Chart Beat
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On-demand official U.S. streams of Milli Vanilli’s catalog jumped by 34% in the four days (Oct. 24-27) since the documentary Milli Vanilli premiered Oct. 24 on Paramount+.
According to Luminate, the act’s songs drew 312,000 listens Oct. 24-27, up from 232,000 the four days prior (Oct. 20-23).
Milli Vanilli’s breakthrough hit “Girl You Know It’s True” leads with 114,000 on-demand U.S. streams Oct. 24-27, a 26% increase from 91,000 Oct. 20-23. “Blame It on the Rain” follows with 69,000 streams, up 39% from 49,000.
The 1 hour, 46-minute documentary chronicles the turbulent timeline of the act, which was publicly fronted by Rob Pilatus and Fabrice Morvan, who signed a contract with German producer Frank Farian, not realizing that they would not provide vocals on Milli Vanilli recordings. The act’s debut album, Girl You Know It’s True, blending pop, R&B/hip-hop and dance, dominated the Billboard 200 for seven weeks and spun off three Billboard Hot 100 No. 1s – “Baby Don’t Forget My Number,” “Girl I’m Gonna Miss You” and “Blame It on the Rain” – after the title track reached No. 2, in 1989.
(The set’s “All or Nothing” become its fifth and final Hot 100 top 10, reaching No. 4, in early 1990. Milli Vanilli is the only act in the list’s archives to have charted as many as five entries all in the top five with no other career appearances.)
Milli Vanilli won the best new artist Grammy Award in 1990, before it was revealed that Pilatus and Morvan didn’t sing any of their hits, resulting in the trophy being revoked for the only time in Grammy history.
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Milli Vanilli includes interviews with Billboard contributing writer/editor Gil Kaufman, who wrote an oral history on the act’s rise and fall in 2020, as well as former MTV VJ and current SiriusXM host “Downtown” Julie Brown and former executives from Arista Records, which released Girl You Know It’s True in the U.S., among others. It was produced by MTV Entertainment Studios and MRC and directed by Luke Korem and is narrated by Morvan. (Pilatus died of an alcohol and prescription drug overdose in 1998.)
“Finally, the true story of Milli Vanilli has been told,” Morvan shared upon the announcement of Paramount+’s acquisition of the retrospective. “The journey I returned to during the filming of this documentary didn’t leave any stone unturned. At last I can close this chapter in peace.”
Yet again, Beyoncé crowns Billboard’s monthly Boxscore recap. According to figures reported to Billboard Boxscore, the Renaissance World Tour grossed $121.9 million and sold 476,000 tickets across nine shows in September.
This is the third consecutive month, and fourth overall, that Beyoncé has crowned Top Tours. That ties her with Bad Bunny for the second-most since the charts’ launch in February 2019, only behind Elton John’s seven. And while he, Bad Bunny, The Rolling Stones and others have achieved back-to-back wins, Queen Bey is the first act to go three-in-a-row.
It’s also her third consecutive month north of $100 million, after setting all-time monthly record with $179.3 million in August.
In addition to this monthly chart feat, Billboard previously reported upon Beyoncé’s Oct. 1 finale that The Renaissance World Tour is the highest-grossing tour by a woman, by a Black artist and by any American soloist in the Boxscore archives. Between its May 10 kickoff in Stockholm and its recent closing show in Kansas City, the tour grossed $579.8 million and sold 2.8 million tickets, making it the biggest of her career, and the seventh highest grossing trek of all time.
September is Beyoncé’s second month at No. 1 on Top Boxscores. After reigning in July with two shows at New Jersey’s MetLife Stadium, she claims the crown with three shows on the opposite coast. Playing SoFi Stadium in Inglewood, Calif. (Los Angeles area) on Sept. 1-2 and 4, the Renaissance World Tour brought in $45.5 million and sold 156,000 tickets.
More, Beyoncé follows herself at No. 2 with two hometown shows at Houston’s NRG Stadium. Those, on Sept. 23-24, grossed $31.3 million and sold 123,000 tickets. Though more than 30% off from her SoFi shows, the weekend in Houston earned more than double its next closest competition.
Depeche Mode’s trio of dates at Mexico City’s Foro Sol took in $15.4 million, leading a group of 13 reports between $10-15 million. Three of those 13 come from Beyoncé herself, at Nos. 6, 8 and 12.
While Beyoncé is one of a growing group of solo women who have shifted the make-up of Boxscore’s top earners in the last several months, she is one of just three on September’s Top Tours. P!nk follows at No. 6 with $30.2 million from a handful of North American stadium shows as part of the Summer Canival tour. Elsewhere, Lady Gaga is No. 29 with $11.1 million from eight dates as part of her Jazz & Piano residency at MGM’s Dolby Live in Las Vegas.
While these women make up just 10% of the acts on the chart, their grosses combine to 22% of the top 30’s combined earnings, in large part due to Beyoncé’s giant haul.
Notably, RBD adds to the gender shift, at No. 2. The Mexican pop group reunited with five of its six original members – three women and two men – to winning results. Through Oct. 1, the Soy Rebelde Tour has earned $90.2 million, $65.7 million on which came from shows in October. That’s more than the group’s entire concert revenues from before reuniting, from 2005-08.
The upper echelon of this month’s rankings is notably diverse. Morgan Wallen, Drake and Coldplay round out the top five spots on Top Tours, adding country, rap and rock to RBD’s Latin pop and Beyoncé’s mix of pop, R&B and dance music. In 39 editions of the Top Tours chart, this is the first time that each of the top five acts represent different genres.
While Beyoncé’s nine-figure haul includes revenue from her Sept. 11 show in Vancouver, Wallen gives Canada a spotlight among his September dates. Ten out of his 13 concerts were above the border, making up 61% of his total monthly earnings. Those include three in Toronto (Sept. 14-16; $7.2 million; 47,800 tickets) and others in Montreal (Sept. 23; $3.1 million; 15,200) and Calgary (Sept. 30; $2.9 million; 13,600).
After Wallen’s $25.8 million in Canada, Coldplay follows with $9.2 million from two shows in Vancouver, before Beyoncé with $7.9 million from her own Vancouver date. Ten other acts among September’s top 30 played shows in Canada, from Ed Sheeran and Guns N’ Roses in the top 20, to Lionel Richie and Marco Antonio Solis at Nos. 28 and 30, respectively.
While the stacked grosses by Beyoncé, RBD and others are certainly worth celebrating, September’s overall figures are record-breaking, well beyond the top-earning tours. For the first time since the charts launched, all 30 tours grossed more than $10 million, down to Solis’ $10.9 million. Previously, June ’23 set the high-mark with 27 tours.
September’s eight-figure treks go well beyond the top 30, in fact, with another eight artists above the benchmark. Fuerza Regida just misses the chart cut-off with $10.8 million, while Lana Del Rey ($10.7 million), The Postal Service & Death Cab for Cutie ($10.6 million) and blink-182 ($10.4 million), among others, follow.
Still looking at the big picture, though slightly zoomed in, Live Nation crowns Top Promoters, yet again. With over 8.4 million tickets sold in September, the concert giant has reported grosses of more than $1 billion for the first time.
Sting’s enduring ballad “Fields of Gold” shines in new form on Billboard’s charts, as “Dreaming” — which reworks the song with Marshmello and P!nk — enters at No. 1 on the Dance/Electronic Digital Song Sales survey (dated Nov. 4).
The new interpretation, released on RCA Records, sold 2,000 downloads in the U.S. in its first week (Oct. 20-26), according to Luminate.
The collaboration concurrently debuts at No. 12 on the multi-metric Hot Dance/Electronic Songs chart, also driven by 1.5 million official streams and 1.1 million in all-format radio audience. Plus, it starts at No. 34 on Adult Pop Airplay, where it’s Sting’s highest rank since 2006, when “Always on Your Side,” with Sheryl Crow, reached No. 11.
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“Fields of Gold” rose to No. 23 on the Billboard Hot 100 in 1993. It also reached No. 2 on Adult Contemporary, marking Sting’s highest-charting title, and No. 24 on both Pop Airplay and Mainstream Rock Airplay. Released as the second single from Sting’s album Ten Summoner’s Tales, the song, which he solely wrote, has drawn 158 million official streams – and 5.3 billion in radio reach – to date.
“I always like it when [a] different mind takes one of my songs and adds something of their own to it,” Sting mused in an Instagram post spotlighting the release of “Dreaming.” “I never feel that possessive. I’m always interested to know where it can go.”
Added P!nk, “To meld all of the worlds … it’s fun. You can take something [and] make it new again.”
“Dreaming,” behind which Marshmello was the “prime mover,” notes Sting, is set to appear on the Tour Deluxe Edition of P!nk’s album Trustfall, due Dec. 1. The LP debuted at its No. 2 high on the Billboard 200 in March, becoming her ninth top 10 set.
“Dreaming,” meanwhile, marks Sting’s second charted dance makeover of one of his songs in as many years. His team-up with Swedish House Mafia, “Redlight” – which reworks “Roxanne,” a No. 32 hit on the Hot 100 for the Sting-fronted The Police in 1979 – reached No. 20 on Hot Dance/Electronic Songs in March 2022.
On Oct. 31, 1998, Shania Twain’s “Honey, I’m Home” hit No. 1 on Billboard’s Hot Country Songs chart, becoming the most recent of her seven leaders. Twain co-authored the single with her then-husband, Robert “Mutt” Lange, who also produced it. The song became the third of three Hot Country Songs No. 1s from Twain’s Come […]
Taylor Swift will be crowned when the U.K. albums chart is published later this week.
The U.S. pop singer opens-up a monster lead in the U.K. chart race with 1989 (Taylor’s Version) (via EMI), which is currently outperforming the rest of the top 40 combined, the Official Charts Company reports.
1989 (Taylor’s Version) reigns over the midweek chart, and is already the year’s best-selling album, amassing 148,000 chart units. That’s more combined units in just three days than Lewis Capaldi’s second LP Broken by Desire to Be Heavenly Sent (95,000 combined units), the previous leader for 2023, clocked in its first full-week. And it’s roughly double the sum collected by Rolling Stones’ Hackney Diamonds (Polydor), the current leader on the weekly chart and, until now, one of the three best-sellers of 2023.
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When the Official U.K. Albums Chart is published late Friday, Oct. 3, Swift will nab her 11th U.K. No. 1 album, a tally that includes the original recording of 1989, which ruled for a single week in 2014. That result would extend her record as the female solo artist with the most chart-topping albums this century. Only Madonna, with 12 U.K. No. 1s, leads Swift on the all-time tally.
The re-recorded edition of 1989 is the fourth of Swift’s six “versions,” and features three bonus tracks and five songs from the “Vault.”
Swift is likely to nab a chart double. Based on midweek singles sales and streaming data published by the OCC, “Is It Over Now” slides into pole position, ahead of “Slut” and “Style,” respectively.
Meanwhile, OMD (Orchestral Manoeuvres in the Dark) is on track for an eighth top 10 album with Bauhaus Staircase (100 Percent Records), new at No. 2 on the midweek tally, ahead of the Stones’ Hackey Diamonds, down 1-3 on the chart blast.
Duran Duran’s “ultimate Halloween party” album Danse Macabre (BMG) is forecast to enter the chart at No. 4, for what would be the Rock and Roll Hall of Famers’ 12th U.K. top 10 LP. The new set, a collection of covers, reinterpretations of DD songs, and three new numbers, is the followup to Future Past, which opened and peaked at No. 3 in 2021.
Also eyeing top 10 berths are new releases from James Blunt (Who We Used to Be at No. 5 via Atlantic), CASisDEAD (Famous Last Words at No. 6 via XL Recordings), Alfie Boe (Open Arms – The Symphonic Songbook at No. 7 via BMG); Simple Minds’ live recording New Gold Dream – Live from Paisley Abbey (No. 8 via BMG), Billy Bragg’s career retrospective The Roaring Forty 1983-2023 (No. 9 via Cooking Vinyl) and Gaslight Anthem (History Books at No. 10 via Rich Mahogany Recordings).
Iñigo Quintero’s “Si No Estás” crowns the Billboard Global Excl. U.S. songs chart (dated Nov. 4). The Spanish singer-songwriter reigns with his first entry on the chart.
Plus, “Too Much” by The Kid LAROI, Jung Kook and Central Cee debuts at No. 10 on Global Excl. U.S.
The Billboard Global 200 and Billboard Global Excl. U.S. charts, which began in September 2020, rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.
Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.
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Iñigo Quintero’s “Si No Estás” ascends from No. 4 to No. 1 on the Billboard Global Excl. U.S. chart with 54.2 million streams (up 10%) and 1,000 sold (up 37%) outside the U.S. Oct. 20-26. The piano-pop song is the first entry on the ranking for the singer-songwriter, who becomes the second act to reign with a rookie entry this year, after Fifty Fifty’s “Cupid” led for two weeks beginning in May.
“Si No Estás,” which has benefited from buzz on TikTok and Instagram, made Quintero a first-timer on Billboard’s charts just four weeks earlier. The single also tallies a third week at No. 1 on the Spain Songs chart, among its coronations on other Billboard Hits of the World surveys.
Jung Kook’s “Seven,” featuring Latto, keeps at No. 2 following nine weeks at No. 1 on Global Excl. U.S. beginning in July; Tate McRae’s “Greedy” jumps 6-3 for a new high; Taylor Swift’s “Cruel Summer” charges 8-4, returning to its best rank; and Doja Cat’s “Paint the Town Red” descends 3-5, following two weeks on top starting in September.
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Also in the Global Excl. U.S. top 10, “Too Much” by The Kid LAROI, Jung Kook and Central Cee launches at No. 10, with 31.5 million streams and 14,000 sold outside the U.S.
The Kid LAROI, from Australia, adds his second Global Excl. U.S. top 10, after “Stay,” with Justin Bieber, dominated for nine weeks in 2021. British rapper Central Cee also notches his second top 10, after “Sprinter,” with Dave, hit No. 6 in July.
Jung Kook earns his seventh solo Global Excl. U.S. top 10, the most for a member of BTS; he accounts for half of their 14 top 10s apart from the group. Here’s a rundown, ranked by peak position, of BTS members’ top 10s outside the superstar South Korean septet (which has posted 11 top 10s, including seven No. 1s):
“3D,” Jung Kook & Jack Harlow, No. 1 (one week), October 2023
“Seven,” Jung Kook feat. Latto, No. 1 (nine weeks), July 2023
“Like Crazy,” Jimin, No. 2, April 2023
“Left and Right,” Charlie Puth feat. Jung Kook, No. 2, July 2022
“That That,” PSY feat. SUGA, No. 2, May 2022
“Slow Dancing,” V, No. 4, September 2023
“Dreamers (Music From the FIFA World Cup Qatar 2022),” Jung Kook, No. 4, December 2022
“Love Me Again,” V, No. 6, August 2023
“The Astronaut,” Jin, No. 6, November 2022
“Rainy Days,” V, No. 8, August 2023
“Set Me Free, Pt. 2,” Jimin, No. 8, April 2023
“Stay Alive,” Jung Kook, No. 8, February 2022
“Vibe,” TAEYANG feat. Jimin, No. 9, January 2023
“Too Much,” The Kid LAROI, Jung Kook & Central Cee, No. 10 (to date), November 2023
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Nov. 4, 2023) will update on Billboard.com tomorrow (Oct. 31). For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard’s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
Taylor Swift’s “Cruel Summer” ascends to No. 1 on the Billboard Global 200 songs chart (dated Nov. 4). The song – originally released on Swift’s 2019 album Lover before being promoted as a single and gaining new prominence as the superstar has performed it on her The Eras Tour this year – becomes Swift’s third No. 1 on the survey.
Plus, Iñigo Quintero’s debut hit “Si No Estás” surges from No. 10 to No. 5 on the Global 200 and Tyla likewise scores her first top 10 on the chart as “Water” bounds 21-9.
The Billboard Global 200 and Billboard Global Excl. U.S. charts, which began in September 2020, rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.
Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.
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“Cruel Summer” climbs 2-1 on the Billboard Global 200 with 61.4 million streams (up 17%) worldwide Oct. 20-26, as well as 10,000 sold (down 78%, a week after it benefited from the release of two new mixes). Swift achieves her third No. 1 on the chart, following two songs that debuted on top: “Anti-Hero” led for four weeks beginning in November 2022 and “All Too Well (Taylor’s Version)” reigned for a week in November 2021.
Swift ties Olivia Rodrigo for the most Global 200 No. 1s among women; Drake also has three leaders. Overall, they rank third after BTS, with seven No. 1s, and Bad Bunny, with four.
Meanwhile, over four years after its release, “Cruel Summer” completes the third-longest trip, from a title’s release, to No. 1 on the Global 200. Kate Bush’s “Running Up That Hill (A Deal With God)” dominated for three weeks beginning in June 2022, sparked by its synch in the fourth season of Netflix’s Stranger Things, after the song was originally released in 1985, and Mariah Carey’s “All I Want for Christmas Is You” spent the first of its 13 weeks at No. 1 to date in 2020, after it was released in 1994.
Doja Cat’s “Paint the Town Red” rebounds 3-2 on the Global 200, following four weeks at No. 1 beginning in September; Tate McRae’s “Greedy” pushes 5-3 for a new high; and Bad Bunny’s “Monaco” falls to No. 4, a week after it debuted at No. 1.
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Iñigo Quintero’s “Si No Estás” jumps 10-5 on the Global 200, with 56.5 million streams (up 10%) and 1,000 sold (up 35%) worldwide. The piano-pop song is the first entry on the chart for the Spanish singer-songwriter, who, benefiting from buzz on TikTok and Instagram, became a first-timer on Billboard’s charts just four weeks earlier.
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Plus, Tyla, from South Africa, achieves her first Global 200 top 10 as “Water,” her first entry on the chart, rushes 21-9, with 43.6 million streams (up 19%) and 4,000 sold (up 14%) worldwide. TikTok has been a key contributor in the song’s growing profile, with a portion of the track having soundtracked nearly 1 million clips on the platform.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Nov. 4, 2023) will update on Billboard.com tomorrow (Oct. 31). For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard’s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
The Rolling Stones become the first act with newly-charted top 10 titles on the Billboard 200 albums chart in the 1960s, ‘70s, ‘80s, ‘90s, 2000s, ‘10s and now the ‘20s. The band’s new studio album, Hackney Diamonds, debuts at No. 3 on the chart dated Nov. 4. It’s the group’s first album of original material since 2005’s A Bigger Bang (which also debuted, and peaked, at No. 3).
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The new Nov. 4-dated chart will be posted in full on Billboard‘s website on Oct. 31.
Additionally, The Rolling Stones extend its record for the most top 10 albums, overall, among all artists in the Billboard 200’s history, which dates back to March 1956 (when the tally began publishing on a regular, weekly basis), as Hackney Diamonds marks the act’s 38th top 10-charting set. Barbra Streisand has the second-most, with 34, while The Beatles and Frank Sinatra are tied with the third-most, each with 32.
Hackney Diamonds is The Rolling Stones’ first album since the death of their drummer, Charlie Watts, in 2021, which left the group a trio comprising Mick Jagger, Keith Richards and Ronnie Wood. Before his passing, Watts worked on the new project, and he appears on two of the album’s songs (“Mess It Up” and “Live by the Sword”). Former bandmember Bill Wyman also appears on “Sword,” playing bass guitar. The 12-song album also features contributions from Elton John, Lady Gaga, Paul McCartney and Stevie Wonder, among others.
The Rolling Stones claimed their first top 10 album on the Billboard 200 with 12 x 5, which reached the top 10 dated Dec. 12, 1964 (climbing 11-3, its peak position). The Stones logged 13 top 10 albums in the 1960s (12 x 5; The Rolling Stones, Now!; Out of Our Heads; December’s Children [And Everybody’s]; Big Hits [High Tide and Green Grass]; Aftermath; Got Live If You Want It!; Between the Buttons; Flowers; Their Satanic Majesties Request; Beggars Banquet; Through the Past, Darkly [Big Hits Vol. 2] and Let It Bleed), 12 in the ‘70s (‘Get Yer Ya-Ya’s Out!,’ Sticky Fingers, Hot Rocks 1964-1971, Exile on Main St., More Hot Rocks [Big Hits & Fazed Cookies], Goats Head Soup, It’s Only Rock ‘N Roll, Made in the Shade, Metamorphosis, Black and Blue, Love You Live and Some Girls), six in the ‘80s (Emotional Rescue, Tattoo You, ‘Still Life’ [American Concert 1981], Undercover, Dirty Work and Steel Wheels), three in the ‘90s (Voodoo Lounge, Stripped and Bridges to Babylon), two in the 2000s (Forty Licks and A Bigger Bang), one in the ‘10s (Blue & Lonesome) and now one, so far, in the ‘20s (Hackney Diamonds).
Of those 38 top 10s, nine have reached No. 1: Out of Our Heads, Sticky Fingers, Exile on Main St., Goats Head Soup, It’s Only Rock ‘N Roll, Black and Blue, Some Girls, Emotional Rescue and Tattoo You.
Notably, one other act has newly-charted Billboard 200 top 10s in each decade from the ‘60s through the ‘10s: Barbra Streisand, who would match The Rolling Stones’ new achievement with a new top 10 of her own this decade.
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. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
Battle the chart experts! Start playing trivia now and see if you can beat the high score.
Taylor Swift’s “Cruel Summer” adds a second week atop the Billboard Hot 100 songs chart, a week after it became her 10th career No. 1. The song – originally released on Swift’s 2019 Republic Records album Lover before being promoted as a single and gaining new prominence as the superstar has performed it on her The Eras Tour this year – concurrently hits No. 1 on the Streaming Songs chart and returns to the top of the Radio Songs survey.
The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data, the lattermost metric reflecting purchases of physical singles and digital tracks from full-service digital music retailers; digital singles sales from direct-to-consumer (D2C) sites are excluded from chart calculations. All charts (dated Nov. 4, 2023) will update on Billboard.com tomorrow (Oct. 31). For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
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In the Oct. 20-26 tracking week, “Cruel Summer,” according to Luminate, drew 80.1 million radio airplay audience impressions (up 3%) and 21.3 million streams (up 14%) and sold 7,000 downloads (down 83%, a week after it benefited from the release of two new mixes).
The single surges 5-1 on Streaming Songs, becoming Swift’s seventh career leader on the list. It follows “Anti-Hero” (two weeks at No. 1, in 2022); “All Too Well (Taylor’s Version)” (one week, 2021); “Cardigan” (one, 2020); “Look What You Made Me Do” (two, 2017); “Blank Space” (seven, 2014-15); and “Shake It Off” (two, 2014-15). Swift breaks out of a tie with Justin Bieber for the second-most Streaming Songs No. 1s and trails only Drake, the leader with 20.
Over four years after its release, “Cruel Summer” completes the longest route, from a title’s release, to No. 1 on Streaming Songs among non-holiday hits. Only two songs, both seasonal standards, have taken longer: Brenda Lee’s “Rockin’ Around the Christmas Tree” jingled to No. 1 for the first time last holiday season following its 1958 release, while Mariah Carey’s “All I Want for Christmas Is You” spent the first of its 18 weeks at No. 1 to date in the 2018 holiday season, after it was released in 1994.
“Cruel Summer” simultaneously rebounds for a second week atop Radio Songs. Notably, it’s the first song this year to crown the Hot 100 while reigning as both the most-streamed title and most-heard hit on radio. It’s the third song to achieve the feat this decade, following Harry Syles’ “As It Was” (for one week in June 2022) and Adele’s “Easy On Me” (one, November 2021).
On the Digital Song Sales chart, “Cruel Summer” drops to No. 2, a week after it became Swift’s record-extending 27th No. 1.
As previously reported, Swift is set to storm next week’s Billboard 200 albums chart with the arrival of her latest rerecorded set, 1989 (Taylor’s Version).
Doja Cat’s “Paint the Town Red” holds at No. 2 on the Hot 100, following three nonconsecutive weeks at No. 1 beginning in September. It adds an eighth and ninth week, respectively, atop the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which use the same multi-metric methodology as the Hot 100.
SZA’s “Snooze” is steady at No. 3 on the Hot 100, after reaching No. 2. It posts a 13th week atop the multi-metric Hot R&B Songs chart.
Zach Bryan’s “I Remember Everything,” featuring Kacey Musgraves, bumps 6-4 on the Hot 100, after it led for a week upon its debut in September. It commands the multi-metric Hot Rock & Alternative Songs and Hot Rock Songs charts for a ninth week each and Hot Country Songs for a fifth frame.
Luke Combs’ “Fast Car” rolls 7-5 on the Hot 100, following eight weeks at its No. 2 high; Morgan Wallen’s “Last Night” lifts 9-6, following 16 weeks at No. 1 starting in March, the most ever for a non-collaboration; and Wallen’s “Thinkin’ Bout Me” advances 10-7 for a new high, as it logs a second week at No. 1 on the Country Airplay chart.
Rounding out the Hot 100’s top 10, Drake’s “IDGAF,” featuring Yeat, slides 4-8, two weeks after it debuted at No. 2; Bad Bunny’s “Monaco” drops 5-9 in its second week on the chart, as it claims a second week atop the multi-metric Hot Latin Songs ranking; and Gunna’s “Fukumean” rises 11-10 on the Hot 100, after reaching No. 4.
Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Nov. 4), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Oct. 31).
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.
SZA adds a record-furthering 50th week at No. 1 on Billboard’s R&B Songwriters chart (dated Oct. 28), thanks to her song “Snooze” and Drake’s “Slime You Out,” on which she’s featured.
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The tracks rank at Nos. 1 and 2, respectively, on the latest Hot R&B Songs chart. SZA co-wrote “Snooze” with Babyface, BLK Beats, Leon G. Thomas III and Khristopher van Riddick-Tynes. She’s also a co-writer on “Slime You Out,” with Drake, 40, BNYX, Noel Cadastre, Grant Lapointe, Chris Powell and Dalton Tennant.
A week earlier, SZA broke the record for the most weeks notched at No. 1 on R&B Songwriters, as her 49th frame at the summit lifted her past The Weeknd, with 48. Along the way over her record run, her smash “Kill Bill” spent 30 weeks at No. 1 on Hot R&B Songs.
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Across Billboard’s 13 weekly songwriter charts, SZA joins a select number of talents who have reached the milestone of 50-or-more weeks at No. 1. Here’s a recap.
Weeks Spent at No. 1, Chart Name, Artist:121, Gospel Songwriters, Kirk Franklin96, Latin Songwriters, Bad Bunny62, Dance/Electronic Songwriters, f a l l e n62, Dance/Electronic Songwriters, SAINt JHN57, Alternative Songwriters, Dave Bayley56, Rock & Alternative Songwriters, Zach Bryan56, Rock Songwriters, Zach Bryan53, Dance/Electronic Songwriters, Elton John53, Dance/Electronic Songwriters, Bernie Taupin50, Rock & Alternative Songwriters, Dave Bayley50, R&B Songwriters, SZA
In March, Kirk Franklin became the first and, to date, only creative to have led a songwriters survey for 100 weeks.
Spending 50 weeks atop one of Billboard’s 13 producers charts is even more rare. Only five producers have achieved the feat: Joey Moi, with 122 weeks spent at No. 1 on Country Producers; Tainy (119, Latin Producers); Jonathan Lindsey Smith (84, Christian Producers); Kanye West (59, Gospel Producers); and Jeff Pardo (54, Christian Producers).
Billboard launched the Hot 100 Songwriters and Hot 100 Producers charts, as well as genre-specific rankings for country, rock & alternative, R&B/hip-hop, R&B, rap, Latin, Christian, gospel and dance/electronic, in June 2019, while alternative and hard rock joined in 2020, along with seasonal holiday rankings in 2022. The charts are based on total points accrued by a songwriter and producer, respectively, for each attributed song that appears on the Billboard Hot 100. The genre-based songwriter and producer charts follow the same methodology based on corresponding “Hot”-named genre charts. As with Billboard’s yearly recaps, multiple writers or producers split points for each song equally (and the dividing of points will lead to occasional ties on rankings).
The full Hot 100 Songwriters and Hot 100 Producers charts and full genre rankings can be found on Billboard.com.