State Champ Radio Chart Beat
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Nate Smith’s “World on Fire” tops Billboard’s Country Airplay chart for an eighth total and consecutive week. It leads the list dated Feb. 10 with 32.1 million audience impressions Jan. 26-Feb. 1, according to Luminate.
The song — released on Arista Nashville/RCA Nashville, and which Smith co-wrote with Ashley Gorley, Taylor Phillips and Lindsay Rimes, the lattermost of whom solely produced it — ties three titles for the second-longest rule since Country Airplay began in January 1990: Morgan Wallen’s “Last Night” (beginning in May 2023), Alan Jackson and Jimmy Buffett’s “It’s Five O’Clock Somewhere” (August 2003) and Lonestar’s “Amazed” (July 1999).
Wallen’s “You Proof” dominated Country Airplay for a record 10 weeks, starting in October 2022.
“Eight weeks at No 1 … the crazy thing about this song is that it wasn’t even supposed to come out,” Smith tells Billboard. “It was starting to gain a lot of traction on social media and the demand was high. I’m so lucky to have a team that knew how to strategically release it alongside my debut album by releasing the deluxe version the same day [April 28, 2023] that the debut dropped. This song completely anchored the album.
“My mind is absolutely blown hearing the news that ‘World on Fire’ has gone No. 1 for an eighth straight week,” Smith marvels. “Thank you to the fans and thank you, country radio.”
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“Fire” is the second straight career-opening Country Airplay leader for Smith. The Paradise, Calif., native first led with “Whiskey on You” for two weeks last February. Both are on the deluxe edition of his debut self-titled LP. The set arrived at its No. 6 high on Top Country Albums last May.
What has kept “Fire” aflame on the radio? Says Tom Oakes, program director at Summit Media-owned KTTS Springfield, Mo., the hit is “a rare song – for KTTS, it has been testing at a power level since last summer and continues to. Like Luke Combs’ ‘Fast Car,’ it’s a song that listeners love and haven’t gotten tired of.”
Oakes added that “While it’s a record company’s mission to achieve No. 1s, my mission is finding the true hits which will become future gold library songs. This song, like ‘Fast Car,’ fits the criteria.”
Media reports today that Taylor Swift won’t perform on the 2024 Grammy telecast, which is set for Sunday (Feb. 4), are a big blow to the Recording Academy, CBS and Swift’s many fans. Swift’s apparent decision also runs counter to the usual pattern when an artist dominates a year the way Swift owned 2023. Swift […]
As the calendar flips over to February, Australia finds itself in stick season.
Noah Kahan earns his first No. 1 single in Australia as “Stick Season” (via Universal) climbs 2-1 on the ARIA Chart, published Friday, Feb. 2. “Stick Season” gets there in its 15th week on the tally.
Last month, Kahan completed his We’ll All Be Here Forever Tour, which included dates across Melbourne, Brisbane, Sydney and Perth — his first Australia trek since 2019. According to reps from Universal Music Australia, Kahan performed to more than 50,000 people on the jaunt, produced by Live Nation, and made his breakfast TV debut on Channel 7’s free-to-air Sunrise, for an in-studio performance of the hit single.
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Kahan has more to come. Next Friday, Feb. 9 sees the release of Stick Season (Forever), the “final pieces” of his release strategy, says a UMG rep, following the rollout of the Stick Season album in 2022 and, in late July 2023, Stick Season (We’ll All Be Here Forever).
It’s mid-summer in Australia, another scorcher where heatwaves or storms are the forecast for any given day. The hottest months here never pass without an edition of Triple J’s Hottest 100 poll, which was counted down last week, and saw Doja Cat’s “Paint The Town Red” (RCA/Sony) crowned the winner.
A string of entries in the Hottest 100 enjoy bumps on the ARIA Chart, led by “Paint The Town Red,” up 10-6.
Also, Aussie EDM producer Dom Dolla’s flashes the cash with “Saving Up” (Sony), which vaults 44-11 on the ARIA Chart. “Saving Up” came in at No. 3 on the triple j poll, which raked in 2,355,870 votes. That result is easily Dom’s highest-charting single in Australia, eclipsing the No. 32 best for “Rhyme Dust.” After blasting in at No. 4 on the Hottest 100 poll, “Rhyme Dust” reenters the ARIA Chart this week at No. 41.
G Flip had a record-breaking result as seven of their songs appeared on the Hottest 100. Less than a week later, G Flip’s former No. 1 LP Drummer (Future Classic/Universal) returns at No. 42.
There’s no moving Taylor Swift from the top of the ARIA Albums Chart, as Taylor’s 1989 (Taylor’s Version) (via Universal) holds at No. 1 for a 13th non-consecutive week. If it logs one more week at No. 1, the latest Taylor’s Version would tie with Midnights as her longest reigning album in Australia, at 14 weeks.
According to ARIA, Swift chalks up 55 total number of weeks at No. 1 across 12 albums, starting with Speak Now in 2010.
The top debut on the albums tally is the Smile’s Wall Of Eyes (XL/Inertia), new at No. 7. It’s the second album from the Radiohead side project, following 2022’s A Light For Attracting Attention, which peaked at No. 15 on the ARIA Chart.
Green Day’s latest studio album, Saviors, makes an eye-catching debut across Billboard’s charts, as it debuts atop seven different U.S. album charts (all dated Feb. 3). Plus, the set scores the band its best sales week ever on vinyl in the U.S.
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All told, Saviors starts at No. 1 on Top Album Sales, Top Current Album Sales, Top Rock & Alternative Albums, Top Rock Albums, Top Alternative Albums, Vinyl Albums and Tastemaker Albums.
In the tracking week ending Jan. 25, Saviors sold 39,000 copies in the U.S., according to Luminate. Of that sum, physical sales comprise 30,000 (18,000 on vinyl – the band’s best week ever on vinyl; 11,000 on CD and 1,000 on cassette) and digital album download sales comprise 9,000.
Saviors is Green Day’s fifth No. 1 on Top Album Sales and Top Current Album Sales; fourth No. 1 on Top Rock & Alternative Albums, Top Rock Albums and Top Alternative Albums, third No. 1 on Vinyl Albums and fifth leader on Tastemaker Albums.
Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album units and streaming equivalent album units. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
Top Rock & Alternative Albums, Top Rock Albums and Top Alternative Albums rank, respectively, the week’s most popular rock and alternative, rock, and alternative albums by equivalent album units. Vinyl Album tallies the week’s top-selling vinyl releases. Tastemaker Albums measures the top-selling titles at independent and small chain record stores. Top Current Album Sales ranks the week’s top-selling new/current albums (non-catalog/older titles).
The first-week sales of Saviors were bolstered by its availability across more than 15 vinyl variants (all with the same tracklist, just different colored vinyl), an autographed CD sold through the band’s webstore and two deluxe boxed sets containing a CD and an artist branded t-shirt (both exclusive to Green Day’s Webstore).
A quartet of former No. 1s follows Saviors on the new Top Album Sales chart, as Taylor Swift’s Folklore is a non-mover at No. 2 (11,000; down 42%), as is Swift’s 1989 (Taylor’s Version) at No. 3 (nearly 11,000; down 18%). Kali Uchis’ Orquideas falls 1-4 in its second week with 7,000 (down 78%), while Swift’s Midnights rises 6-5 (nearly 7,000; down 15%).
NMIXX notches its first top 10-charting effort on Top Album Sales as Fe3O4: Break debuts at No. 6 with a little over 6,000 sold. Its sales were encouraged by its availability in five collectible CD packages, all containing branded paper merchandise (including some randomized), including two signed editions sold through the act’s official webstore.
Stray Kids’ former No. 1 ROCK-STAR is steady at No. 7 (6,000; down 19%) and Swift’s chart-topping Lover is stationary at No. 8 (nearly 6,000; down 9%). The Rolling Stones’ Hackney Diamonds returns to the top 10, re-entering the chart at No. 9 with just over 5,000 sold, following the release of a new deluxe edition containing seven live bonus tracks recorded in October 2023. Swift’s former leader Evermore rounds out the top 10, dipping 9-10 with 5,000 sold (down 12%).
In the week ending Jan. 25, there were 1.103 million albums sold in the U.S. (up 1.8% compared to the previous week). Of that sum, physical albums (CDs, vinyl LPs, cassettes, etc.) comprised 823,000 (up 0.1%) and digital albums comprised 280,000 (up 7.4%).
There were 388,000 CD albums sold in the week ending Jan. 25 (up 5.1 week-over-week) and 429,000 vinyl albums sold (down 4.6%). Year-to-date CD album sales stand at 1.704 million (down 26.9% compared to the same time frame a year ago) and year-to-date vinyl album sales total 1.995 million (down 45.8%).
Overall year-to-date album sales total 4.797 million (down 35% compared to the same year-to-date time frame a year ago). Year-to-date physical album sales stand at 3.718 million (down 38.5%) and digital album sales total 1.079 million (down 19%).
Flo Milli’s “Never Lose Me” continues to reign on the TikTok Billboard Top 50, while Jack Harlow’s “Lovin on Me” enters the top 10. Tetris Kelly:Flo Milli keeps a grip on TikTok as Jack Harlow slides into the top 10. Flo Milli’s “Never Lose Me” spends another week at No. 1 on the TikTok Billboard […]
Flo Milli finds her first top 10 on Billboard’s Hot R&B/Hip-Hop Songs chart as “Never Lose Me” races 16-7 on the list dated Feb. 3. The single, released on RCA Records, has ridden a wave of TikTok virality that has triggered major gains across multiple streaming services as the tune also begins its radio campaign.
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To enter the top 10 on the multi-metric Hot R&B/Hip-Hop Songs chart, “Never Lose Me” tallied 15.5 million official U.S. streams in the tracking week of Jan. 19 – 25, according to Luminate, a 28% increase compared with the prior week. The improvement sends the song 10-3 on the R&B/Hip-Hop Streaming Songs chart with the Greatest Gainer award, given weekly to each song with the largest increase in stream count. Sales for the track, meanwhile, remain at a negligible amount and are essentially even with the previous week’s total; the track has yet to appear on the R&B/Hip-Hop Digital Song Sales ranking.
In the radio world, “Never Lose Me” registers its first appearances on airplay rankings with three simultaneous debuts: No. 25 on Rap Airplay, No. 35 on Rhythmic Airplay and No. 46 on R&B/Hip-Hop Airplay. As is the case too, on Hot R&B/Hip-Hop Songs, “Never Lose Me” gives the rapper her first visit to all the charts as a lead artist and second overall entry, following a featured role on Lah Pat’s “Rodeo” (which also had a separate version featuring Big Jade) in 2023.
Elsewhere, “Never Lose Me” rockets 15-5 on the Hot Rap Songs chart and 37-19 on the all-genre Billboard Hot 100. Notably, the single’s sample of Babyface Ray and 42 Dugg’s 2023 track, “Ron Artest,” helps both artists gain chart credits through songwriting contributions.
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“Never Lose Me” found huge reception on TikTok through a variety of trends that use the song as a soundtrack. Some clips that involve users displaying medals and trophies with captions that feature tongue-in-cheek reasons for the achievements (such as “worst ex”), while other videos center on flexing while using the song’s ““never had a b—h like me” lyric. Thanks to the song’s popularity on the social media platform, “Never Lose Me” leads the TikTok Billboard Top 50 chart for a third consecutive week.
The new hit is likely to appear on Flo Milli’s forthcoming album, Fine Ho, Stay, for which the rapper shared the album art last October. The new set is the third and final installment in an album trilogy, following 2020’s Ho, Why Is You Here? and 2022’s You Still Here, Ho?
Flo Milli’s “Never Lose Me” tallies a third straight week at No. 1 on the TikTok Billboard Top 50 chart (dated Feb. 3), while Good Neighbours’ breakout debut single, “Home,” opens in the top five.
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The TikTok Billboard Top 50 is a weekly ranking of the most popular songs on TikTok in the United States based on creations, video views and user engagement. The latest chart reflects activity Jan 15-21. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50.
“Never Lose Me” continues its run at No. 1 as it also jumps into the top 20 of the Billboard Hot 100, rising 37-19 with 15.5 million U.S. streams (up 28%) and 2.5 million radio airplay audience impressions (up 105%) in the latest Jan. 19-25 tracking week, according to Luminate.
“Never Lose Me’s” run at No. 1 on the TikTok Billboard Top 50 is largely driven by a variety of trends, with a more recent theme being uploads highlighting the “never had a b—h like me” lyric.
The song is now the second-longest-leading No. 1 hit on the TikTok Billboard Top 50, after Mitski’s six-week leader “My Love Mine All Mine.”
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Just below Flo Milli, Muni Long’s “Made for Me” jumps 12-2, becoming her first top 10 hit on the chart. The song has also begun scaling the Hot 100, gaining 93-44 in its second week.
Its trend highlights the song’s “Twin/ where have you been? / nobody knows me like you do” lyric, with users making videos with friends, family or significant others. Long herself has also posted TikToks lip synching to the song, as have Chlöe, That Girl Lay Lay and more.
Good Neighbours’ breakout debut single “Home” debuts at No. 4. The song also debuts at No. 18 on Billboard’s Hot Alternative Songs chart and No. 28 on Hot Rock & Alternative Songs, marking the London duo’s first-ever chart appearance. The duo comprises Oli Fox and Scott Verrill, who had both released solo music prior to forming Good Neighbours — Verrill recorded under the name Good Scott (and before that, Kwassa).
The trend for “Home” shows users singing its “darling won’t you take me home” lyric.
Rounding out the top five of the Billboard TikTok Top 50, He Is We’s “I Wouldn’t Mind” drops 2-3 and Sophie Ellis-Bextor’s “Murder on the Dancefloor” falls 3-5.
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.
Marc Anthony’s remarkable dominance on Billboard’s Tropical Airplay chart adds yet another chapter this week as his latest single, “Punta Cana,” debuts at No. 1 on the ranking dated Feb. 3. The arrival extends his record for the most No. 1s in the chart’s history.
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“Punta Cana” storms in atop Tropical Airplay with 4.6 million audience impressions earned in the U.S. during the Jan. 19-25 tracking week, according to Luminate.
“Punta Cana’s” arrival at the summit secures Marc Anthony his unprecedented 36th No. 1 on the list, the most among all acts; a record he’s held since 1996, one year after Tropical Airplay launched. Victor Manuelle remains in second place, with 29 No. 1s.
The bachata, coproduced by Marc Anthony alongside Sergio George, was released Jan. 26 via Sony Music Latin and unseats another labelmate from the lead: Enrique Iglesias and Maria Becerra’s “Así Es La Vida” drops to No. 2 with a 19% decrease in impressions, to 4.3 million.
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Notably, out of the 36 champs on Marc Anthony’s Tropical Airplay account, “Punta Cana” becomes the third song to premiere at No. 1, following the six-week champ “Se Me Sigue Olvidando” (1995) and nine-week ruler “Ahora Quien” (2004). (Only 16 songs overall have debuted on at No. 1 on the chart.) Plus, “Punta Cana” is Marc Anthony’s first No. 1 in two years (since “Mala Santa” ruled for one week in March 2022) and his 27th No. 1 without any accompanying acts.
As Marc Anthony continues to beat the competition, here’s the recap of the artists with the most No. 1s on the 28-year-old chart:
36, Marc Anthony29, Victor Manuelle23, Prince Royce18, Romeo Santos14, Elvis Crespo14, Gilberto Santa Rosa13, Jerry Rivera12, Juan Luis Guerra 440
Beyond its Tropical Airplay coronation, “Punta Cana” gives Marc Anthony his 59th career entry on the overall Latin Airplay ranking, as the song debuts at No. 19. With the new entry, he continues to hold the record for the most chart appearances among tropical acts, and the sixth-most among all artists. Here’s the leaderboard:
85, Daddy Yankee68, Ozuna64, Intocable63, Los Tigres del Norte60, J Balvin59, Marc Anthony58, Banda El Recodo de Cruz Lizárraga
Following the launch of his solo career after soaring to success with *NSYNC, Justin Timberlake has been a force on the Billboard charts.
His 2002 solo debut album, Justified, peaked at No. 2 on the Billboard 200 and generated four top 40 hits on the Billboard Hot 100, including his first two top 10 efforts: “Like I Love You” (No. 11), “Cry Me a River” (No. 2), “Rock Your Body” (No. 5) and “Senorita” (No. 27).
The multi-hit run set Timberlake up for a monster sophomore album, FutureSex/LoveSounds, which arrived in 2006 to enormous acclaim. The project opened at No. 1 on the Billboard 200, while three of its singles mirrored the chart-topping results on the Hot 100: “SexyBack,” “My Love” (featuring T.I.) and “What Goes Around …. Comes Around.”
Though another solo album didn’t come for six years, Timberlake filled the gap and remained musically active with featured contributions on a string of hits, partnering with a range of acts such as 50 Cent (“Ayo Technology”), Madonna (“4 Minutes”), T.I. (“Dead and Gone”) and Ciara (“Love Sex Magic”). The Timberlake touch was evident: All four songs hit the Hot 100 top 10.
When he did return, the boy bander-turned-solo superstar continued his top 10 ways with The 20/20 Experience album’s “Mirrors” and the Jay-Z-assisted “Suit & Tie” in 2013; another Hot 100 champ in 2016’s Trolls soundtrack single “Can’t Stop the Feeling!”; and Man of the Woods’ “Filthy” and “Say Something,” featuring Chris Stapleton, in 2018.
As the superstar turns 43 on Wednesday (Jan. 31) and is warming up for his forthcoming Everything I Thought It Was album, Billboard recaps the Grammy winner’s biggest solo hits on the Hot 100. As a sign of his musical versatility and status as a go-to collaborator, the list includes collaborations with an array of top talent, including rap superstars Jay-Z and T.I. and pop royalty Madonna and Michael Jackson.
Justin Timberlake’s Biggest Billboard Hot 100 Hits ranking is based on weekly performance on the Hot 100 (through Feb. 3, 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.
“TKO”
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: Britney Spears’ fans ensure Justin Timberlake isn’t by his “Selfish” lonesome on the charts this week, a Prime Video musical series seems to be on the verge of a major breakout, “Not the 1975” passes The 1975 on radio and much more.
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Britney Spears Fans ‘Selfish’-ly Troll Justin Timberlake’s New Single Release, Revive 13-Year-Old ‘Femme Fatale’ Bonus Track
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A little low-stakes trolling never hurt anybody, right? Last Friday (Jan. 25), Justin Timberlake kicked off the campaign for Everything I Thought It Was – his forthcoming sixth studio album – with lead single “Selfish.”
Of course, Timberlake’s name has been embroiled in controversy for the past few months following unsavory excerpts from Britney Spears’ The Woman In Me memoir, in which she reflects on him cheating on her, dumping her right before a music video shoot, and playing guitar as she cried on the bathroom floor after aborting their unborn child.
To troll Timberlake’s release, Britney’s fans started throwing their support behind a Spears single also titled “Selfish.” A bonus track from the deluxe edition of 2011’s Femme Fatale, “Selfish” had seen virtually no substantial commercial success before this weekend. At one point, Spears’ “Selfish” reached the top of the U.S. iTunes Chart, conquering a Tom McDonald-Ben Shapiro collab, Megan Thee Stallion’s much-talked-about “Hiss,” and Timberlake’s own “Selfish” in the process.
According to Luminate, during the period of Jan. 29-31, Spears’ “Selfish” garnered over 397,000 official on-demand streams, marking an unbelievable 14,978% increase from just over 2,600 streams during the period of Jan. 22-24. Notably, Spears’ “Selfish” also sold just under 10,000 digital copies during Jan. 29-31, a vast improvement from the negligible number of copies the song sold during Jan. 22-24.
For what it’s worth, Spears has since come out as a fan of Timberlake’s “Selfish,” writing on Instagram (which is now set to private), “I am so in love with Justin Timberlake’s new song ‘Selfish.’ It is soo good.” Timberlake’s new single earned 4.8 million official on-demand streams during Jan. 29-31. – KYLE DENIS
Will ‘Hazbin Hotel’ Reserve the ‘Encanto’ Slot on the 2024 Charts?
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For all the film musicals that have been taking over the box office in recent months – Wonka, The Color Purple, Mean Girls – it might be an animated musical comedy series whose soundtrack has the most profound impact on the Billboard charts this year. Hazbin Hotel, created by Vivienne Medrano and featuring songs composed by Sam Haft and Andrew Underberg (no relation), has been taking off with viewers and critics since the first four episodes of its first season premiered on Amazon Prime two Thrusdays ago (Jan. 18). Now, with two more episodes out on Jan. 25, the show’ is starting to really make its presence felt in sales and streaming.
“Poison” (sung by cast member Blake Roman) and “Loser Baby” (by Roman and co-star Keith David), both featured in the season’s fourth episode (“Masquerade”) and available on DSPs via A24 Music, have been the two leading performers from the show thus far. “Poison” notched over 2.4 million official on-demand U.S. streams for the week ending Jan. 25 (following the episode’s premiere), according to Luminate, while “Loser” did even better, with over 2.7 million streams. What’s more, they’re both still gaining: “Poison” has infected over 1.8 million streams through the first four days of this tracking week (Jan. 26-29) – a 61% gain over the same period the previous week – while “Loser” has won nearly 2 million over the same period, a gain of 60%.
Neither song is threatening the Hot 100 just yet (“Poison” has made a couple Alternative charts) but as the show continues to build buzz – and as the final two songs of the first season arrive this Thursday (Feb. 1) – it’s hard not to get the same feeling Encanto generated when its songs started breaking the surface of the mainstream at the turn of 2022. Whether any of the songs can become a crossover hit on the level of “We Don’t Talk About Bruno” remains to be seen, but karaoke rooms should probably start bracing themselves for impact just in case. – ANDREW UNTERBERGER
Michael Marcagi Off to Strong ‘Start’ With Second Single
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As both Zach Bryan and Noah Kahan have lodged their work into the upper reaches of the Hot 100 and Billboard 200 charts, a natural byproduct of their respective successes is the proliferation of their rustic, intimately drawn country-folk amalgamations. Fans of both singer-songwriters have certainly taken a shine to “Scared to Start,” the new single from Cincinnati singer-songwriter Michael Marcagi, who fronted the rock quartet The Heavy Hours before striking out on his own. Debut single “The Other Side” earned some attention upon its December release, but based on early streaming returns, its follow-up may be a bonafide breakthrough.
After Marcagi teased the single ahead of its Jan. 12 release, “Scared to Start” has started strong, with 2.54 million official on-demand U.S. streams in its first week of release and 3.64 million more in its second week — a 42% week-to-week jump, according to Luminate. The song has been added to Spotify’s Hot Hits USA and Pop Rising playlists, while Marcagi has continued promoting “Scared to Start” and re-posting fan covers on his TikTok page, which has 165,000 followers. The soft-glowing electric guitar and tenderly anthemic hooks of “Scared to Start” sound straight out of stick season — and Marcagi, a recent Warner Records signee, may be crashing the Hot 100 with it soon enough. – JASON LIPSHUTZ
Rich Amiri Bags Burgeoning Streaming Smash In Only “One Call”
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“I don’t trust a soul, I don’t trust nobody / Threw up off some pills, I don’t trust my own body,” opens the chorus of Rich Amiri’s “One Call.” Those lines – which are paired with rattling pluggnb production – smartly call on social media’s self-destructive obsession with “haters,” thus providing two immediate gateways to TikTok virality for the single.
“One Call,” taken from Amiri’s Internet Money/10K Projects LP Ghetto Fabulous (2023), has posted a 289% increase in official on-demand U.S. streams over the past five weeks. During the week of Jan. 19-25, the track pulled in 4.69 million streams, up substantially from the 1.2 million it notched during Dec. 22-28. On TikTok – where users frequently use the song to soundtrack video game fan edits and lip-sync clips – the official “One Call” sound boasts 31,600 posts. On YouTube, the track’s official music video – which debuted on Nov. 8, 2023 – has collected over 2.9 million views.
Having debuted on both the Bubbling Under Hot 100 (No. 7) and Hot R&B/Hip-Hop Songs (No. 45) this week (both charts dated Feb. 3, 2024), “One Call” is shaping up to be the first Billboard Hot 100 entry of Rich Amiri’s career. – KD
‘Not the 1975’ Is Becoming Bigger at Pop Radio Than… The 1975
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Last July, Atlantic-signed Nashville artist Knox built a kicky pop-rock track around the chorus lyric “She said ‘I like your confidence, but you’re not The 1975’”; then, the 25-year-old singer-songwriter wove in references to the British band’s songs “Chocolate,” “Looking for Somebody (to Love)” and “Oh Caroline,” and titled the track “Not The 1975.” Over the past month, the song has proven to be an unlikely hit for Knox — and most surprisingly, has continued to find an audience at U.S. pop radio.
The all-format radio audience for “Not the 1975” has ballooned from 141,000 impressions during the week ending Jan. 4 to 1.1 million during the most recent tracking week, according to Luminate. That’s good enough to get Knox’s single to No. 35 on this week’s Pop Airplay chart — a format that has yet to fully embrace the actual 1975, even as they’ve headlined arenas across America in recent years. The 1975’s biggest Pop Airplay hit to date is the aforementioned “Chocolate,” which peaked at No. 25 on the chart in 2014, and the band hasn’t graced the listing at all since “The Sound” in 2016. That means, depending on how many spins Knox keeps collecting over the next few months, “Not the 1975” could climb higher on this chart than the 1975 ever have. – JL
Season’s Gainings: Travis Kelce Continues Fighting the Good ‘Fight’
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It may have confused those not versed in recent Kansas City Chiefs lore when start tight end (and Taylor Swift beau) Travis Kelce paused his postgame interview after his team’s AFC Championship victory to shout the chorus to the Beastie Boys’ 1986 classic “(You Gotta) Fight for Your Right (To Party).”But the song has been a rallying cry for the Chiefs since Kelce first yelled it at the AFC Championship post-game a half-decade ago, and the team’s faithful knew it was time to get ill once Kelce again sounded the call: “Fight for Your Right” was up 15% in combined official on-demand U.S. streams (193,000 to 221,000) over this Sunday and Monday (Jan. 27-28) from the same period the previous week. If the Chiefs win their third Super Bowl in the past six years two Sundays from now, maybe Mike D and Ad Rock can at least get some free championship shirts out of it. – AU
