Chart Beat
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Twenty One Pilots lead Billboard’s Alternative Airplay chart for the first time in three years, reigning on the Feb. 15-dated list via the 2-1 rise of “The Line.”
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The song marks the duo’s 11th No. 1 and first since “The Outside” ruled for three weeks beginning in January 2022.
Since then, the band had notched three chart entries, including two No. 2-peaking tracks in “Overcompensate” and “The Craving” in 2024.
With 11 rulers, Twenty One Pilots, who first led with “Stressed Out” in 2015, rank as the act with the sixth-most No. 1s since Alternative Airplay began in 1988.
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Most No. 1s, Alternative Airplay:15, Red Hot Chili Peppers13, Green Day13, Linkin Park12, Cage the Elephant12, Foo Fighters11, Twenty One Pilots8, U28, Weezer7, The Black Keys7, Imagine Dragons
Of the band’s 11 No. 1s, two have now come from soundtracks to TV or film. “The Line” is featured on the soundtrack to Netflix’s Arcane, which premiered its second and final season in November, while “Heathens” was heard in the 2016 movie Suicide Squad.
Concurrently, “The Line” ranks at No. 17 on the all-rock-format, audience-based Rock & Alternative Airplay chart with 2.4 million audience impressions in the week ending Feb. 6, according to Luminate. It reached a No. 14 high in December.
The song appeared at No. 28 on the most recently published multimetric Hot Rock & Alternative Songs tally (dated Feb . 8, reflecting data accumulated Jan. 24-30); it hit No. 13 in December. In addition to its radio airplay, “The Line” earned 2 million official U.S. streams in that span.
The soundtrack to Arcane’s second season peaked at No. 24 on the Billboard 200 in December and has earned 220,000 equivalent album units to date.
All Billboard charts dated Feb. 15 will update Tuesday, Feb. 11, on Billboard.com.
Linkin Park lands its 12th No. 1 on Billboard’s Mainstream Rock Airplay chart, as “Heavy Is the Crown” lifts a spot to the top of the tally dated Feb. 15.
The song is the band’s fourth No. 1 in as many tries dating to 2023, when “Lost” reigned for eight weeks. “Friendly Fire” followed for a week last April and “The Emptiness Machine” ruled for six frames beginning in October.
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With 12 total Mainstream Rock Airplay No. 1s, the sextet ties Disturbed for the eighth-most leaders in the chart’s history (which dates to 1981). Of those, 10 came with vocals from late singer Chester Bennington or rapper/singer Mike Shinoda, while new vocalist Emily Armstrong has taken the reins of the two most recent rulers alongside Shinoda.
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Most No. 1s, Mainstream Rock Airplay:19, Shinedown18, Three Days Grace15, Five Finger Death Punch14, Foo Fighters14, Metallica13, Godsmack13, Van Halen12, Disturbed12, Linkin Park
Linkin Park first led Mainstream Rock Airplay in 2003 with “Somewhere I Belong.” The group first appeared on the survey in 2000, when “One Step Closer” debuted; it peaked at No. 4 in January 2001, marking the band’s first of 21 top 10s.
Concurrently, “Heavy Is the Crown” rises 13-12 on Alternative Airplay. On the all-rock-format, audience-based Rock & Alternative Airplay chart, it reigns for a fourth week via 5.3 million audience impressions in the week ending Feb. 6, according to Luminate.
On the most recently published Hot Hard Rock Songs list (dated Feb. 8, reflecting the Jan. 24-30 tracking period), “Heavy Is the Crown” ranked at No. 2; “The Emptiness Machine” led for 21st week. In addition to its radio airplay, the former drew 1.7 million official U.S. streams, up 3%.
“Heavy Is the Crown” is the second single from From Zero, Linkin Park’s eighth studio album and first with Armstrong and drummer Colin Brittain. The set launched at No. 1 on the Top Rock & Alternative Albums chart in November and has earned 287,000 equivalent album units to date.
All Billboard charts dated Feb. 15 will update Tuesday, Feb. 11, on Billboard.com.
Lola Young’s “Messy” has landed a third week at No. 1 on the U.K. Singles Chart (Feb. 7). The song first hit the top spot in January after dethroning Gracie Abrams’ “That’s So True,” which held the top spot for eight non-consecutive weeks.
The news coincides with her continued rise on the Billboard Hot 100; “Messy” now sits at a new peak of No. 14, a rise of 10 places week-on-week. The track featured on her sophomore album, This Wasn’t Meant for You Anyway, which was released in May.
In March, Young will compete for a BRIT Award in the pop act category against Charli XCX, Dua Lipa, Jade Thirlwall and Myles Smith. Recent months have also seen the Londoner perform on The Tonight Show Starring Jimmy Fallon and appear on Tyler, the Creator’s Chromakopia as a guest vocalist on “Like Him.”
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Speaking to Billboard U.K., Young discussed the success of “Messy” and why the message of self-acceptance has resonated with fans. “For a long time, I wanted to represent this ideal of Westernized beauty — but then I realized I’m not that,” Young said. “I now choose to give realness and truth. I’ve got a bit of a belly out, I f–king swear a bunch and I have fun. And that’s what people are resonating with.”
The success of “Messy” means that the Island EMI label group have scored a grand slam with four No. 1s across the U.K.’s Official Albums, Singles, Compilations and Radio Airplay Charts this week. The feat was achieved as The Weeknd’s Hurry Up Tomorrow hit the top spot on the Official Albums Chart, “Messy” on the Singles and Radio Airplay Charts, while the Wicked soundtrack rules the Compilations Chart. It’s the first time the feat has been achieved by any label group in over 10 years.
The remainder of the top five features familiar faces, with ROSÉ and Bruno Mars’ “APT.” (No. 2), Gracie Abrams’ “That’s So True” (No. 3), Chrystal’s “The Days” (No. 4) and Gigi Perez’s “Sailor Song” (No. 5) all staying put week-on-week.
Lady Gaga’s new song, “Abracadabra,” goes straight in at No. 6, giving the pop hero her 17th top 10 hit in the U.K. It’s the third single from upcoming album Mayhem to land in the top 10 following “Die With a Smile” (No. 2) and “Disease” (No. 7).
The Weeknd has landed his fourth No. 1 album in the U.K. with Hurry Up Tomorrow (Feb. 7).
The Canadian megastar (real name Abel Tesfaye) has previously topped the Official Albums Chart with Beauty Behind the Madness (2015), After Hours (2020) and Dawn FM (2022). His greatest hits compilation The Highlights (2021) peaked at No. 2, and has been a chart mainstay ever since.
The 22-track Hurry Up Tomorrow features guest appearances from Travis Scott, Justice, Lana Del Rey, Florence + The Machine, Anitta, Future and Playboi Carti, and rounds out the After Hours Til Dawn trilogy. In the build-up to its release, Tesfaye teased that it could be the final album he releases under The Weeknd moniker.
The Weeknd also appeared at the Grammys for a live performance on Feb. 2, returning to the institution after vowing to boycott the ceremony due to a lack of recognition for his After Hours campaign. On Tuesday (Feb. 4), the first trailer for Hurry Up Tomorrow’s accompanying film was shared; Jenna Ortega and Barry Keoghan both star alongside Tesfaye in the flick, directed by Trey Edward Shults.
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With The Weeknd taking the top spot, the Island EMI label group have scored a grand slam with four No. 1s across the U.K.’s Official Albums, Singles, Compilations and Radio Airplay Charts this week. The feat was achieved as Lola Young’s “Messy” has scored a third week at No. 1 on the Official Singles and Radio Airplay Charts, while the Wicked soundtrack rules the Compilations Chart. It’s the first time the feat has been achieved by any label group in over 10 years.
Central Cee’s Can’t Rush Greatness slips one spot to No. 2, and follows his No. 9 placing on the Hot 100, the highest charting U.K. rap LP ever in the U.S. Sabrina Carpenter’s Short n’ Sweet (No. 3), The Weeknd’s The Highlights (No. 4) and Ed Sheeran’s +–=÷× (Tour Collection) (No. 5) round out the top five.
Dance duo Maribou State lands its first top 10 record with third LP Hallucinating Love finishing at No. 9. Speaking to Billboard UK, the pair discussed the numerous health and personal issues they faced during the album’s production.
“It was a really important process for us to go through, personally and creatively,” said member Chris Davids. “We learned a lot about ourselves in that time. We’re grateful that we were in a position where we were able to press pause for a minute during the writing process, and to look after ourselves and not just push through and break ourselves when doing it.”
From Section.80 to No. 1, Kendrick Lamar has stormed to levels of commercial success and critical admiration in the last two decades that place him as one of the preeminent rappers of his generation — and many observers suggest, already among the greatest of all time.
Born in Compton, Calif., Lamar earned regional buzz for a series of mixtapes in the 2000s, but slowly attracted larger attention beginning with his Overly Dedicated mixtape. The release became his first Billboard chart entry, reaching No. 72 on the Top R&B/Hip-Hop Albums list in October 2010. Less than a year later, Lamar’s debut album, Section.80, allowed the rapper to break onto the Billboard 200 for the first time and peaked at No. 113 in June 2011.
The hitmaking run ignited with his next album, 2012’s good kid, m.A.A.d city. The set, his initial LP through a major label, Aftermath/Interscope Records, opened and peaked at No. 2 on the Billboard 200 and produced three top 40 hits on the Billboard Hot 100 – the No. 17 hit “Swimming Pools (Drank),” “Bitch Don’t Kill My Vibe” (No. 32) and the Drake-assisted “Poetic Justice” (No. 26). Cementing its acclaim among Lamar’s industry peers, the set was nominated for seven Grammy Awards, including album of the year.
Since that breakthrough, every Lamar project has become an event. Each of good kid’s studio album successors – To Pimp a Butterfly (2015) DAMN. (2017), Mr. Morale & The Good Steppers (2022) and GNX (2024) – has debuted at No. 1 on the Billboard 200, as have Lamar’s exploratory demo collection Untitled Unmastered (2016) and the multi-artist soundtrack that he curated for the film Black Panther (2018).
While singles success didn’t initially mirror the chart-topping results of his albums, Lamar steadily became a major player on the Hot 100. He earned his first No. 1 as a guest on Taylor Swift’s “Bad Blood” in 2015 before unlocking the penthouse on his own with “Humble.” two years later. He accumulated more top 10 hits with solo songs, including “DNA.” and “N95,” and collaborations with acts such as Maroon 5 (“Don’t Wanna Know”), The Weeknd (“Pray for Me”) and SZA (“All the Stars”).
Chart fortunes, however, surged to a new plane in 2024 following a feud with Drake that captured pop culture’s attention. Thanks to Lamar’s targeted verse on the “Like That” collaboration with Future and Metro Boomin, the song debuted at No. 1 on the Hot 100 and sparked an array of diss tracks between the two rappers. Among them, Lamar earned a second Hot 100 No. 1 with “Not Like Us,” the most successful track of the entire saga.
With public momentum in his corner, Lamar released GNX in November 2024. The set’s “Squabble Up” arrived as the rapper’s third Hot 100 leader for the year – the most of any artist in 2024. In addition, GNX tracks occupied the entire top five in its debut week, making Lamar only the fourth act – after The Beatles, Drake and Taylor Swift – to monopolize the region.
Lamar’s victory lap extended into 2025, with five wins at the 2025 Grammy Awards ceremony, including record of the year and song of the year for “Not Like Us.” On Feb. 9, he’ll headline the halftime show at Super Bowl LIX in New Orleans.
As Lamar prepares for his turn on the world’s biggest stage, let’s recap the Pulitzer Prize-winning rapper’s 20 biggest hit songs on the Hot 100, a review that encapsulates a range of his earliest, scrappy hits to world-conquering anthems.
Kendrick Lamar’s Biggest Billboard Hot 100 Hits ranking is based on weekly performance on the Hot 100 from its Aug. 4, 1958, start through Feb. 8, 2025. 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.
“Bitch, Don’t Kill My Vibe”
Shaboozey’s “A Bar Song (Tipsy)” (American Dogwood/EMPIRE/Magnolia Music) continues its record run in the top 10 of Billboard’s Country Airplay chart, dated Feb. 15. The song adds a 32nd week in the tier, extending the longest top 10 residency since the survey began in January 1990. The track surpassed Dustin Lynch’s “Thinking ‘Bout You” (featuring […]
The Weeknd continues his streak of dominance on the ARIA Albums Chart, debuting at No. 1 with his sixth studio album, Hurry Up Tomorrow.
This marks his fifth consecutive studio album to top the chart, following Beauty Behind The Madness (2015), Starboy (2016), After Hours (2020), and Dawn FM (2022). His 2021 greatest hits collection, The Highlights, which peaked at No. 2 in 2021, also sees a boost this week, rising to No. 8. The album, which The Weeknd has described as the final installment in a trilogy, arrives amid speculation that he may retire his moniker and release future music under his real name, Abel Tesfaye.
Meanwhile, Luke Combs’ ongoing Australian tour has reignited interest in his catalog. His 2017 album This One’s For You reaches a new peak at No. 5, surpassing its previous best of No. 7, while his latest album, Fathers & Sons, re-enters the top 10.
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Luke Combs continues to see a major surge on the ARIA Albums Chart thanks to his ongoing Australian tour. His 2017 album This One’s For You climbs to No. 5, hitting a new peak after previously reaching No. 7 in both 2019 and 2022. His latest album, Fathers & Sons, also returns to the top 10, moving up from No. 13 to No. 11.
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Over on the ARIA Singles Chart, British singer-songwriter Lola Young holds onto the No. 1 spot for a second consecutive week with “Messy,” continuing an unprecedented run of female artists dominating the top position since mid-August 2024. This streak has included No. 1 hits from Charli XCX, Billie Eilish, Sabrina Carpenter, Rosé (with Bruno Mars), Gracie Abrams, and Mariah Carey.
Rosé and Bruno Mars’ “APT.” remains strong in the runner-up position at No. 2, while Gracie Abrams’ “That’s So True” holds at No. 3. Lady Gaga and Bruno Mars’ collaboration “Die With a Smile” sits at No. 4, with Chrystal’s “The Days – Notion Remix” rounding out the top five.
On the ARIA Vinyl Albums Chart, Hurry Up Tomorrow lands at No. 1, proving its demand across all formats. Luke Combs’ Fathers & Sons follows at No. 2, with Birds of Tokyo’s Universes at No. 3, Gracie Abrams’ The Secret of Us at No. 4, and Billie Eilish’s Hit Me Hard and Soft at No. 5.
At the turn of the millennium, Irv Gotti – who died Wednesday at age 54 – helped bring a new class of hip-hop and R&B acts to fame as the co-founder of Murder Inc. Records.
Also known as The Inc. Recordings, the imprint quickly established itself as a major force in the two genres, with Ja Rule and Ashanti emerging as its flagship stars. The Gotti brothers founded Murder Inc. Records, named after the famous Depression-era crime syndicate, as an imprint of Def Jam in 1998. The next year, Ja Rule burst to prominence with his debut album, Venni Vetti Vecci, which debuted at No. 3 on the Billboard 200 and gave the MC his first solo Billboard Hot 100 entry, “Holla Holla,” a No. 35 hit.
From there, the rapper continued to produce hit after hit, including three No. 1 smashes – “Always on Time,” featuring Ashanti, and a pair of featured spots on Jennifer Lopez’s “I’m Real” and “Ain’t It Funny,” both of which trace their chart-topping status to their respective Ja Rule and Ashanti-penned Murder Remix versions.
Ashanti, too, became a powerhouse inside Murder Inc., thanks to her signature hooks across the imprint’s biggest hip-hop records that led to her own string of huge R&B crossover hits. That combination culminated in a historic feat in 2002, as she became the first woman – and only third act at the time, joining The Beatles and Bee Gees – with three simultaneous top 10 hits on the Hot 100.
Gotti himself carved out a Hot 100 pedigree largely as a producer, with a credit on 28 charting Hot 100 hits from songs performed by Ja Rule, Ashanti, DMX, Jay-Z, Mary J. Blige, Fat Joe and Ye. As a credited artist, Gotti scored a top 10-charting hit on the Hot 100 with “Down 4 U,” which peaked at No. 6 in 2002 and was credited to Irv Gotti Presents The Inc. featuring Ja Rule, Ashanti, Charli Baltimore and Vita.
Given the imprint’s stamp and Gotti’s role in that pivotal era for hip-hop and R&B, Billboard revisits the Murder Inc. legacy with a review of its top 20 hits on the Hot 100.
Murder Inc.’s Biggest Billboard Hot 100 Hits ranking is based on weekly performance on the Hot 100 from its Aug. 4, 1958, start through Feb. 8, 2025. 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.
“The Way That I Love You” – Ashanti
Timothée Chalamet makes his Billboard album chart debut as the soundtrack to the Bob Dylan biopic, A Complete Unknown, in which Chalamet stars as Dylan, arrives across four charts (dated Feb. 8). The set launches on Soundtracks (No. 17), Indie Store Album Sales (No. 23), Top Current Album Sales (No. 29) and Top Album Sales […]
Number_i’s “GOD_i” rules this week’s Billboard Japan Hot 100, dated Feb. 5.
After dropping Jan. 27, the latest single by the three-man group produced by member Yuta Kishi hit No. 1 for downloads, video views, and radio airplay, while coming in at No. 16 for streaming. The track launched with 60,058 downloads, which is second-most for the group following the top first-week figure for “GOAT” (64,321 units). Other songs by the trio have climbed this week due to the new single’s release, with “BON” rising 87-86 and “INZM” 97-91.
Mrs. GREEN APPLE’s “Darling” holds at No. 2. Streams for the new single by the three-man band are up to 102% week-over-week, rising a notch to No. 1, and the track also hits No. 5 for downloads, No. 2 for radio, and No. 3 for video. “Lilac” by the hitmakers follows at No. 3 on the Japan Hot 100, and while points for the former No. 1 song have been on the decline after peaking on the Jan. 15 chart, the song has coasted along in the top 5 for over 9 months since hitting No. 3 on the chart dated Apr. 24 last year.
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Kenshi Yonezu’s “BOW AND ARROW” debuts at No. 4. The theme song for the anime series Medalist was downloaded 29,132 times to hit No. 2 for the metric, while coming in at No. 7 for streaming, No. 8 for radio, and No. 19 for video.
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Hinatazaka46’s “Sotsugyo shashin dake ga shitteiru” bows at No. 6 with 496,191 CDs sold in its first week (No. 1 for the metric), while BEYOOOOONDS’s “Do-Did-Done” also charts for the first time at No. 7 with 99,460 CDs sold (No. 2 for the metric).
Notable chart moves outside the top 10 include Gen Hoshino’s first new single in a year called “Eureka” hitting No. 11 and Creepy Nuts’ “doppelgänger” jumping 56-23. The brand-new girl group HANA, born from the audition project No No Girls, launches at No. 36 with its pre-debut track “Drop.” The track hit No. 6 for downloads and No. 54 for streaming.
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 Jan. 27 to Feb. 2, here (https://www.billboard.com/charts/japan-hot-100/). For more on Japanese music and charts, visit Billboard Japan’s English Twitter account (https://twitter.com/BillboardJP_ENG).