. 

According to Luminate, Tanner Adell – who has scored a few minor hits such as “Buckle Bunny” and “Love You a Little Bit” — experienced a 188% increase in streaming activity from the period of Feb. 9-12 (230,000 official on-demand streams) to Feb. 16-19 (670,000 streams). On TikTok, Adell has seamlessly incorporated her love for Beyoncé and anticipation for her forthcoming LP into promotion of her own music. “If you’re waiting on Bey’s country album, you might like me,” she wrote in a Feb. 14 TikTok; the strategy has clearly paid off, as a Feb. 20 TikTok finds the young singer-songwriter celebrating “Buckle Bunny” (also released via Beyoncé’s home label Columbia) flying up the Shazam charts. 

Reyna Roberts, perhaps best known for 2020’s “Stompin’ Grounds,” collected around 200,000 official on-demand streams during the period of Feb. 16-19, marking a whopping 250% increase from 57,000 streams during Feb. 9-12. There’s also Billboard chart-topping R&B artist K. Michelle, who is currently prepping a long-awaited debut country album. The Memphis-bred star has released some standalone country songs, including “Tennesse” from last year’s I’m the Problem. That track garnered around 32,000 official on-demand streams during the period of Feb. 9-15, a massive 185% increase from the week prior (11,000 streams, Feb. 2-8). 

Of course, any discussion about “Texas Hold ‘Em” is incomplete without mentioning Rhiannon Giddens, the Grammy-winning multi-instrumentalist who plays banjo on the track. During the period of Feb. 16-19, Giddens’ catalog collected over 108,000 official on-demand streams, up nearly 50% from 73,000 streams during Feb. 9-12. In the visualizer for “Texas Hold ‘Em,” Beyoncé has her hair in a cross between a beehive and low ponytail, a style often sported by country music legend Linda Martell, the first Black woman to play the Grand Ole Opry. During the period of Feb. 16-19, Martell’s catalog received just over 12,000 official on-demand streams, marking a 275% increase from 3,000 streams during Feb. 9-12. And notably, Martell’s debut album, Color Me Country, provided the name of Rissi Palmer’s Apple Music Country radio show. Palmer – whose “Country Girl” (2007) made her the first Black woman to hit Hot Country Songs since Dona Mason in 1987 – earned over 5,000 official on-demand streams across her discography during the period of Feb. 16-19, a 110% increase from those she amassed Feb. 9-12. 

As Beyoncé’s new country era continues to unfold, expect to continue to see gains for Black women across country music. Looks like the Renaissance really isn’t over. — KYLE DENIS

‘Stranger Things’ Have Happened: Joe Keery’s Music Project Has a Burgeoning Smash



Over the course of his run on the Netflix global hit Stranger Things as the well-coiffed heartthrob Steve Harrington, Joe Keery has simultaneously dabbled in the music space, first as a member of the psych-rock band Post Animal and more recently with the synth-pop solo project Djo. Decide, Keery’s second full-length under the Djo alias, was released independently in September 2022 and featured his strongest writing and song construction to date, albeit with little commercial footprint.

Yet that last part has changed over the past few weeks: “End of Beginning,” a blissed-out mid-tempo anthem from Decide that was never released as a single and hasn’t received any promotional push, has gone viral in early 2024 — and will likely become a breakthrough hit for Djo.

The uptick was started by a TikTok trend, in which users have taken the chorus lyric, “And when I’m back in Chicago, I feel it/ Another version of me, I was in it/ I wave goodbye to the end of beginning” to soundtrack travel clips, either of Chicago or whatever their version of hometown wistfulness might be. “End of Beginning” has fully crossed over from TikTok at this point, though: on Spotify, Djo’s track has entered the top 10 of the U.S. Daily Top 200 and U.S. viral 50, as well as creeping up to No. 16 on Billboard‘s Hot Alternative Songs.

“End of Beginning” was earning hundreds of thousands of weekly streams by mid-January, but the song is skyrocketing in February: from Feb. 16-19, the track earned 5.27 million official on-demand U.S. streams, up more than 200% from the previous four-day tracking period (1.66 million streams from Feb. 9-12), according to Luminate. Keery, who was a scene-stealer in the latest season of Fargo last fall, re-joined the Stranger Things crew in January as production on season 5 began; by the time filming wraps, Keery will likely have the first Hot 100 hit of his career. – JASON LIPSHUTZ

So Much Things to Stream: Bob Marley’s Catalog Explodes With Biopic Debut



Following Bohemian Rhapsody and Rocketman, this month’s Bob Marley: One Love becomes the latest biopic of a legendary artist to electrify audiences (even as it divides critics). The movie has already brought in more than $50 million at the box office, setting Valentine’s Day records and exceeding even the most optimistic pre-release projections. And as it brings Marley’s music to a new audience — and reminds older audiences of its greatness — it has also resulted in a massive increase in the reggae icon’s music consumption, particularly on streaming.

Marley’s catalog has actually been on the rise across streaming services for all of 2024, with anticipation for One Love perhaps helping to gradually boost his weekly official on-demand U.S. streaming numbers from around 15 million for the week ending Jan. 11 to nearly 27 million for the week ending Feb. 8, according to Luminate. But Marley’s numbers have of course exploded following the movie’s Feb. 14 release — the movie racked up over 30 million official on-demand U.S. streams in the five-day period following the movie’s release (Feb. 15-19), up 62% from the 19 million it amassed over the five days prior. (The catalog was also up 112% in digital song sales over the same time span, from over 4,000 to nearly 9,000.)

The songs currently doing the best in Marley’s catalog over that period are some of his most famous, including “Three Little Birds” (2.5 million streams, 1,500 sales), “Jamming” (1.9 million streams, 600 sales) and of course, “One Love / People Get Ready” (1.7 million streams, 1,300 sales). Legend, Marley’s RIAA Diamond-certified canonical hits collection, has even re-entered the top 30 of the Billboard 200 as a result of the increase in activity. But another song that continues to benefit from the bump in Marley exposure is from one of Bob’s descendants: “Praise Jah in the Moonlight,” breakout hit from grandson YG Marley, which falls at No. 63 on the Billboard Hot 100 this week. “Praise” garnered 6.5 million streams over that period, up 12% from 5.8 million the previous five-day period. — ANDREW UNTERBERGER

22 Feb 2024

After Italy’s Sanremo Song Contest, 7 Contenders Enter Billboard Global Charts

It was already understood that the songs of Sanremo 2024 were a success in streaming — in Italy and globally. In the days following its release, the “Sanremo 2024” Spotify playlist was the most listened-to playlist in the world, and seven of the top 10 tracks on the platform’s Debut Global chart came from the song contest.

Now that Billboard has updated its Global 200 and the Global Excl. US charts, the picture is even more complete. In the charts dated Feb. 24, four and seven songs from Sanremo 2024 appear, respectively.

The Global 200 includes Mahmood’s “Tuta Gold” (No. 52), Geolier’s “I p’ me, tu p’ te” (No. 91), Annalisa’s “Sinceramente” (No. 95) and winner Angelina Mango’s “La Noia” (No. 110).

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In the Global Excl. US chart, these same songs appear higher up (at Nos. 19, 33, 36 and 51, respectively), followed by three other songs of Sanremo 2024: Ghali’s “Casa Mia” (No. 87), Irama’s “Tu No” (No. 100) and The Kolors’ “Un ragazzo una ragazza” (No. 179).

Data provided by Luminate allows a more analytical look. The company traced the global streaming trends (audio and video) of Sanremo songs during the festival in the 50 most relevant markets worldwide (Italy and the United States included).

From Feb. 7-10 (the festival started Feb. 6 and crowned a winner Feb. 10), the first three positions were constantly dominated — in various orders — by Geolier, Mahmood and Annalisa. Only on Feb. 11 does winner Angelina Mango make her appearance.

Below are the top three positions day by day.

  • Feb. 7: “I p’ me, tu p’ te” by Geolier (3.4 million global audio and video streams), “Sinceramente” by Annalisa (3 million), “Tuta Gold” by Mahmood (2.6 million)
  • Feb. 8: “I p’ me, tu p’ te” by Geolier (3.4 million), “Tuta Gold” by Mahmood (3.2 million), “Sinceramente” by Annalisa (2.9 million)
  • Feb. 9: “Tuta Gold” by Mahmood (3.7 million), “I p’ me, tu p’ te” by Geolier (3.5 million), “Sinceramente” by Annalisa (3.1 million)
  • Feb. 10: “I p’ me, tu p’ te” by Geolier (3.85 million), “Tuta Gold” by Mahmood (3.78 million), “Sinceramente” by Annalisa (3.3 million)
  • Feb. 11: “Tuta Gold” by Mahmood (4.1 million), “I p’ me, tu p’ te” by Geolier (4.07 million), “La Noia” by Angelina Mango (3.9 million). These are also the highest figures on a daily basis

Since Billboard launched the two global charts in 2020, the most successful songs of Sanremo have regularly appeared. It has been a constant phenomenon since the 2021 edition, the first in which the Global 200 and Global Excl. US charts were active.

Last year, Lazza’s “Cenere” (No. 68), winner Marco Mengoni’s “Due Vite” (No. 80) and Mr.Rain’s “Supereroi” (No. 97) entered the Global 200. In the Global Excl. US, these songs appeared at Nos. 29, 32 and 42, followed by Madame’s “Il Bene nel Male” (No. 104) and Tananai’s “Tango” (No. 195).

In 2022, “Brividi” by Mahmood and Blanco (who won that edition) came close to the top 10, in 15th position. It was followed at a distance by Irama’s “Ovunque Sarai” (No. 118) and La Rappresentante di Lista’s “Ciao Ciao” (No. 158). On the Global Excl. US chart, those songs reached Nos. 7, 56, and 112, followed by Sangiovanni’s “Farfalle” (n. 112), Dargen D’Amico’s “Dove Si Balla” (n. 126) and Rkomi’s “Insuperabile” (n. 149).

22 Feb 2024

Could ‘Cruel Summer’ Become Taylor Swift’s Biggest Chart Hit?

While the top 10 of this week’s Hot 100 chart includes new entries from Beyoncé and Kanye West & Ty Dolla $ign — along with Noah Kahan collecting his first top 10 hit — one years-old smash is still going strong amidst the shakeups: “Cruel Summer” dips two spots to No. 6 this week in its 41st week on the chart.

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The viral resurgence of the synth-pop gem from Swift’s Lover, which was not released as a single during the 2019 album run, began in 2023 to coincide with the launch of her Eras Tour, eventually brought the song to the top of the Hot 100 last October, and has continued through the start of 2024 with no end in sight.

As the song spends another week in the upper reaches of the Hot 100, its unlikely run has prompted another improbable question: Could “Cruel Summer” become the biggest chart hit of Swift’s career?

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At this moment, “Summer” has climbed to No. 3 on the list of Swift’s biggest Billboard Hot 100 hits, behind her 2014 smash “Shake It Off” and “Anti-Hero,” the longest-running No. 1 of her career. See here the top 10 of Swift’s biggest Billboard Hot 100 hits, which is based on weekly performance on the Hot 100 (through Feb. 24, 2024), with further analysis below — and click here for the full top 50:

  1. “Shake It Off”
  2. “Anti-Hero”
  3. “Cruel Summer”
  4. “You Belong With Me”
  5. “Blank Space”
  6. “Love Story”
  7. “I Knew You Were Trouble.”
  8. “We Are Never Ever Getting Back Together”
  9. “Bad Blood”
  10. “I Don’t Wanna Live Forever (Fifty Shades Darker)”

Songs are ranked based on an inverse point system, with weeks at No. 1 earning the greatest value and weeks at lower spots earning the least. Due to changes in chart methodology over the years, eras are weighted differently to account for chart turnover rates during various periods.

Part of the reason why “Shake It Off” and “Anti-Hero” still outrank “Summer” is longevity: “Anti-Hero” spent 53 weeks on the Hot 100 and “Shake It Off” hung around for 50 weeks, while, as of now, “Summer” hasn’t cracked Swift’s top 5 longest-running Hot 100 hits. Here are Swift’s top 10 songs by weeks on the Hot 100:

  1. “Anti-Hero” (53 weeks)
  2. “Shake It Off” (50 weeks)
  3. “You Belong With Me” (50 weeks)
  4. “Love Story” (49 weeks)
  5. “Teardrops On My Guitar” (48 weeks)
  6. “Cruel Summer” (41 weeks)
  7. “Blank Space” (38 weeks)
  8. “I Knew You Were Trouble.” (36 weeks)
  9. “Our Song” (36 weeks)
  10. “Delicate” (35 weeks)

Meanwhile, “Summer” has logged four nonconsecutive weeks at No. 1 on the Hot 100 — the same number of weeks at “Shake It Off.” “Anti-Hero” became Swift’s longest-running No. 1 hit last year when it notched eight weeks atop the chart, while “Blank Space” had Swift’s second-longest run in the top spot, with seven weeks.

So how has “Summer” become Swift’s third-biggest chart hit, if other songs have spent more weeks at No. 1 or more time on the chart itself? By remaining a top 10 stalwart for months on end.

This week marks “Summer’s” 30th week in the top 10 of the Hot 100 — the most of any Swift song. “Anti-Hero” ranks second in frames spent in the top 10, at 28 weeks. “Summer” first reached the top 10 way back on the Hot 100 chart dated July 15, 2023, and became her longest-running top 10 hit earlier this month.

It’s impossible to say whether or not “Summer” will keep climbing up her personal list and become Swift’s biggest (or second-biggest) chart hit, or precisely the number of weeks and/or chart placements it will take to get there. And while the song dips two spots in the top 10 of the Hot 100, “Summer” still remains in the top 5 of Adult Pop Airplay, top 10 of Pop Airplay and top 20 of Streaming Songs, as well as No. 1 at Adult Contemporary for a fourth week.

“Summer” is still going strong as it climbs Swift’s all-time list of hits, adding another layer to the unlikely chart success of a song that was never supposed to be a chart hit. Who knows? Maybe “Summer” earns the top spot just as actual summer approaches.

22 Feb 2024

Los Dos Carnales’ ‘Gracias a Ti’ Rules Regional Mexican Airplay Chart

Los Dos Carnales achieved its fourth No. 1 on Billboard’s Regional Mexican Airplay chart as “Gracias a Ti” climbs from No. 6 to rule the list dated Feb. 24.

“Gracias A Ti” advances with a 47% gain in audience impressions, to 7.9 million, earned in the U.S. during the Feb. 9-15 tracking week, according to Luminate.

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The Poncho Quezada-composed track dethrones Gerardo Ortiz’s “Ahí No Era,” which falls 1-3 with a 12% decline in impressions, to 6.6 million, after one week in charge. (Los Dos Carnales is led by Poncho and his brother Imanol.)

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Cementing the strength of both songs at radio, “Gracias” and “Ahí” hold a spot in the top 10 on the overall Latin Airplay chart. While the former rallies 17-3 — Los Dos Carnales’ highest rank since “Se Me Soltó El Hocico” peaked at No. 2 in April 2023 — the latter dips 4-7. It’s still a strong performance for Ortiz in the 50-deep tally.

Back on Regional Mexican Airplay, with “Gracias a Ti,” the Quezada brothers log their fourth No. 1 there. They first reigned with “El Envidioso” for one week in charge in September 2020. The norteño act notched its second and third champs through “Yo Soy Rico” (Nov. 2021) and “Se Me Soltó El Hocico” (April 2023), like their predecessor, both for one week atop.

22 Feb 2024

Miley Cyrus’ 20 Biggest Chart Hits, From ‘Wrecking Ball’ to ‘Flowers’

It feels like Miley Cyrus has lived a thousand lives since she first found global fame as a pre-teen.

Undoubtedly one of the Disney Channel machine’s most successful alums, she’s consistently written off the world’s expectations for her life and career, reinventing herself again and again while remaining the fierce, ever-hilarious star her fans have loved from the beginning. The versatile singer-songwriter has clocked dozens of entries on the Billboard Hot 100, and is one of a rare few to enter the ranking multiple times under two different aliases: herself, as well as the fictional Disney Channel pop star she got her big break playing, Hannah Montana.

The Tennessee native scored her first-ever No. 1 during one of the most controversial eras of her career, with “Wrecking Ball” shooting up 22 slots on the Hot 100 in 2013 right after she released her then-shocking music video for the song. (Though people would hardly flinch now at the iconic visual, which has since accumulated over a billion views on YouTube, Cyrus swinging naked from a demolition ball was cause for many dropped jaws back in the day.)

A decade later, she would once again reign on the chart with “Flowers,” which spent a whopping eight weeks at No. 1 in 2023. The empowering track went on to earn Cyrus her very first Grammy at the 2024 awards — best pop solo performance — followed shortly afterward by her second, with the star taking home record of the year later that night.

From her blonde-wig days to her later forays into pop rock, the star has maintained a steady presence on the Billboard charts. Keep reading to see Miley Cyrus’ 20 biggest Hot 100 hits — so far, at least — below.

Miley Cyrus’s Biggest Billboard Hot 100 Hits ranking is based on weekly performance on the Hot 100 through the charts dated Feb. 24, 2024. Songs are ranked based on an inverse point system, with weeks at No. 1 earning the greatest value and weeks at lower spots earning the least. Due to changes in chart methodology over the years, eras are weighted differently to account for chart turnover rates during various periods.

22 Feb 2024

Mesita, Nicki Nicole, Emilia & Tiago PZK Add Sixth Week Atop Billboard Argentina Hot 100 With ‘Una Foto’

Mesita, Nicki Nicole, Emilia and Tiago PZK‘s “Una Foto” adds a sixth week at No. 1 on the Billboard Argentina Hot 100 chart as the song leads the Feb. 24-dated list.

Luck Ra and Khea’s “Hola Perdida” holds strong at No. 2 for a fifth week. Trap singer Luck Ra also places two other songs in the ranking’s top 10, starting with “Que Me Falte Todo” with Abel Pintos, which rises 4-3, while nine-week ruler “La Morocha” featuring BM remains at No. 7 for a third week.

Meanwhile, Bizarrap and Young Miko’s “Bzrp Music Sessions, Vol. 58” dips 3-4 after four weeks at No. 3.

Uruguayan Fer Vázquez and Argentinian Flor Álvarez earn their first top 10s on the 100-deep tally as “Sin Querer” rises 11-10. While Vázquez reached a No. 70 high through his featured role in Marama’s “Una Noche Contigo” (chart dated Feb. 17), Álvarez scored a No. 57 peak through “Con Vos,” with Rusherking (Feb. 10-dated list).

Further, FloyyMenor takes home the Greatest Gainer trophy of the week as “Gata Only,” featuring Cris MJ, climbs 51 places from No. 73 to No. 22.

Lastly, three songs re-enter the tally: Trueno and Nicki Nicole’s “Mamichula” featuring Bizarrap, Taiu and Tatool, re-enters at No. 82; Harry Styles’ “As It Was” at No. 99; and Andrés Calamaro’s “Flaca” bounces back at No. 100.